Orange Rhyming Dictionary is the debut studio album by American rock band Jets to Brazil, released October 27, 1998 on Jade Tree.

Following the break up of Jawbreaker, frontman Blake Schwarzenbach moved to New York City, and formed Jets to Brazil with bassist Jeremy Chatelain (formerly of Handsome) and drummer Chris Daly (formerly of Texas Is the Reason).

During the early-to-mid 1990s, Jawbreaker were viewed as what Dave Clifford of SF Weekly referred to as "indie darlings" that were praised for their "headstrong resistance" against the mainstream music industry.

Chatelain, who was aware that Texas Is the Reason had broken up, brought drummer Chris Daly in to replace the drum machine parts on Schwarzenbach's demos.

They held a rehearsal session in mid-1997, working on "Chinatown" "Morning New Disease" and "Lemon Yellow Black", with Daly taking a tape of the proceedings home.

[2][6] The group's punk rock attitude, pop sensibilities and new wave aesthetic caught the attention of independent label Jade Tree.

[11] Schwarzenbach freed himself from a three-album contract with DGC;[2] he said that while that label heard the new songs he was working on, "things were so fucked up over there, they were just throwing people overboard, so [they] said fine you can go".

[8] With Lifetime's Peter Martin as Jets to Brazil's temporary second guitarist,[2] they played shows in the US northeast, before touring across Europe with the Promise Ring for five weeks.

[20] Schwarzenbach fondness for longer songs laid the groundwork for the album; with "Accident Prone" and "Jet Black", both from Dear You, serving as the blueprint for most of Orange Rhyming Dictionary.

[21] Carly Carioli of The Boston Phoenix wrote that the album "tastefully flesh[es] out the unrestrained intimacy and emotional directness hinted at" in the Dear You song "Untitled Track".

[4] The opening track "Crown of the Valley" begins with Schwarzenbach's Brit funk-indebted and wah-wah pedal-enhanced guitar line,[1] which was backed by polyrhythmic drum parts.

Stout said it discusses past and subsequent "suicide attempts with angels laying odds instead of intervening and parents apologizing in advance for maids finding dead bodies".

[25] Carioli said the song tackles writer's block, with Schwarzenbach locking "himself in a hotel room and tied himself to his desk, but he can't get the words to come, eventually screaming at his muse".

[22][27] As the album was written with two guitars and a keyboard, they brought in former the Van Pelt guitarist Brian Maryansky to aid in performing the songs live.

[10] A brief East Coast tour was underway in March 1999;[31] around this time, the band performed at South by Southwest, which Schwarzenbach later called "a train wreck.

[33] Following this, they went a tour of the Midwest and East Coast throughout April 1999 being supported by Euphone, Macha, and Pedro the Lion; Jets to Brazil took a month's break following this.

[25] Cheryl Botchick of CMJ New Music Report said it managed a "rare accomplishment: The album actually picks up in speed, catchiness and fervor as it progresses.

"[16] Ink 19 writer Andrew Chadwick found the lyrics "the same, like an old friend with a fresh heartache"; adding that this was where the similarities with Jawbreaker ended.

[42] Pitchfork writer Brent DiCrescenzo said Schwarzenbach was "really clever and has a penchant for penning cynical slogans"; his "lyrics have more room to breathe, and fluorescent- illuminated air becomes a fourth instrument".

"[1] Washington City Paper writer Colin Bane said the record "succeeds almost solely on the strength" of Schwarzenbach's "knack for always having something interesting to say and the language at his disposal to say it.

"[14] Punk Planet reviewer Dan Sinker had three points of contention: namely, the "terrible" title, Schwarzenbach's pseudo-British accent, which was "kinda strange way back" when he used it in Jawbreaker, and "[t]hirdly, and perhaps most importantly, the first song totally sucks".

[44] Rachel Phillips of Sun-Sentinel described it as the "worst album I have ever heard", with band having "nothing to offer except for 11 annoying tracks of mindless lyrics, shabby vocals and irritating background music.