(Infiniheat, 2007)

In 2004 Hamilton, Ontario’s Wax Mannequin (Chris Adeney) unleashed his third album, The Price, upon the indie world, and I for one stood at attention. While not perfect by any means—It suffered from a considerable lag in the second-half—the album still sewed the seeds for the emergence of a new indie-rock deity—an eccentric and strange monolith who could meow with more conviction than most singers mustered when delivering their most personal lyrics. A few random bursts of vulgarity and a gratuitous Bryan Adams reference later and I was hooked. It is now 2007 and the aforementioned seeds have born most satisfying fruit in the form of Wax Mannequin’s latest release, Orchard & Ire.

To be blunt, this album isn’t meant to save the world, but it will cure what ails you—and how! Listening to Wax Mannequin at his best is like inviting an entire rock-opera to perform in your skull. Do you take his lyrics seriously (“Animals jump. Jump up and down. To Favourite Song.”)? Is he penning the anthems of a generation? Who cares! I’m far too busy irresistibly defiling my air-guitar and watching the veins on my neck threaten to explode just trying to replicate his intensity. Sure, The Price had some of his greatest songs to date (“Tell the Doctor,” “The Price,” “A Message to You from the Queen”), but it failed to establish consistency. Orchard & Ire, on the other hand, replicates—and disperses—the palpable energy and sheer balls of the best tracks on his previous work throughout an entire album about animals, robots and apples. Not to mention that it also boasts its own share of standouts, from the stunted and catastrophic opener “Animals Jump” to the anthemic and cautionary “Robots, Master and Lady.” Actually, there is a great variety of tempo and mood presented here as well, something exemplified in the contrast between back to back tracks “Almost Everyone” and “Power Goes.” The former is slow, sparse and melodic, while the latter, with its intense keys and frenetic pace, is a real booty-shaker that could be at home in any nightclub. In fact, some of the softer numbers on this album carry just as much weight as the more upbeat rockers that we’ve come to expect from Wax. “Worrier’s Feast” is an excellent example of this, as the somber melody is undeniable and makes for an excellent album closer.

At a little under 35 minutes Orchard & Ire is not a long album and it fully uses that stealth to its advantage, not dwindling, though continuing to evoke the unequalled sense of conviction and intensity that makes Wax Mannequin such a standout. Definitely his most realized album to date, it has given his next release some massive warrior’s boots to fill. I’m proud to own this record and would be first in line for tickets to the rock opera (if only!).

Catch Wax Mannequin live at the Horseshoe Tavern in Toronto on September 18. While you’re at it, warm up now by listening to a few tracks right here (to download, right-click and hit “save as”):

Wax Mannequin - Orchard & Ire - 09 - Worrier’s Feast

Wax Mannequin - The Price - 01 - Tell the Doctor