A college radio hit, Manos was characterized as indiepop or indie rock or “alternative,” but also had a touch of art rock, folk, emo, math rock, postrock, even jazz, nearing the same spiritual space as ’90s bands like Unrest, Sebadoh, and Versus. [Rebecca] Gates told our zine in 1993 what kind of record she wanted to make: She wanted it to be “really magical-the way the first Verlaines record is or a Replacements record-things that you can put on when you feel horrible.” Named after a misheard Jesus Lizard lyric, Manos is just that: It sounds like smoky venues and dance parties at punk houses: woozy, tight, fraught, wrought, tense, intense, swoony, breathy, fast, worldly/weary-sophisticated and primitive, stressful and soothing.