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With a raucous intro that could be mistaken for a high school pre-game hype up (in a dream world where kids have spare tambourines, yes), Bay-area based Man/Miracle's "Pushing and Shoving" is a bouncy venture into Spencer Krugonics. A song that had been the band's poppy underdog-- written by vocalist/guitarist Dylan Travis on the brink of legality-- is now the A-side of their new 7". Like Wolf Parade without the growl, and with a bit of Robert Smith in the mix, Man/Miracle (you can say it with or without the slash, but the OCD-prone, be aware: Windows folders discriminate against the little guy) is fun. Sandbox buddies Travis and drummer Tyler Corelitz have been playing the song in various forms since the start of their first band, and after an old pal toyed with it in the studio, the four-piece decided to release it opposite the new "You've Got a Hold on Me". The band powered through their first self-released EP, Bear on Bear, despite a bike accident that left Travis' back broken and him in a Vicodin haze. You can hear that resilience in their knack for nicely paired, internally rhyming lyrics: "I kept my nose to the pavement/ Accepted roses as payment/ For those hours you left me disaffected."

I posted on these guys a while back, when Man/Miracle was known as Bear on Bear. While the name has changed, the talent certainly still remains. This Bay Area band crafts some damn fine jams, with the A-side single "Pushing and Shoving" for an upcoming release features some hand-clapping, sng-alonging, and break-neck pacing. I love how it teeters on destruction and desperation, but never seems to slip over the line. While already posted by more reputable sites, I thought I'd pass this along to the loyal Macktronic readers in case you missed it.

The four UCSC grads of Man/Miracle, now based in Oakland, are one twangy note away from the big time. Well maybe a full album of twangy notes away, but with catchy clappers like "Pushing and Shoving" it's clear these young men are on the ground floor headed up. Thrashy guitars and impressive drum work rally around singer Dylan Travis' nasally warble, creating enough musical anxiety to give up coffee forever. But despite the tension, the tunes are decidedly positive, and instead of curling up alone in bed like a kid on Valium you'll bounce on the bed for hours like a kid on Adderall. Mūz caught up with songwriter and ax wielder Travis ahead of the band's Santa Cruz gig. He said when it comes to live shows, expect the unexpected. "I'm all about putting as much emotion as possible into our live shows," Travis said. "People will say, 'You should play songs like they are on the album to try and sell more records,' but I get bored to tears if I go to a show and it sounds just like the CD."

To be labeled local, or not to be: that is the question. Though some might retract the classification upon a band’s departure up Hwy 1 to our big city counterpart (or 101, for those unromantics in a rush), there’s something to be said for fresh bands that were recent seedlings in Santa Cruz. And when the band’s as good as Man/Miracle, I stake SC claim and refuse to let go—regardless if they decided to R Kelly it and fly. “I always think it’s funny that people have those Keep Santa Cruz Weird stickers on their cars because I feel a lot of times that only stretches so far. It’s more like ‘Keep It Weird Within My Comfort Zone.’” Drummer and founder Tyler Corelitz reflects on what he feels can be a not-so-warm welcome for rock acts in the community. “It’s like people want to have the Umbrella Guy walking around, but if some kids want to have a rock show in the middle of the afternoon on a Saturday then that’s a little too weird,” he says. “I thought it was funny that the city shut down the [E3 Playhouse] that gave people a place to play. If you’re going to do that, people are just going to go somewhere else ... And then people get mad about that. You have to give kids a place to be creative.” Birthed out of the UCSC dorms two years ago and inspired by what Corelitz describes as “the positive energy and beautiful environment” that is Santa Cruz, Man/Miracle’s bright pop melodies with clap-heavy, danceable garage rock is ridiculously infectious. Singer Dylan Travis’ vocals impart hints of Señor Morrissey and a Television-meets-Talking Heads influence pervades. For their new 7” single, parts of “Pushing And Shoving” were recorded locally in a Victorian house with friends joining in on the Pro Tools sesh. And, Corelitz does admit a sense of appreciation for the nurturing Man/Miracle’s received. “We were very lucky because we had neighbors that put up with us playing everyday,” he recalls with a laugh. “They supported us and that does happen in Santa Cruz a lot.”

Man/Miracle give a passing nod to Pavement, pick up some jittery Strokes, and get some Franz Ferdinand dance-rock on the hood as they careen down a college/indie/noise/ rock road. You might even hear some Morrissey in the vocals, but maybe that’s just us (they cite Barenjager Honey Liquer as an influence on their myspace). We dare you to listen to this and not bounce around to the popping drums, creative guitar and unexpected time signatures of this Santa Cruz band.

"On their self-titled EP, the band demonstrates a unique sensibility, evoking memories of classic indie-pop bands like The Smiths while still sounding fresh and always danceworthy. That latter trait likely helps in what we've heard are some excellent live shows."

I already had two naps by 10pm tonight, so I was lively enough and willing to catch the first band: Man/Miracle. I couldn't find any additional info on this band (edit: see below), however I believe that they said they hailed from Santa Cruz, or someplace with a similar name. Anyways, these boys were quite the energetic bunch- screaming and pounding away on their instruments, we reached the conclusion that they were a cross between the band James and the Strokes, if both combined to make a band you'd want to listen to. And we did! If you read this blog with any regularity, it's pretty obvious that I will walk away from your set if I find my time could be spent better elsewhere. However, I spent most of the set bouncing along and open jaw gaping at the amount of drum solos there were. Maybe, actually, that's why I like them so much... the drums. That's how they would end (at least it seemed that way); every song felt like they were trying to invoke the spirit of John Bonham, maybe a giant gong would have helped. Only two things slightly dampened this performance: one audience member apparently was shitting himself due to the aroma coming off his person, and moving to the complete opposite side of the room only helped slightly. And two, the last song [Man/Miracle] played kept reminding me of a Bon Jovi ballad, except that unexpectedly it would pick up and get loud and pretty rocking. I had mixed feelings about that one.

"With snappy, danceable rhythms, and Dylan Travis's remarkable sometimes-warbly, sometimes-smooth, honey voice, [Man/Miracle] are on to something good. This is indie rock at its most fun: experimental, raucous, and pretty."

What's unique about [Man/Miracle (formerly Bear on Bear)] is that they know how to make you feel like just getting up and just shake. Maybe dance, but more like shake, sort of like you've got the holy spirit in you type thing. The singer's warble melodies and its frolicky guitars allow them to slightly break the mold in a genre that's full of indie-pop-rock bands. "Magpie" is loud, compulsive-dance-inducing, melodic all at the same time, which translates into a good raucous time.