What we ended up getting was a beautiful, slightly haunted, often funny, sometimes heartbreaking and naturally unpredictable listening experience. The ride is, as to be expected from a Man Man record, wild; listeners of pre-release single Cloud Nein are treated to a fake out off the top, as the album version opens with a clattering build not heard on its single edit and inserts breaks, asides and other sonic treats that make a song that many were familiar with coming into the album fresh and exciting all over again. It's the first of many surprises in store; throughout, a host of instrumental twists and turns keep listeners engaged and intrigued. Of course, there's a healthy dose of melody present in these tracks, and songs like On the Mend balance the band's penchant for off-kilter flourishes with sticky choruses (this song in particular features sunny reggae tinges and a pleasant, percussive rhythm).
The group's sense of playful exploration is fully intact here, as evidenced by the theatrical impulses heard on Lonely Beuys that sit alongside its bouncing beat and several musical ideas that will please longtime fans and turn heads of casual observers alike. Current single Future Peg, meanwhile, is a gleefully weird toe tapper that allows Honus Honus to remind us why he's regarded as a gifted lyricist and dynamic singer. Goat is more of a slow burner, gliding in on a long saxophone solo before unfolding into a majestic dirge that really opens up sonically as it reaches toward its conclusion. Inner Iggy is a quick ditty featuring fleet guitar work and a fun rhythm that morphs into, well, its inner Iggy, while Hunters closes the first half on a more thoughtful, heartfelt note.
The back half opens strong with The Prettiest Song in the World, perhaps the album's most playful, funny and odd composition yet also most pleasantly melodic, despite packing a host of tempos and detours into its two and a half minutes; it's certainly one of the record's most unpredictable moments. It's followed by the slow groove of Animal Attraction, a song that trades in wild detours for a spatial, hypnotic melody that gradually brings in more elements until its hooks are thoroughly in you and you're emotionally invested. Sheela snaps us back with a heavy, QOTSA meets Tom Waits aesthetic that ends up being one of the most energetic songs on the record and is followed by another compact number in the shuffling, mostly instrumental jazz groove of Unsweet Meat. It's followed by the sparse piano interlude Swan, which connects to the playful, almost celebratory Powder My Wig before bringing things to a heart-wrenching close with If Only; a straightforward duet with Dre Babinski that seems to eulogize a relationship, it's a raw and emotional ending.
I haven't yet mentioned most of the interludes, as there's not much to be said about them except for the fact that they don't seem unnecessary like so many do; here, they act as connective tissue before, after and/or in between tracks that help the album flow as a piece and take nothing away from the thirteen songs proper. As a full album experience, Dream Hunting in the Valley of the In-Between is presented and sequenced exceptionally, and holds listener attention very well throughout.
Is this Man Man's best album? I think it's too early to tell; that said, while every Man Man album is unique (and that's one of their biggest strengths), I don't think any Man Man album better encapsulates both their willfully weird approach and their gift for writing killer tunes quite like this one. It's certainly clear that a lot of hard work and true love for the craft went into creating this album, and Man Man should unquestionably be proud of what they've accomplished with Dream Hunting in the Valley of the In-Between; its songs are full of charm, wit and heart, and the album as a whole is a thrilling listen from pillar to post. Suffice to say, it was worth the wait.
May 1, 2020 • Sub Pop
Highlights Cloud Nein • The Prettiest Song in the World • Animal Attraction
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