Classic rock guitars and Hammond organ intermingle with harmonized vocoder, booming bass and drums, and a jubilant horn section in a unique, powerful and emotionally resonant call to arms. So begins Arms Down, the second full-length album from Providence, RI's Get Him Eat Him. Get Him Eat Him's 2005 debut album Geography Cones was about the precarious maintenance of a social mask-- drinking coffee, going to parties, picking out clothes for a first date. Arms Down is an exploration of what happens when that mask is dropped. The cultivated jitters of Geography Cones have given way to uncontrolled spasms - the careening thrusts of "Push and Pull," the swaggering stomp of "Present Tenses," the crushing self-doubt and soaring self-realization of "Murphy Bed." A rich, consistent and multi-layered record, Arms Down hits with stunning range and force. It's no accident that Arms Down is so confident and well-honed; Get Him Eat Him has been working on this album since before the release of Geography Cones. For nearly two years, the band has been writing and recording songs for limited edition tour EPs, tracing out the contours of their new material with thrift store four tracks, second-hand microphones, and cheap software effects. Meanwhile, three national tours (including dates with The Constantines, Xiu Xiu, Oxford Collapse, Ted Leo, Broken Social Scene and The Arcade Fire) brought the band closer together as musicians, giving them ample opportunity to grow into a forceful and cohesive unit. By the time they began recording Arms Down in July of 2006, the band knew how they wanted these songs to sound. To help them realize this complex and far-reaching vision, Get Him Eat Him enlisted former Dismemberment Plan guitarist Jason Caddell to co-produce the record. Caddell guided the recording process through multiple locations and engineers, including a stint at Brooklyn's Studio G with Joel Hamilton (Sparklehorse, Tom Waits, Elvis Costello), a few days at the Wrens' New Jersey home, and a handful of sessions at DC's famed Inner Ear Studio engineered by Caddell himself. Arms Down was mixed at DC's Silver Sonya by Chad Clark (Fugazi, Smart Went Crazy) and TJ Lipple (Aloha, Wilderness), and by frontman Matt LeMay on his home computer. The resulting album is a striking combination of homespun detail and hi-fi punch. Musically, Arms Down is no less sophisticated. Seeking to match each musical idea to its ideal sound, Get Him Eat Him expanded their sonic palate with horns from Beirut's Zach Condon and Jon Natchez, strings from Beirut's Kristin Ferebee and veteran cellist Amy Domingues, 12-string guitar from the Wrens' Charles Bissell, and Hammond organ from New York-based jazz keyboardist (and occasional Broken Social Scene collaborator) Chris Brown. The band's own playing has grown more nuanced and focused, pushing the expressive range of each instrument to fit their increasingly intricate and dynamic material. Like its predecessor, Arms Down deftly and uniquely balances the synthetic and the organic, leaving some of its most jarring moments (the harrowing end of "What We Do") to cellos and trumpets, and its most beautiful moments (the aching crescendo of "Just So") to synthesizers and vocoders. In many ways, Arms Down can be best understood as the product of a band living, touring, and playing together in the iPod age; Ted Leo, Archers of Loaf, Chavez, Al Green, Bruce Springsteen, Mouse on Mars and Brainiac, all put on shuffle and reinterpreted through the hearts, minds and hands of five young music obsessives. Familiar sounds, reimagined with artistry and urgency that are anything but.