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For those who were put off by their relentless shape-shifting, that bit of news is a good thing. In the two years that separate Mean Everything to Nothing and their follow-up, Simple Math, Manchester Orchestra seem to have-gulp-figured out what sort of band they want to be. “Steal big or go home” seemed to be the motto of the moment. And, more importantly, they had the energy and the creativity to back up their horseplay. Singer-songwriter Andy Hull seemed hell-bent on tackling every trademarked form of rock composition, and while that fact may have resulted in a curious identity crisis, there was a winsome, borderline tongue-in-cheek quality to the whole affair that seemed to imply the band weren’t taking themselves all that seriously. Absolutely nothing they did was original, with the Atlanta quintet plagiarizing their way through rock history, lifting from Bright Eyes’ hyper-literate folk one minute and Nirvana’s tuneful alt-grunge the next. Part of what made Mean Everything to Nothing, Manchester Orchestra’s sophomore coming out party, such a dynamic and attention-grabbing effort was its strict dedication to sonic theft.