Style
Lyrically, whereas the other band formed from The Broadways' break-up, The Lawrence Arms, favour more introspective lyrics, Dan Hanaway's lyrics for The Honor System retain his socio-political perspective: covering issues including, but not limited to, police corruption ("Nails", "The Blaming Game"), criticism of the media ("The Blaming Game", "Losing Connection", "Hz"), anti-capitalism/corporatism ("Fool's Gold", "Muffled By Concrete", "Replacement Parts", "Moving Day"), the encroachment of development over the natural environment and human life ("Muffled by Concrete", "Conquistadors"), war ("Clockwork"), prisons and the prison–industrial complex ("The Rise and Run"), etc.
Musically, the band built upon The Broadways' melodic punk rock, dual guitars, and non-traditional song structures – incorporating better production, more developed instrumentation, and an increasingly heavy sound, the latter particularly after McGuire's replacement by Wiseman. Hanaway's vocals show a continued evolution from their rougher sound on his earlier works.
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“Carlyle must undoubtedly plead guilty to the charge of mannerism. He not only has his vein, but his peculiar manner of working it. He has a style which can be imitated, and sometimes is an imitator of himself.”
—Henry David Thoreau (1817–1862)
“His style is eminently colloquial, and no wonder it is strange to meet with in a book. It is not literary or classical; it has not the music of poetry, nor the pomp of philosophy, but the rhythms and cadences of conversation endlessly repeated.”
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—Lorraine Bethel, African American lesbian feminist poet. “What Chou Mean We, White Girl?” Lines 49-54 (1979)