Meneguar, formerly Sheryl's Magnetic Aura, hails from New York and has members of Books Lie, I Am the Resurrection, and The State Secedes. Despite the impressive background of influential and often underrated hardcore bands, Meneguar doesn't bear much resemblance to their previous endeavors. In fact, they're not even hardcore. However, this is definitely as good as or better than anything else their members have done, which is saying quite a bit.
Before this release, Sheryl's Magnetic Aura put out a handful of releases that vocalist/guitarist Jarvis recorded: a 7" entitled Like You Mean It, a CDEP, and a split 7" with Rapider Than Horsepower which is slated to be re-released under the new name. Under the moniker Meneguar, only a five-song demo has been previously released, three of which are featured on this LP in re-recorded form.
While Sheryl's Magnetic Aura generally played more laid back, straight indie rock songs, Meneguar throws some fun and danceability into the mix. There really isn't much to compare them to - maybe Minus the Bear and Q and Not U meet The Promise Ring, but more aggressive. That doesn't quite do it, but it's all I can come up with. The guitars are pretty angular, and at times sound more like keyboards than anything. Although somewhat mathy and technical at times, Meneguar never alienates the listener - the music always has a sense of "warmth" to it.
One of the things that gives this band so much charm is just that they're extremely catchy and fun, but in addition there's a real connection to the music. The lyrics have a lot to do with that connection. Although they're not printed, it's fairly easy to understand the words most of the time. The seven songs appear to deal with alienation, not being able to fit into general society, leaving home/moving away, giving up, loneliness, work, inactivity, and failing relationships. Everyday things people can relate to, but done in an eloquent manner.
"House of Cats" starts off the album with a catchy, repeating beat leading into a rhythmic drum-and-bass-filled part. The opening segment is thrown in a few more times throughout the song, which ends in a simply stunning jam with building guitar and drums, and repetition "One hand is broken / and the other needs a break. Please don't let us fit in / don't you let us fit in / oh, my soul. This is why I've been hoping / that it doesn't need a name. Please don't let us fit in / don't let us fit in / oh, my soul!" It has a sort of "epic" quality to it. The second song is "Kids Get Cut," easily the most abrasive of the album. It starts off with a bang and continues on throughout the song, taking few breaks for a short guitar part, or for the drummer to show off a bit. The guitar here is really dancey, and I could see some handclaps fitting in with the rhythm section.
"A Few Minutes an Hour" brings things down quite a bit. The song is mostly slow, with a sort of "sluggish" feel to it. There are a few points where the song breaks to showcase really pretty arpeggio, which is going on throughout the song, which really accentuate the beauty of the guitar tone and style. This is by far the "prettiest" of the album, and one of the reasons I feel somewhat justified in the Promise Ring comparison. "The Temp" is similar in mood; opening with another very "pretty" guitar and drum portion. Jarvis' lyrics for the song seem very defeated: "I'm all that's left / of this awful mess," "So let's disguise ourselves as hope and pain / put a gun in his hand / at your back / I'm a mile away," "I cross my heart / and hope to die / for reasons / and reasons not much bigger than I." However, the song doesn't really seem "sad." Perhaps desperate or pleading, it evokes a sort of sympathy for the subject of the song.
The last three songs on this record are from the demo, but sound pretty similar to the rest of the material. "Christmas isn't Christmas" starts with a discordant rhythm. This song doesn't give off the same sense of energy as the previous four, but it's enjoyable, on the whole. About two and a half minutes in, it takes a turn for the better and enters a very well-executed guitar-and-drum solo. For reasons I can't place, this reminds me the most of Q and Not U out of all the songs. "Hands Off" is the danciest of the songs on here, with snotty vocals and a catchy drum beat that will make anyone's head bob. At a few points there are meandering, echoing guitar bits that clash against the rest of the music going on, but not in a bad way. The instrumentation towards the end of the song is perhaps my favorite of the album; sort of drawing out and dying down as it goes. "Wounded Knee" finished up the album, but I think there were definitely better songs that could've taken its place. First, the flow from the previous song to this one is really awkward -- it doesn't mesh at all. The song also just isn't very interesting...it's very bland and slow throughout, offering nothing of much significance to close this wonderful album with. Unless this song had a special significance to any of the members of the band, I don't really see why it was included on the album, let alone as the last song.
With the exception of a lackluster ending, this album is flawless. I recommend it to anyone who likes indie rock or catchy music in general. It can serve as the soundtrack to a dance party for you and your friends, or an introspective look at your life and the things around you. I Was Born at Night is completely versatile, well-rounded music that can appeal to pretty much anyone.
