Customer Reviews

Broken Social Scene

5 star:		(39)
4 star:		(25)
3 star:		(5)
2 star:		(4)
1 star:		(5)

 

 

Broken Social Scene, a loose collective of up to 17 people from all around Canada, has a well-elaborated history. De-facto band leader Kevin Drew (Do Make Say Think) and Brendan Canning have, since 1999, been committed to their mission of creating beautiful indie rock. Broken Social Scene's debut, Feel Good Lost, was an album-long instrumental that left many (me included) wondering where this supercollective was going. Then, in 2002, "You Forgot it In People" hit like a hydrogen bomb. Here, we had musicians famous for making 10-20 minute epics compressing themselves into a 4 minute pop song. And it really, really worked. YFIIP was nearly flawless.

"Broken Social Scene" was, due to the immense popularity of YFIIP, one of the most widely-anticipated albums of 2005. Anyone familiar with the band could not wait to see the direction they went next. This record, it turns out, is an interesting hybrid of their first two recordings. There are remnants of the instrumentals of "Feel Good Lost," somehow magically intertwined with the pop feel of YFIIP.

The real difference in these albums is the feel of the recording. YFIIP was tight, composed, and put together. It was BSS at 10am, ready to take on the world. This album gives us a glimpse at BSS at 730, just waking up, not yet ready, but still brilliant.

That being said, there is something a bit...off about this record. It almost feels like there are TOO many good ideas going on at once, and that they are thrown together when the creation of two songs would have been more appropriate. That is not to say that this record is not glorious, just that it takes some time to get used to. There are many times on this album that hit you with a formidable wall of sounds, and it takes multiple listenings to decipher what is really going on.

Producer David Newfield (who apparently "became obsessed" with trying to top YFIIP) makes some of the riskiest moved behind a console I've heard in quite some time, but somehow manages to bring together innumerable instruments into a cohesive, if sometimes intimidating, whole. The lyrics are subdued to the point of being indecipherable in places, and instruments are brought to the front of the sound when they are least expected.

When it all boils down, this is a great record. Let there be no mistake about that. Does it top "You Forgot it In People?" Probably not. But then again, to compare these two records is not really even fair. BSS are a new band every time they get together to record, and we should treat this as a new release by a new band. And in that regard, this is a fantastic album. There is much aural experimentation, brilliant musicians toying with time signatures, and a crack producer having fun with bringing together a myriad of sounds. Highly Recommended.

Here's five good reasons for liking this album:

1) The concept is interesting. The band, with between five and seventeen members, shifts shape like an amoeba, with some songs sounding relatively spare and stripped down while others provide a wall of sound approach.

2) The music is fresh and innovative, simultaneously off-the-cuff and structured, borrowing heavily from the My Bloody Valentine approach whereby vocals and instrumental details are often buried deep in the mix while still contributing to the overall atmosphere of the song.

3) The hooks are often gorgeous and get catchier with repeated listenings, meaning that the more familiar you become with the music, the more you will take from it.

4) Again like My Bloody Valentine, vocal duties are divided between male and female lead singers and both are equally effective and evocative.

5) They don't sound like anyone else.

In short, this is a CD that you will likely still be playing

frequently in six months or a year. Just really, really good music.

First thing I will say is this is a very different album than the masterpiece "You Forgot It In People". Now, I say that it is a step down from their previous effort, but I remember that it took me many months to realize the absolute perfection of YFIIP.

One thing I can state now before this album is embedded in my brain is that the lyrics are not as good. One of the things that bothers me about this album is the lines that are mediocore that are repeated. Lines like: "If you always wake up late you're never gonna be on time" or "I really don't want to think about those things no more". There are also a few songs that just get 'lost in the shuffle' like "Superconnected", "Fire Eye'd Boy" or "Canada Vs. America(from the bonus EP)" that just seem like formulaic Broken Social Scene rock songs which I never thought I'd hear myself say after hearing the diversity of YFIIP. Nonetheless every song on this CD is good, a few just blend together. A complaint for me, but what others may prefer, is that there is a lack of instrumentals on this album which is a Broken Social Scene trademark, especially since the debut Feel Good Lost was almost entirely instrumental. The 2 instrumental songs (unless you count the humming on "Our Faces Split The Coast In Half" as instrumental) both clock under 2 minutes which is also very disappointing.

On the brighter side, this album differs a lot from YFIIP. One of the things I love about this band is that they have been evolving since day 1 not only in members (2 to 17) but also in music, and that is apparent on this album. This album touches on genres that I never thought (or hoped) that they would touch but they do it so well. Another constant among Broken Social Scene albums that stays with this is that you discover something new everytime you go through the album. I've listened to YFIIP atleast 200 times and I still pick up on things I never noticed before which is the beauty of their layered sound. The best part about this album and the only (but huge) improvement to You Forgot It In People is the climactic ending. I don't want to give anything away for you "first listen purists" like me, but this sounds like an ending fit for the last Lord of the Rings or Star Wars movie. With the song clocking out at 10 minutes and going through various changes it heavily differs from the slow anti-climax "Pitter Patter Goes My Heart" on the previous album.

Although it may sound like I am disappointed with this album, it is only because it doesn't quite stack up to my "album of the decade" You Forgot It In People. This is truly one of the best albums of the year, easily stacking up against "Takk..." , "Frances The Mute", or "In Between Dreams".

For those of you who already know Broken Social Scene, I'd recommend you listen to the EP first to transition you into the new sound, hear some of the best instrumentals from this band, and hear the reprise of the classic Feel Good Lost song. Otherwise, just do what you please. Either way, listen with an open mind and enjoy :)

i can see why alot of people are put off by this album, its alot different than BSS's last record "you forgot it in people"...but after an album that great, what direction do you go? Do you make the same album again? Do you pull a Neutral Milk Hotel and quit while you're ahead? or do you venture into entirely new territory?

you forgot it in people was all about a gentle, breezy flow. the songs came and went and left you feeling happy and satisified. This self titled album is a different beast all-together. This album is about confusion, worry, and doubt. Alot of people dont like the production job Dave Newfeld did, but personally i love it. I think the washed out sound fits perfectly with the vibe the album is going for. I mean, they've said that they had a different version of "ibi dreams of pavement" with cranked up vocals all ready to go, but they shelved it. I can see why...the song sounds amazing buried beneath a wall of sound. these tracks, to me, sound exaclty the way they should.

And production and sound aside, theres some flat out amazing songs on this album. "7/4 (shoreline)" is probably the best song i've heard all year(but of course im a little biased towards Leslie Feist). Song for song i personally enjoy it more than you forgot it in people, but i try to avoid comparing the two. One major plus as far as im concerned is the more dominate role horns play in the mix, adding a huge emotional punch to alot of the tracks.

ibi dreams of pavement, 7/4 shoreline, fire eye'd boy, windsurfing nation, swimmers, handjobs for the holidays, superconnected, banwitch, it's all gonna break, there's just too many FANTASTIC songs on this album to hold any negative technical opinions against it, because the songwriting is so superb. But, unlike you forgot it in people, this isnt an album just anyone could pick up and enjoy. It's more difficult, but i love it just the same.

'You Forgot It In People' was one of the best albums of 2003 and on this self-titled follow up, the same pop genius resides in each track, taking Broken Social Scene to new heights on the Canadian music scene.

The only way to say what this album really feels like is to call it psychedelic-synth-folk-pop. There's no other way to describe it. It's a combination of eclectic creativity, blending uplifting ambience with gloomy atmosphere, modern in sense of electronics but old-fashioned in sense of watered-down old-school pop. Sometimes the band sound like they're singing from the bottom of a stuffed biscuit tin and at other times, they sound like they're screaming from a passing truck.

The moment 'Our Faces Split the Coast in Half' comes on, you're sucked in the Broken Social Scene circle of chimes, bustles and sugar-laden garbled pop. Everything familiar on YFIIP is replayed here, but in a way that you can't really comprehend. The genius of this band lies in how they can make the familiar sound so fresh and innovative each time.

The guitar work, synths and keyboards on 7/4 (Shoreline) is classic Broken Social Scene and when combined with Leslie Feist's distorted vocals, it invokes a dreamy albeit loud mish-mash of swooning melodies, hazardous twist and turns that leave you breathless like a slap of cold rain.

Then theres 'Superconnected', easily the best track on the album with its tawdry yells, vitriolic anthems and fancy guitar work combined with the said biscuit tin shouting bursting into a frenzy of thumping and Coke-can kicking and whirrrring of all sorts of machines.

Like their Canadian counterparts The New Pornographers, Broken Social Scene's creative prowess lie in the fact that they combine just enough electronically generated melodies with established norms of pop that their music seems hardly contrived, but suitably fashioned to please even the most discerning of listeners. I would recommend you to go out and buy this album, and let the 7 track bonus CD be an added incentive to listen to what would undoubtedly be one of 2005's greatest musical release.

The last intimate experience I had with Broken Social Scene before listening to this album was when I heard them play at CMJ two Octobers ago. I got black-out drunk on a bottle of Southern Comfort that I carried in an LL Bean back pack, and ended up in a taxicab in Queens and then in a sub near Brighton (my hostel & the BSS set were both in Manhattan). The next morning I woke up to see them play again, and this time I didn't fail to save a memory or two. They had a candid power, as if playing music was as simple as lighting a cigarette.

I find this same simple brilliance peeking from the corners of this album. It demands repeated listens, thought, and a carefully cultivated desire to weed through the rough patches to unearth the unreal. Talent means shapeshifting. When there is a lack of talent, an artist or group of artists will push the same idea into every piece, and her strengths will gradually diminish, blurred by the singularity of her idea. Broken Social Scene do reinvent themselves in this album. They don't have a choice, because they would get bored with the droning instrumentals and blank melodies of "Feel Good Lost," or the splendid-albeit-sugary manic expression of "You Forgot it in People." What they effect here reminds me of St Petersburg whiskey whiz Katie No Arms in that both have a tendency to drive the sliver of a crash lyric or hook deep enough to fork your bloodstream. This seems to be the goal of most music, so to do it effectively is noteworthy.

BSS seems to have popped anti-depressants and replaced the heroin with heroines. They don't have the bipolar glow that distinguished them before, but perhaps this is because they have added on so many members. There is a reason why most great groups have an obvious leader, and that is because he is either the most talented or the most manipulative. The dual frontmen of BSS are too talented to hand over the reins to their lesser friends. I know they love to be inclusive, but clashing instruments and indecipherable voices lack meaning to me.

I do, though, love this album. It is at times margarita-poolside laid-back (think "Pacific Theme" with lyrics), as BSS is able to collage a relaxed atmosphere into ferocious triumphs. Do buy this if you want something to take your mind off the classifieds. It will make you pre-buy their next LP.

Broken Social Scenes music is sheer art.This album is wonderfully creative. This group of musicians have mastered sounds that stimulates and fuels the emotions giving the listener a sense of Daydreamers Bliss. The Music paints pictures of beautiful landscapes,fun memories,tranquil recoveries,with a raw unstructured form that feels real.The CD can be played loud or soft and never loses its impact.I am disappointed that this group is not getting the exposure that they deserve by way of radio,big screen scores and clubs in the U.S. When I let people listen everyone runs to get the CD and asks how did I hear about them.All I can say is the UK is always in touch with great artist in the U.S. and we find out what they knew 6-10 months afterwards(shame shame shame). Must Have CD trust me

This is it! This is the most adventurous as I have heard music this year easily. You've probably read the press if you are reading this review so I won't explain the band or their past releases (although all of their albums are excellent, including their b-sides collection which plays more like an album than many albums)but one should know: Their is a lot going on in this album! THis is modern psychadellic music. And i DO NOT MEAN this band is trying to imitate the sound of the 60's whatsoever- because they most certainly are not. Instead, they combine dance rock with a dash of electronic experimentation and a miasma of aural stimuli- and there you have it- music that trips you out while you're dancing, which, in principal, is what the band's in the 60's were doing. Truth be told, their are alot of members in the band now, all of who assuredly bring a variety of influences to the table, spanning all decades and genres, creating the sound of this album which is decidedly unclassifiable. One "musician" who is uncredited on the album is Dave Newfeld who engineered this album. Newfeld should be mentioned because he made what could have been a cluster f**k into a beautiful cluster f**k . Sick drum sound, wierd reverbs and strange efx- all the stuff i like. Yeah, some of the male vocals are less than perfect but (sorry if i sound biased) I do not care! Because as a whole they are a microscopic blemish. I hope they win awards for this one or sell millions in heaven. I honestly feel this is an important record. It stands as the antithesis of overglamorized pop narcissism- this is what happens when people abandon their egos and come together to make good music.

I don't usually write reviews however the person who said that they couldn't stand the second track on the album pushed me to it. That track is my favourite (one of anyway) on the album and is often listed as among BSS' best, so this guy obviously doesn't have ears. And the fact that you would skip the first track because you don't like the second? Possibly the most retarded thing I have ever had to read.

Anyway, BSS are different to most other stuff you will hear. It took me quite a few listens to really get this album, it doesn't follow one theme throughout like most albums but their sound seems to change. They take you through brass instrumental sections (great on Our Faces..) to anthems (Ibi Dreams of Pavement) to emotional epics (It's All Gonna Break). I can't recommend this album anymore than just saying try it because once it clicks with you, it will become one of your favourite albums.

Instead of starting my review comparing this release to their last, I'll instead reference their first album--"Feel Good Lost." This mostly instrumental album only has a handful of tracks with vocals; the focus is obviously on atmosphere, mood, and sonic texture. If you're familiar (and happy) with their first release, you'll no doubt be pleased with this one. If you want this to be "You Forgot it in People", listen to YFIIP. But before you disregard the new album due to it's at times manic production and low vocals, think about what made YFIIP so great: it was the work of an atmospheric band making noises to create the most beautiful and developed pop songs you've ever heard. Their formula was never to start off with a great hook, verse, chorus, and repeat; the hooks that do come about almost seem the product of chance.

If you're ready to move on and explore some new sounds, then by all means, go get the new album--especially while the limited edition is around. As other reviewers have noted, the packaging is gorgeous and it comes with a bonus EP. For those familiar with "Bee Hives," the EP reminds me a lot of that release.

So if you're still reading, we know you're here for the new album. Remember the first time you ever heard YFIIP? You were blown away, there was so much going on, so many good ideas, and you weren't even sure who or what was making all those beautiful noises... Listening to the new album in comparison to YFIIP is a lot like that. Like the last album, the drums are mixed up front and really drive the more rockin' numbers. The vocals, while not as loud as top40 radio levels, are louder than, say, My Bloody Valentine or other similar bands. You can definitely understand the occasional phrase, and melodies are loud enough to stick. The vocals might be a bit more "buried" than on YFIIP but it's not as extreme as people claim.

If you think an album has to sound a certain way, or complete definition should be given to each instrument, or songs should never max out with fuzz, distortion, etc... you might be dissappointed. The 17 members and 4 guests all have to get their sounds on the record somehow... The album does max out occasionally but there are still calm interludes and, for a modern album, it is fairly dynamic in terms of volume.

The only downside I see is that while impressive, this wall of sound is not easy to penetrate. The first time I played the album I had to stop halfway through to let what I heard sink in. It's hard to tell things apart the first time, but the more you listen to it, the more each instrument falls into place, adding its own texture and hook before the songs swirls and changes into something else--effectively turning the album's only downside into a glorious reason to listen to it again and again.

You'll notice I don't discuss individual songs; to me most of broken social scene's work is more about the sound and texture through time rather than the traditional pop song format. If you only liked 2 or 3 songs off YFIIP, this might not be for you. I've had the album 6 days now and I've listened to it everyday. It's a masterpiece.