Description
Say Anything – In Defense Of The Genre – Double 180 Gram Vinyl Records
180 gram audiophile vinyl
Gatefold sleeve
Including 4-page booklet
Cover art by Jeff Smith, creator of the multiple award-winning comic series “Bones”
Numbered edition on black vinyl
Released on October 23, 2007, In Defense of the Genre is the bold and sprawling third studio album by Say Anything, fronted by the wildly expressive and notoriously self-aware Max Bemis. Clocking in at 27 tracks across two discs, the album is a genre-warping odyssey through emo, punk, indie rock, pop-punk, and post-hardcore, simultaneously celebrating and deconstructing the very scene that gave birth to it. Following the cult success of 2004’s …Is a Real Boy, which had established Bemis as one of the most unfiltered and idiosyncratic voices in modern rock, In Defense of the Genre expanded Say Anything’s sonic universe to maximalist extremes, combining cathartic confession with biting satire, tender self-reflection with pure musical chaos.
From its very title, In Defense of the Genre presents itself as a mission statement—not only embracing the tropes of emo and alternative rock but also challenging the dismissive critical attitudes often levied against them. At a time when emo was being mocked or misunderstood by mainstream culture, Bemis doubled down and delivered an album that said: “Yes, I know, and here’s why it still matters.” This record doesn’t just defend emo as a genre—it tears it apart and builds it back up, drenched in irony, sincerity, and self-awareness.
In Defense of the Genre is a kaleidoscope. It takes the anthemic structures of …Is a Real Boy and stretches them into every imaginable direction. One minute, it’s throwing down pop-punk hooks and synth-laced choruses, the next it’s crashing into mathy time signatures, throat-shredding screams, ska breaks, acoustic interludes, orchestral flourishes, or disco grooves. The album’s dizzying eclecticism is matched by its guest list, which includes over 20 different vocal features from contemporaries across the emo and punk scene: Gerard Way (My Chemical Romance), Hayley Williams (Paramore), Chris Conley (Saves the Day), Kenny Vasoli (The Starting Line), Matt Skiba (Alkaline Trio), and Pete Yorn, among others. Their appearances feel like community affirmations, turning the album into a collective emo manifesto.
The album continues Bemis’s legacy of hyper-personal storytelling, but now with more maturity and emotional scope. While …Is a Real Boy was steeped in theatrical angst and existential breakdown, In Defense of the Genre is a post-recovery album. Having publicly struggled with bipolar disorder and substance abuse, Bemis wrote this record as a chronicle of healing, relationships, identity, and the existential aftermath of self-destruction. The songs are not polished narratives—they are messy, deeply human, and overflowing with contradictions. Bemis is at times a poet, a prophet, a wounded romantic, a sarcastic critic, and a humble survivor. His voice—both literally and metaphorically—remains the beating, bleeding heart of the entire record.
The first disc opens with “Skinny, Mean Man,” a venomous and sardonic blast of bile aimed at a manipulative figure, setting the tone for the album’s emotional volatility. Tracks like “That Is Why” and “Shiksa (Girlfriend)” explore love and obsession with both biting wit and real tenderness, while “The Church Channel” (featuring Hayley Williams) mixes spiritual imagery with romantic desperation. Bemis’s knack for wordplay and narrative twists keeps the lyrics unpredictable—he’s not afraid to be crude, absurd, or painfully vulnerable, often all within the same verse.
The second disc dives even deeper into psychological terrain. “Sorry, Dudes. My Bad.” is a bitterly funny, almost meta apology track that plays like an open letter to ex-friends, ex-bandmates, and ex-lovers. “Spores” and “Retarded in Love” are quieter, introspective pieces that show Bemis’s range as both a vocalist and a composer, stripping away the noise to let the emotion breathe. “Hangover Song” and “I Used to Have a Heart” further underscore the album’s themes of recovery, regret, and self-forgiveness, without ever lapsing into self-pity. By the time the album closes with “Plea,” Bemis has laid bare every corner of his psyche—and somehow made it sing.
From a production standpoint, the album is impressively clean and layered, especially considering its scope. Produced by Brad Wood (known for his work with Sunny Day Real Estate and Liz Phair), the record avoids sounding bloated despite its length, thanks to dynamic arrangements and genre-spanning instrumentation. Each track feels purposeful, even when it indulges in chaos. The mix balances bombast with intimacy, and the sequencing allows moments of emotional intensity to be offset by playful absurdity, making the 88-minute runtime feel strangely addictive.
While not a commercial blockbuster, In Defense of the Genre was critically praised and embraced by fans for its ambition, emotional depth, and unapologetic weirdness. Some critics noted that its sheer size and stylistic sprawl could be overwhelming, but many acknowledged it as a brilliantly imperfect opus, a daring swing that few in the emo or alternative scene would have even attempted. Over time, the album has become a cult classic, celebrated for its sincerity, eccentricity, and scope—a rare double album in the genre that manages to be both excessive and deeply personal.
In Defense of the Genre is a fearless and messy masterpiece—a maximalist deep dive into identity, genre, love, and recovery. It stands as one of the most unique and ambitious statements in the history of emo and alternative rock, crafted by an artist who never shied away from contradiction or chaos. Max Bemis didn’t just write songs—he unloaded emotional bombs, wrapped in melody and soaked in honesty. Whether you experience it as a chaotic rock opera, a confessional diary, or a meta-commentary on the genre itself, In Defense of the Genre is a singular album that dares to be too much—and is better for it.
Brand new, never played and still sealed in the factory plastic
Track Listing
Skinny, Mean Mean
No Soul
That Is Why
Surgically Removing The Tracking Device
This Is F***ing Ecstacy
The Church Channel
Shiksa (Girlfriend)
Baby Girl, I’m A Blur
Retarded In Love
People Like You Are Why People Like Me Exist
Died A Jew
An Insult To The Dead
Sorry, Dudes. My Bad.
Spay Me
In Defense Of The Genre
The Truth Is, You Should Lie With Me
The World You Wield
Vexed
About Falling
You’re The Wanker, If Anyone Is
Spores
We Killed It
Have At Thee!
Hangover Song
Goodbye Young Tutor, You’ve Now Outgrown Me
I Used To Have A Heart
Plea
