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Haywood exercises the principle of control. Control, but not necessarily restraint. Sometimes control can mean restraint, but sometimes it can mean exactly the opposite. Restraint is always holding back, always playing the tip-of-the-iceberg game. But control is something much grander. Control goes hand-in-hand with the craft of songwriting, as Haywood's music proves.

Speaking of the craft of songwriting, you could try to peg Haywood as an acolyte of Archers of Loaf camp, or the Modest Mouse camp, or even the camps of Pavement, The Replacements, The Promise Ring, or Rick Springfield -- but you'd be wrong every time. They're not from any camp at all, silly. They live in New York City. There's no camp there. What are you talking about? Weird.

Anyway, this five-man band got started in Philadelphia. They've been around for awhile now, continuously demonstrating their mastery of the rough but melodic emotional rock genre. Their first full-length record, Model for a Monument, came out on Magwheel Records in 1998 -- that was a collection of seven-inches, comp tracks, and unreleased material spanning the first years of the band's existence, from '02 through '96. "Nerf Dreams" was the flipside to a '93 single called "Trash Park," while "Devon Lanes" opened a four-song compilation EP (both were on Two Peters Records). The next Haywood record, 2000's Men Called Him Mister, was recorded by a guy (always a guy -- what's up with that?) named Adam "Red" Lasus (Helium, Gigolo Aunts). The band followed that album up with one more fine release, 2001's We Are Amateurs, You and I. These last two records showed a band really coming into its own, creating distinctively tuneful indie rock with just a little new wave and power pop around the edges. Sadly for fans, the band went splitsville after the last record, breaking up to pursue other projects.