History AwesomeMusic / MeWithoutYou

* The first part of a "The King Beetle on a Coconut Estate" begins with soft vocals and only a harp and a violin serving as instrumentation, before it slowly gains the aid of a horns and a flute. At its midpoint, however, it positively explodes with energy, with the guitar and drums being introduced along with louder, but still ''sung'' vocals. It finishes with a beautifully resounant chant before the vocals once again fade back to a whisper. The entire song is essentially a beautifully powerful story even without the lyrical meaning, managing to sound both melancholic and triumphant.

* "Fox's Dream of the Log Flume" is chaotic and wild, with a furious guitar and vocals that are almost entirely shouted. The track builds to a climactic, resoundingly powerful chorus that manages to completely dissipate in only a few seconds. The song's outro is a soft, quiet melody that almost acts as a lullaby, further serving as a break in the intensity from not just the song, but the rest of the album up to that point. [[Music/{{Paramore}} Hayley William's]] ethereal vocals showing up in the latter two sections are also worth mentioning for not only being beautiful but also merging perfectly with Aaron's own rougher style.

* "Winter Solstice" is a dreamy, transcendent work with a downright *beautiful*, almost dancing chorus that somehow manages to sound both celebratory and wistful at the same time, evoking both wonder and melancholy.
* "Tortoises All the Way Down" opens with almost-whispered lines before it transitions to simple, rhythmic verses leading to beautifully cascading choruses. The second then leads into a repetition of the song's almost-whispered opening lines, before that suddenly progresses to a final, shouted, frantic-yet-powerful chant.

* "Winter Solstice" is a dreamy, transcendent work with a chorus that's downright ''beautiful'', like dancing in an ethereal sky. It somehow manages to sound both celebratory and wistful at the same time.

* "Winter Solstice" is a dreamy, transcendent work with a graceful, almost dancing chorus that sounds both wistful and triumphant.

* "Messes of Men" begins with quiet vocals that are almost covered up by the sound of rainfall before it explodes into a powerful, almost religious chant that both expresses existential angst and spiritual reverence in equal measure. It may be the first time you hear a BigOMG used in a worshipful sense rather than as an expletive one.

* "January 1979" became mewithoutYou's first SignatureSong. While the verses are desperate and frenzied, the chorus and outro have a tranquil, worshipful element to them that gives the track a unique feeling.

* "Julia (or, ‘Holy to the LORD’ on the Bells of Horses)" is epic, grandiose, and feels like something on a totally different scale compared to everything else in their discography. The guitarwork feels orchestral and huge, perfectly contrasted with the more reserved, reverent vocals.

* "Tortoises All the Way Down" opens with almost-whispered lines before it transitions to simple, rhythmc verses leading to beautifully cascading choruses. The second then leads into a repetition of the song's almost-whispered opening lines, before that suddenly progresses to a final, shouted, frantic-yet-powerful, chant.
* "New Wine, New Skins" begins soft and dreamlike [[SongStyleShift before transitioning midway]] into a more powerful, directed rock ballad with heavy, yet somehow curious sounding vocals.

* The chorus of "Paper-Hanger" is both musically smooth and awe-inspiring.

* "Kristy w/ the Sparkling Teeth" is a simple, folksy, feel-good tune featuring only acoustic and electric guitar, acting as a nice denouement to the album on the whole.

* "Watermelon Ascot" is a mellow, fast-paced rock piece with a pulse-pounding rhythymic drumbeat balanced with gentler, more etheral choruses and a hymnlike outro segment.
* "Mexican War Streets" begins with a meandering, sung verse before the instrumentation pulls back and the vocals quiet. The instrumentation then comes back in at full-force and the vocals shift to raw shouting, building to an intense lyrical climax matched by minimalist but powerful guitar chords.
* "Dorothy" is quiet and minimalist, yet still manages to pack a devastation emotional punch. It's almost a sung story rather than a song.

* The climactic verses of "Pale Horses" is intense, thundering, and apocalyptic, featuring screamed vocals and a screamed guitar. The final, outro verse, by contrast, is, much like the other denouement's in the album, peaceful and light in sound.

* The climactic verses of "Pale Horses" is intense, thundering, and apocalyptic, featuring screamed vocals and a screamed guitar. The final, outro verse, by contrast, is, much like the other denouement's in the album, peaceful and light in sound.

* "Four Fires" from the EP ''Other Stories'' is predominantly restrained, but in the second half becomes considerably more upbeat - first to reflect emotional turmoil, and then to reflect a kind of wistful celebration. Props must also be given for the perfect integration of [[https://en.wikipedia.org/wiki/Ein_Keloheinu a sung hymn]] into the spoken vocals.

* "February 1878" harkens back to the band's PostHardcore roots with a blisteringly intense introductory sequence featuring shouted vocals and a droning guitar. The Folk influences from the previous album nonetheless also return as after it, the instruments quiet down, the vocals are sung, and the track takes on an air of melancholy rather than intensity.
* The opening and recurring chords of "Grist for the Malady Mill" feel meaty and substantial. The verses are sung softly, and while the chorus raises the volume, the song nonetheless carries a sorrowful tone. The song's bridge also transitions between spoken-word and sung vocals perfectly.
* The verses of "Elephant in the Dock" are quiet and restrained yet possess an undeniable sense of power. The choruses by contrast, are frenzied and shouted. Special mention to the guitar used, which perfectly captures a sense of sorrow and resignment.
* "Fox's Dream of the Log Flume" is chaotic and wild, with a frenzied guitar and vocals that are almost entirely shouted. The track builds to a climactic, resoundingly powerful chorus that manages to dissipate entirely in only a few seconds. The song's outro is a soft, quiet melody that almost acts as a lullaby, further serving as a break in the intensity from not just the song, but the rest of the album up to that point. [[Music/{{Paramore}} Hayley William's]] ethereal vocals showing up in the latter two sections are also worth mentioning for not only being beautiful but also merging perfectly with Aaron's own rougher style.

* "Allah, Allah, Allah" is overall a hearty, satisfying conclusion to the album, featuring repeated, chanted vocals along with some beautiful instrumentation with both the guitar and brass. Props to the writer for [[TitleDrop fitting the somewhat awkward title]] perfectly into the final verse.

* "Allah, Allah, Allah" is overall a hearty, satisfying conclusion to the album, featuring repeated, chanted vocals along with some beautiful instrumentation with both the guitar and brass. Props to the writer for [[TitleDrop fitting the somewhat awkward title]] perfectly into the final verse.
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* "The Fox, the Crow, and the Cookie" is bouncy, fun, exuberant, and altogether full of storybook cheer. It features Aaron genuinely singing rather than just speaking or shouting and despite it being unusual, he absolutely knocks it out of the park. The violin and tuba gives the track an orchestral, childlike feeling, and the song's rhyme scheme is bouncy and accompanies the rhythm perfectly. It's undoubtedly more [FolkMusic Folk] than anything mewithoutYou had done up to that point, and all the best for it.

* "Cattail Down" is an adventurous yet wistful WanderlustSong chronicling Aaron's various adventures traveling across the country, which, like the previous song also progressively builds in intstrumentation and intensity, in particular featuring some wonderful horns. The climactic celebratory chorus with backing vocals is also worth mentioning.
* The first part of a "The King Beetle on a Coconut Estate" begins with soft vocals and only a harp and a violin serving as instrumentation, before it slowly gains the aid of a horns and a flute. At its midpoint, however, it positively explodes with energy, with the guitar and drums being introduced along with louder, but still *sung* vocals. It finishes with a beautifully resounant chant before the vocals once again fade back to a whisper. The entire song is essentially a beautifully powerful story even without the lyrical meaning, managing to sound both melancholic and triumphant.

%%[[AC:''It's All Crazy! It's All False! It's All a Dream! It's Alright'']]

%%[[AC:''Ten Stories'']]
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* "January 1979" became mewithoutYou's first SignatureSong and for good reason. While the verses themselves are desperate and frenzied, the chorus and outro have a tranquil worshipful element to them that gives the track a unique feeling.

* The acoustic version of "I Never Said That I Was Brave" [[HiddenTrack hidden in the final track]] is gentle and beautiful, especially [[SurprisinglyHappyEnding in contrast to all the chaos and noise that precedes it.]]
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%%[[AC:''It's All Crazy! It's All False! It's All a Dream! It's Alright'']]

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%%[[AC:''Pale Horses'']]
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%%[[AC:''untitled EP'']]
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* The acoustic version of "I Never Said That I Was Brave" [[HiddenTrack hidden in the final track]] is quite gentle and beautiful, especially [[SurprisinglyHappyEnding in contrast to all the chaos and noise that precedes it.]]

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%%[[AC:''Catch for Us the Foxes'']]
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[[AC:''[A→B] Life'']]
[[AC:''Catch for Us the Foxes'']]
[[AC:''Brother, Sister'']]
[[AC:''It's All Crazy! It's All False! It's All a Dream! It's Alright'']]
[[AC:''Ten Stories'']]
[[AC:''Pale Horses'']]
[[AC:''untitled EP'']]
[[AC:''[Untitled]'']]

Suffice to say, it isn't just their lyrics that they're known for.