Customer Reviews

You Forgot It In People

5 star:		(61)
4 star:		(20)
3 star:		(6)
2 star:		(5)
1 star:		(8)

 

 

I've been listening to this disc for months on repeat-- sometimes just this disc for days-- but it wasn't until I began doing research for this review that it began to make sense how a band like this could materialize from out of nowhere with such a powerful, affecting album. I knew from the liners that the group has ten members (fifteen if you include guests); what I didn't know was that all of them have been wandering from band to band within the wildly experimental Toronto music scene for years, or that they all came together from groups like Stars, Do Make Say Think, Treble Charger, A Silver Mt. Zion, and Mascott-- miraculously with the unified goal of making pop music. One of its members told a Toronto weekly that "we'd already made our art-house albums... the whole ideology of trying to write an actual four-minute pop song was completely new to so many of us."

Who could have imagined it would come so easily? This record explodes with songs after song of endlessly replayable, perfect pop. For proof, pick virtually any track: The sound barrier-bursting anthem "Almost Crimes", the subdued, gossamer "Looks Just like the Sun", the Dinosaur Jr.-tinted "Cause = Time", or the shimmering, Jeff Buckley-esque "Lover's Spit". And there's plenty more where that came from. How about the chugging guitar-pop of "Stars and Sons", which spins a distant, churning keyboard drone beneath the best moments of Spoon's Girls Can Tell and punctuates it with a barrage of percussive hand-claps. Or "Anthems for a Seventeen Year Old Girl" which showcases Emily Haines' melting alto caught in a beautiful, cyclical refrain and modified by about a hundred vocal effects while violins float atop subtle banjo plucking and cascading toms. Or "KC Accidental", which blasts searing, super-melodic guitar, a drumkit alternately galloping and relentlessly beaten, and an impenetrable wall of accelerating orchestration, before crash-landing into a deliquescent pop lullaby.

The band's aforementioned art-house pedigree goes a long way toward making You Forgot It In People more than just another fantastic pop record: One of its foremost traits is its airy spaciousness. On many of its tracks, the sounds seem to resonate indefinitely, as if played at top volume on a Greenland hillside and recorded miles away. Simultaneously, the album is dense with the baroque instrumentation of all fifteen players, each part beautifully arranged, and all of them bleeding together in perfect harmonic unison. Chalk one up for heretofore unknown producer David Newfeld, who isolates the song's key instruments upfront in the mix, and captures all others as delicate nuances-- an expansive, pillowy bed of ethereal violins, muted trumpets and flutes to softly support the traditional guitars, bass and drums.
Rock critic Michael Goldberg recently speculated that what makes music fanatics thirst for the obscure is the desire to discover music that is "uncontaminated by the commerce machine." This, he says, is the reason we cling to the abstract and unmarketable, the outlandish and abrasive. And yet, this is also the guy whose favorite album of last year was the painfully vacuous adult-contempo masterflop by Beth Gibbons & Rustin Man. Granted, not all of us share Goldberg's taste for sub-folk cheddar, but there's something like that record in each of our collections. So, how can there be room for both challenging, forward-thinking music and straight-up accessibility?

Well, we're not total [*] right? We can kick back with Ekkehard Ehlers or Electric Light Orchestra-- there's inherent greatness in both. But the holy grail for people like us is the record that combines outright experimentation and strong hooks, something that engages us mentally while appealing to the instincts that draw us toward pop immediacy. Some of the best records ever have been ones that put these two seemingly disparate elements together-- and you can go as recent as The Notwist's Neon Golden or as far back as Sgt. Pepper's (and probably farther, if you want). This kind of music shouldn't be hard to come by; it's just that not many artists are able to perfect that balance.

Broken Social Scene have, and even made it seem effortless while they were at it. I wish I could convey to you just how perfectly this record pulls off that balancing act, how incredibly catchy and hummable these songs are, despite their refusal to resort to oversimplicity or blatant pandering. I wish I could convey how they've made just exactly the kind of pop record that stands the test of time, and how its ill-advised packaging and shudder-inducing bandname seem so infinitesimal after immersing yourself in the music. And I hate to end this saying, "You just have to hear it for yourself." But oh my god, you do. You just really, really do.

-Ryan Schreiber, February 3rd, 2003

In my opinion, You Forgot It in People is the best underground record of the year. Rabid rock anthems are fused with brilliantly laid-back, coasting tunes that together make one of the most compatible and delightful albums I've heard in a long while. A few other reviewers covered the Broken Social Scene's members routes, but bear in mind, this cd sounds nothing like their other band's recordings. You Forgot It In People is a spectacular aberation, something I certainly can't draw comparisons to. I'm a big fan of richly textured songs that build up and break out into crushing rock outs. The bulk of this recording is made up of songs just like that. Songs that have you nodding your head the whole way through, but at a certain point, just explode into phenomenal rock excursions. In addition to the heartpounding tracks, BSS added a few other smooth, flowing tracks (Looks Just Like the Sun and Pacific Theme) that are really great as well. My favorite songs on the record are Cause=Time, Stars and Sons, Almost Crimes and Anthems For A Seventeen Year Old Girl. I recommend this to all.

This is simply the greatest pop record of the decade to date; it's just a total embarrassment of musical riches. There are a few obvious influences here (Jeff Buckley, My Bloody Valentine, Sonic Youth and New Order, to name a few), but the end result is simply unlike anything else. "Symphonic noise-pop" might be the best description for the music produced by this amazing collective, which is composed of members of veteran Canadian art-rock bands such as KC Accidental and Do Make Say Think, as well as the pop groups Metric and Stars.

Perhaps the most astonishing thing about this album is the way that it manages to be extremely immediate (songs like "KC Accidental" and "Stars And Sons" are basically the sonic equivalent of an amphetamine rush), yet it reveals numerous subtleties upon repeated listens. The gorgeous production brings a great deal of detail to the fore, like the gentle banjo floating under the hypnotic vocals in "Anthems For A Seventeen Year-Old Girl," or the silvery guitar fills during the operatic conclusion of "Cause = Time."

I picked this up six months ago and have probably listened to it every single day since; the euphoric first side evokes the first rays of sunshine flooding your bedroom in the morning, while the languid second side is perfect to drift off to sleep to. You Forgot It In People is an instant classic and an absolutely essential purchase for anyone that's even remotely interested in thoughtful, well-crafted pop music.

I feel like taking back some of the Canadian jokes I've made over the years. At least in the world of music, Canada's Broken Social Scene sort of has me eating my words (although they DO still say "eh").

There are plenty of reviews from critics which sum up the greatness of the album So I suppose it's my job to put those reviews into perspective. Are you likely to be blown away, and have your world changed, after hearing this record? Maybe, maybe not. But there are plenty of ground-breaking records out there that put many of us to sleep, and enough run-of-the-mill pop records that we all love. What makes this album exceptional is that it puts so many different types of styles of music together, evoking a broad palette of emotions and ideas. The melding of "inventive" and "pop" assures me that you're bound to like 80-90% of the record, if not the whole thing.

This fusion is certainly a mixed blessing--for example, how many people are going to love "I'm Still Your Fag," "Cause=Time," AND "Anthems"? Yet for me, after countless listens, none of the 13 can really be considered throwaway tracks. You may read reviews which point to specific tracks as weaknesses in the record, making it less than perfect. I propone that because this album tries to stretch itself over so many genres, some people struggle to place each of the tracks in the context of the whole.

I'd certainly pick up the record. I have no idea if this will become well-known and important, but no question: You Forgot It In People is some great music from a surprisingly good Canadian band. It's aboot time.

It's been a while since I've been completely entranced and captivated by a single album. You Forget It In People, while followed by a large amount of hype, is a record that is all around varied, brilliant, and completely unique. All that hype is well-deserved, and although it seems that the album has its shard of detractors, it needs multiple listens for it to completely sink in as the wonderful work it is, like all classic records (see Daydream Nation and OK Computer). Broken Social Scene, although a collective, have a knack for making the album very cohesive and tight. Delving between atmospheric indie-pop ("Lover's Spit," "Pacific Theme"), experiments with Sonic Youth-like feedback and intensity ("Stars & Sons," "KC Accidental," "Almost Crimes"), and layered ambient trickery ("Shampoo Suicide," which I love although many seem to hate this track), You Forget It In People is one of the few records in recent years to find its own niche instead of reviving a trend of the past (see disco-punk, rock revival, etc.). And if you can find a better song this year than "Anthem For A Seventeen-Year Old Girl" or the incredible "KC Accidental," please direct me towards such a song. I've listened to this multiple times, and each time it just gets better. Believe the hype.

I'll admit that I was one of many listeners who was convinced that he would never come around to liking this album. Viewing it in light of its breathlessly doting publicity, which presents it as a collection of precise indie-pop gems, the tracks here came off as ponderous and unimpressive. However, after giving the album several more chances, it became clear to me that anyone who is searching for bombastic choruses and crackling songcraft is missing the point -- You Forgot It In People is a masterpiece of texture, echoing My Bloody Valentine's better work but with a sunnier melodic bent. It is 2003's ultimate headphones album. Of course, pigeonholing this Canadian collective with any one primary influence is also misleading, since they have come dangerously close to releasing an album without any real precedent. More focused than any shoegazer album I've heard, but much more concerned with beauty in sound and production than the majority of pop-minded indie records -- you could call it blissful indie jazz. Of course, you can call it avant-indie-folk-pop or post-post-post- whatever you want, but the truth is in the songs. "Stars and Sons" utilizes one of the year's best bass lines to deliver a punchy master-stroke of quirky charm. "Looks Just Like the Sun" is one of a couple tracks that employs a loose, jazz-bar aesthetic to create a track of awkward beauty. "Almost Crimes" soars through the heavens with glorious energy, with it's kindred spirit "Cause = Time" offering a more grounded take on the same drive. Then there are completely left-field tracks like "Anthems for a Seventeen Year-Old Girl", which explores surreally moving territory that other artists in BSS's field most likely wouldn't attempt for the life of them. Ultimately, You Forgot It In People is not perfect -- listeners who aren't content to simply drift through a song may weary of the album's final stretch, and several songs feature lyrics bordering on embarassing. As it stands though, the record is a satisfying and successful exporation of the sound and spirit of indie pop; it has driving anthems, quirky experiments, beautiful instrumentals, and entertainingly laid-back jaunts which are pulled off with equal deftness. Anyone with a slightly more peaceful and appreciative musical bent will most likely enjoy it.

Imagine for a moment:
The sun has just set, but it's not yet completely dark. You're in a car with a good friend or lover, the windows down, barreling down a long stretch of open road, headed for the unknown or highly anticipated. You feel alive and content and enveloped in the perfection of the moment.

This is the exact feeling that You Forgot It In People gives me.

It's rare that I come across an album that covers so many different ways of approaching a musical genre. There are the lovely, tender instrumental songs, and the quirky ones, there are the spunkier songs that can't help but put a smile on your face, and there are some that just sink into you and mingle with your thoughts and whatever's going on. The lead singer's voice is low and soothing and is sometimes contrasted with a more screetchy, spastic voice, depending on the style and mood of the song.

I can't say that I love every song on the album, but I'm a generous star-giver-outer, and the overall scope of the record compells me to give it a high rating.

For an idea of the range of styles in the album, listen to
Almost Crimes
Pacific Theme
Lover's Spit
Cause=Time

In all of my many moons, I don't think I've ever been able to say that there's been an album that has been so all inclusive of my/our many moods as this one.

You put Broken Social Scene on and you aren't made to want to drink yourself into oblivion for depressing lyrics, nor do you get cavities from sugar-sweet pop songs. More importantly, it's origins are far far away from the "generic rock" that so many over-styled bands are making these days (ehem.. New Pornographers, erm... Modest Mouse...). These guys can make music. Beautiful, sweet music. The can also rock out and be cheeky with really intelligent,allegorical, well planned lyrics.

I'll keep this analogy short: the album progresses like a good party - when you're starting to depress yourself with thoughts that there's so much fun stuff going on - this party must be peaking, BSS pulls you down onto the lawn for a look up at the stars.

It's genius. Hands down, my favorite album of the year.

My good friend is a Russian drunk and an indie purist. Recommending this album to me in the name of, "That one with KC Accidental on it", he opened me up to one of the most innovative, genius musics created.

The first track (capture the flag)seems a waste of time, but it's ambience makes me wonder if it was to drive away reviewers and entertain specifically me.

KC Accidental : Godly. It's a burst of electronica with some crazy drumbeats. BSS is the beauty inherent in the system, and breaks into it with this song.

Stars and Sons: The guy whispering does not cease to amuse me. He sounds affected by SOME substance. But the song itself is great, kinda cheery without lyrics. Hah.

Almost Crimes: It perks me up. I can hum it with only the song title to guide me. When listening it's often pleasant to be under some tree, running in circles. That's a good thing.

Looks Just Like the Sun: It's good the first couple of times. I guess I haven't listened to it enough, because its kinda monotonus, which reminds me of polvo, which makes me giggle.

Pacific Theme: AHHHH, there we go. It's like sitting on a beach with orangina, and then some fish start dancing. Beautiful, kind of jazz influenced, where the rest has been electronica/folky electronica/the forcefield known as "post - rock."

Anthems of a 17 year old girl: It grows on you. First you hear it and get frightened. Then you hear it and feel all teary, because a) you doubted it and b) the strings, man, are so moving.

Cause = Time: Quintessential AWESOME, STANDOUT track of the album. It's lovely, and perfect, and reminds me of the beauty of the rain. That sounded trite. Sorry.

Late Nineties Bedroom rock for Missionaries : As an insomniac, this kickass song sends me further into a "need sleep" hallucination. It's totally awesome, to sound like Spicoli. I'd rate it an 129864/10 for the song title.

Shampoo Suicide: Great title for an electronica song. It's kind of calming, yet genius, much like Icy-Hot.

Lovers Spit: You can slap me, but it reminds me of Beck. Electric Beck. mmm. It's a gorgeous song, although i haven't the foggiest of it's meaning. Another "Orangina on the Beach with dancing fish" track.

I'm Still your Fag: These guys come up with the best titles. EVER. Another classic work of genius. These guys should rule the world. They're godly.

Pitter Patter Goes My Heart: This made me cry. It's a magnificent ending. It's lovely end to lovely means.

This might take long to get into, but it remains the hardest rocking ... thing on the face of the earth. Unclassifiable, it seems to have a intangible "krazy glue" substance on the surface of it, for it remains in your CD player.. possibly forever. What BSS did to be so great was combine different genres into a crazy, eponymous whirlwind of love and beauty.
All with a fantabulous band. Get this. Or, if you know me, don't, because I'd end up slapping you for not getting it soon enough.

Most records are so banal today that they serve better as sleep aids than explorations of music's possibility. Instead, this record seems to be (as is the case with the better records of recent memory) as a whole more than the sum of its parts. It's an intensely schizophrenic recording, probably the most chaotic in theme and mood in recent memory (the last one that came anywhere near matching this was Wilco's Yankee Hotel Foxtrot, and even then the mood was much more unifying). It manages, to a certain extent, to combine Sonic Youth-style experimental stretches with more accessible, raucous moments that manage to be more punctual than almost all of the "garage rock" spewing forth nowadays.

However, listening to any of the elements separately, save maybe "KC Accidental" or "Sons and Stars," it's hard to think there's anything to this band. They're either restrained or off-kilter instrumentals or more muted, circular pieces ala "Anthems for a 17 Year Old Girl" or "Looks Just Like the Sun"

Taken together as a constant whole, it makes far more sense, ala Primal Scream's XTRMNTR. The instrumentals are pretty creative fair, although not on the level of a, say, Flaming Lips instrumental, and they give a nice flow to the quasi-prog rock, quasi-Verve style sound. Few songs have any consistency to them, but it's wild to hear the random turns and double-backs that they take, almost as if they're actively trying to elude one's grasp. "Almost Crimes" is a fine example of this, first with a muted piano, then a breakneck drum beat and almost 60's sounding refrain, then high female harmonies that then progress to a jazzy horn bridge. It's a treat to be listening to something that doesn't dumb it down for the listener, and leaves a bit of the thrill of discovery intact and doesn't answer all its own questions.

The album's lyrics, whatever there are that are discernable, are playful, subtle, probably reflections of passionate love in their disdain for boundaries and implied rebelliousness. "We all want to f___ the cause," one line goes in "Cause = Time", a slogan for Romeo and Juliet if there ever was one.

Granted, there are a number of moments that fail on the record- it seems "Stars and Sons" for all its catchiness could've concluded a little more tightly, and maybe there's a little bit too much instrumental haziness for what is inferred to be the combined work of a (fairly sizable) band. But as a whole, which unfortunately few records can really be viewed as nowadays, this is a stunning piece of work, and is enough to justify a heap a praise a hundred times greater than the one currently piled on top of them. You won't sleep a wink.