Say Anything says good things with its sophomore album

In Defense of The Genre mixes stylistic experimentation and biting lyrics.

By Joey Vergara

Published Oct. 26, 2007

With enough guests to rival a Snoop Dogg record and the worst of rock 'n' roll clichés (double-disc, "concept" album), it would be a miracle if Say Anything could successfully pull off its sophomore release.

But, somehow, Max Bemis and company have done just that.

In Defense of The Genre dulls down the eccentricity and downtrodden charm of ...Is a Real Boy in favor of more straight rock.

Where it fails to capture the debut's immediate hook-laden appeal, In Defense of The Genre comes out of double-disc hell intact — mostly.

After touring on the same album for almost four years, Say Anything should have more than enough material and experience to produce a great record or two.

But an album like this is the sharpest double-edged sword in music: It can become redundant with filler, too challenging and obtuse for fans, or an all-around disappointment.

Still, do it right, and you have way more excellent material and one hell of a record.

Say Anything falls somewhere between those extremes.

In Defense of The Genre features a few too many good ideas gone bad, but nothing quite sounds filler-quality.

As far as lyrics go, no subject is taboo for the outspoken Bemis.

In "Died a Jew," he comes to terms with religion in a characteristically cheeky manner: "My people were slaves before yours invented hip-hop/Apologize but I'm in on the joke/Another brother to scoff at the dancing patterns of white folk."

"Sorry, Dudes. My Bad." is a tribute to the joys of touring life and friends.

Even if the lyrics can be totally absurd or embarrassingly cheesy, the music on these tracks is more than catchy enough to make up for it.

What could be one of In Defense of The Genre's biggest weaknesses — the 21 guest vocalists who litter the record — actually becomes one of its strongest points. Bemis has really brought out the whole genre and then some for this musical skirmish.

Guests vary the gamut from the huge to the lesser-known punk rock royalty. Pete Yorn croons on opener "Skinny, Mean Man," and My Chemical Romance's Gerard Way is caustic as ever on the title track.

Saves the Day frontman, and Bemis' personal inspiration, Chris Conley wails on "Sorry Dudes. My Bad.," and Rainer Maria's Caithlin De Marrais and Paramore's Hayley Williams add beautiful harmonies.

The diversity of the vocals here adds an interesting element to In Defense of The Genre, but these guest vocalists are generally used in the same way over and over, joining the song right at the climatic bridge.

For being 27 songs thick, the sophomore album sounds surprisingly like a complete whole that should be listened to as such.

The differing styles found throughout rarely clash with only a few exceptions. The electronica-tinged "Baby Girl, I'm a Blur" comes off as a poor copy of "Wow, I Can Get Sexual Too."

The ballads, "Retarded In Love" and "Goodbye Young Tutor, You've Now Outgrown Me," demonstrate Bemis' songwriting scope. It is really not all about larger-than-life rock theatrics for him.

Then again, Say Anything does occasionally return to its pre-...Is a Real Boy roots with songs such as "You're the Wanker, If Anyone Is" and "People Like You Are The Reason People Like Me Exist."

Amid the stylistic experimentations, Bemis' biting lyrics pull the album together and make it a complex whole of three years worth of heartache, mental illness and living a musician's life.

Combine Mellon Collie-era Smashing Pumpkins, Snoop and friends, and you get Max Bemis, the Jewish champion of punk rock.