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Lou Reed had penned an album seemingly loaded with hits, but by now, four LPs into the Velvets' career, a sad few record buyers appreciated the band.\u003c\/p\u003e\n\n\u003cp\u003eAfter recording the album, Reed called it quits and crawled to his parents' home in the suburbs - the ultimate anti-rock statement. Resignation permeates the album. Reed's voice is noticeably ragged, and bassist Doug Yule ended up recording many of the vocals for the final mix. Drummer Moe Tucker was pregnant, and Yule's brother Billy sat in on drums for most of the \u003cem\u003eLoaded\u003c\/em\u003e sessions, further alienating Reed from the already disintegrating band.\u003c\/p\u003e\n\n\u003cp\u003eThis was no longer the art-rock Velvet Underground, but a far more accessible version, relying on Reed's songwriting over the band's overall musicality. 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This guy can do no wrong.\u003c\/p\u003e\n\u003cp\u003eThe anatomy of an MJ record might go something like this: warped pedal steels and skuzzed-out guitar; cracking a cold one with some buds; a voice reminiscent of the high-lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville's Drop of Sun studios, but the recording setting doesn't seem to matter much.\u003c\/p\u003e\n\u003cp\u003eAt its core, a Lenderman song rings true. \u003cem\u003eManning Fireworks\u003c\/em\u003e is a remarkable development in MJ Lenderman's story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an emerging guitar hero. 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