Their restlessness and prolificity reminded me of Deerhunter in 2008 or Animal Collective in the early-to-mid 2000s. They could either release a masterpiece or totally implode (you know, like Mineral, Sunny Day Real Estate, Cap’n Jazz, the Promise Ring, etc.).
They did the former, and Harmlessness’ greatest success is breaking down any perceived barrier between indie rock and emo and pop punk, speaking for the people who owned Funeral and Futures in 2004, stayed for the entire Desaparecidos/Built to Spill/Brand New triple bill and saw little difference in the effect of Refused and Godspeed You! Black Emperor’s versions of agitprop.
If all of the above seemed self-evident, Harmlessness respects the hell out of you, its guiding principle being an allegiance to all forms of maximalist, ambitious, emotionally overwhelming rock music. My god, does this band try. It knows it has to, because even if Harmlessness speaks for itself, it doesn’t have a podium. One of the characteristics of the best emo albums of recent years (Pianos Become the Teeth’s Keep You, Foxing’s The Albatross, The Hotelier’s Home Like NoPlace Is There, Joyce Manor’s Never Hungover Again, hell, Restorations’ LP3, and Cymbals Eat Guitars’ LOSE count) is their earnest, centrist ambitions, the sense going in that if they don’t make their greatest ####### album ever, no one outside Fest might notice.
I almost don’t even want to talk about the music because there are at least 50 moments on this thing where I imagine yelling at a non-convert, “how can you think THIS IS JUST OK?” The run of “Mental Health”-“Wendover”-“We Need More Skulls” spans raw folk confession, Pacific Northwest lope and stoner metal and are the best Bright Eyes, Modest Mouse, and Jesu songs of the past eight years. Read that sentence again, this happens in the span of, like, ten minutes.
Here’s the most important thing: Harmlessness is not a nostalgic document, not an emo, indie rock, or any kind of throwback. TWIABP live in 2015, debating violent retribution against sexual predators (“January 10th, 2014"), disordered eating (“The Word Lisa”), the difficulties of being a creative being in the current economy (“We Need More Skulls”), seeking help for depression (“I Can Be Afraid of Anything”), loving another human being… it’s as overwhelming or comforting as you want it to be.
The fifth song on Harmlessness has a title that’s equal to the band’s name and is the apotheosis of indie rock self-actualization: “Rage Against the Dying of the Light.” Like every song on Harmlessness, it’s bold and complex and dazzling in a way that can objectively satisfy in a chin-stroking way—it sounds like Fugazi covering Arcade Fire’s “Neighborhood #2 (Laika)” and thus like nothing I’ve ever heard before. But the concept hits directly in the emotional hot zone of the 18 to 22 age range that no other rock band is aiming for right now with more firepower. It makes a humorous allusion to Rage Against the Machine, a completely humorless band whose binary politics are most sensible to a high schooler. Bello and maybe six other people wail, “We’ll build a fire so high, they’ll turn all the lights out and we will sing, ‘I am alive, I deserve to be, not getting quiet, swallowing age.’” This appeals to the super serious guy who’s aged out of Rage, the idea that there’s this metaphysical light in the world and that if it’s dying, you might have to offer yourself as kindling for the greater good—not coincidentally, I’ve heard this expressed most passionately on Cure and Thursday albums. You know, one maximalist, ambitious, emotionally overwhelming rock music who clearly influenced the other.
As much as I want to say Harmlessness is what the emo revival was leading up to, that still feels like selling it short. The band was called “post-emo” in an early PR email for Harmlessness, a term which was removed in subsequent press releases. I wish they kept it. The emo revival ends here because its flagship band made the best indie rock record of 2015, period.