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Mean Everything To Nothing , the second album from Atlanta's Manchester Orchestra, is everything you want a rock record to be: raw, urgent, emotional, and 100 percent authentic. "There is nothing fake about this record," says frontman and lyricist Andy Hull. "There's not one fake sound on it. We recorded it live because we wanted it to sound like a band, and I think it does: live and loud!"
Inspired by the pounding, primal assault of Weezer's Pinkerton , Nirvana's In Utero , and Foo Fighters' The Colour and the Shape , this young band has created its own version of what a classic rock album should sound like, complete with fiercely beautiful melodies, shifting guitar and keyboard textures, loud/soft dynamics, and an urgency in each band member's performance, especially Hull's cathartic vocals.
The drama is magnified by the fact that the album's first six songs bleed into one another without stopping. The blistering opener "The Only One" immediately gives way to the propulsive "Shake It Out" and the torrential first single "I've Got Friends," followed by the anguished "Pride" and the menacing "In My Teeth," before slowing down on the darkly funny "100 Dollars." Then the album pauses and down-shifts into less relentless yet equally gripping territory on songs from "I Can Feel A Hot One" (which was featured on Gossip Girl last September), to the ruminative closer "The River." 
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