Catch for Us the Foxes is the sophomore full-length album by the American indie rock band mewithoutYou, released on Tooth & Nail in October 2004. The album was produced, recorded and mixed by Brad Wood at Seagrass Studios in Los Angeles, California. mewithoutYou features Aaron Weiss on vocals, Christopher Kleinberg and Mike Weiss on guitars, and a rhythm section consisting of Daniel Pishock on bass and Richard Mazzotta on drums.
MewithoutYou is one of those bands that do an amazing job at polarizing their listeners: you either love them or you hate them. In the two years since this Philadelphia rock outfit released their debut record, [A–.>B] Life, adamant supporters have lauded Aaron Weiss’ spoken/shouted poetry as an astounding artistic innovation, while the equally adamant dissenters have written them off as random shouting against a backdrop of pretentious art-core. But regardless of how you felt about their past release, it is impossible to deny the impact that they have already managed to make in the music scene during their short existence. Similarly, it is impossible to overlook the musical growth and the stunning maturity displayed in their sophomore record, ‘Catch For Us the Foxes’.
Musically, ‘Catch For Us the Foxes’ is very similar to [A–>B] Life. The dueling angular guitar lines still create an eerie ambience throughout the album, but there are also some interesting melody lines that were absent on their previous release. Likewise, the lyrics are still drenched in metaphors and innovative images that convey Weiss’ message without being overly straightforward. The songs tend to be brutally honest and focus mostly on relationships with God, friends, and girlfriends. And though many of these topics have been overused in recent years, there is enough creativity in the poetic nature of these lyrics to make them distinctive from other artist’s songs that have similar themes.
Generally, the sole ingredient that makes you either love or hate mewithoutYou is the vocals. People who complained about the overabundance of random shouting in [A–>B] Life will probably not enjoy ‘Catch For Us the Foxes’, as it incorporates the same vocal delivery. In fact, the only difference in Weiss’ technique between the two albums is that he has toned down the angst-ridden screaming and focused more on articulating the lyrics. The vocals are sure to please the band’s devoted fan base but will most likely make the detractors all the more cynical about the band’s popularity.
Overall, ‘Catch For Us the Foxes’ succeeds as a successful sophomore album, and shows the musical maturity of these young indie rockers. The production is excellent, the lyrics are insightful, the music is innovative, and while the vocals are unconventional, they are distinguishing factor in mewithoutYou’s sound. If you are a fan of previous mewithoutYou efforts or enjoy the angular rock style of bands like Fugazi and At-the-Drive-In, then you will get a lot out of ‘Catch For Us the Foxes’. But if you are looking for an album that has great vocal melodies and catchy harmonies, then this album is probably not for you. [Phil Nichols, The Phantom Tollbooth, 11/21/2004]
I’ve shared this on several occasions, but one of the most insane shows I’ve ever seen was mewithoutYou’s set at the 2002 Cornerstone festival. Despite the sweltering July heat, the band delivered a blistering set decked out in black suits and turtlenecks that left them drenched in sweat and on the verge of heat stroke. Indeed, drummer Rickie Mazzotta ran off the stage as soon as their set was over and collapsed on the ground as people poured ice on him.
That sort of reckless, even foolish, abandon sums up mewithoutYou for me, and it abounds on their sophomore album. Aaron Weiss sounds like he’s on the verge of a nervous breakdown as he cries, screams, and yelps about his moral failings and corruptible human nature. (The album’s title is a reference to Song of Solomon and those seemingly trivial sins that ruin one’s life.) On «The Soviet», he confesses “When I looked down like if to pray/ Well, I was looking down her dress/.” But he also confesses his own deep need for God (“If there was no way into God/ I would never have laid in this grave of a body/ So long,” «Carousels»).
Weiss’s lyrics can get pretty flowery and effusive. However, his bandmates’ ferocious and inventive playing ensures that Catch for Us the Foxes remains consistently bracing. Although these twelve songs land comfortably in the “post-hardcore” genre, the band also weaves in chiming guitars that evoke classic U2 while the churning rhythms recall The Cure’s darker moments. And if those weren’t enough, psychedelic flourishes drift through the album, including Hebrew chants from Psalters’ Scotty Kruger.
Much like that Cornerstone 2002 performance, it’s a wondrous racket that sounds like it could fly apart at any moment. But as I wrote in my original review, “the result is an album where nearly every single song grabs you by the throat with something — a melodic hook, a massive chorus, or simply Weiss’s impassioned vocals intoning another tale of desperation and brokenness.” [Jason Morehead, Opus, February 2, 2026]
> Apple Music (https://music.apple.com/us/album/catch-for-us-the-foxes/724843128)
CD tracklist:
01. Torches Together – 3:47
02. January 1979 – 3:26
03. Tie Me Up! Untie Me! – 3:41
04. Leaf – 3:37
05. Disaster Tourism – 2:58
06. Seven Sisters – 3:48
07. The Soviet – 3:03
08. Paper Hanger – 4:12
09. My Exit, Unfair – 3:52
10. Four Word Letter (Pt. Two) – 4:22
11. Carousels – 5:41
12. Son Of A Widow – 3:29
Note: The album was later re-issued on vinyl by Gilead Media in co-operation with Tooth & Nail Records: 1st vinyl pressing (Jan 29, 2008): 500 Translucent Blue, 1000 Black; 2nd vinyl pressing (Mar 25, 2008): 500 Pink Opaque; 3rd vinyl pressing (2010): 300 Red Translucent 180g; 4th vinyl pressing (2011): 700 Dark Red Opaque 180g.
