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SIBERIA

4.6 out of 5 stars 66 customer reviews

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Editorial Reviews

It's a huge step," she readily admits. "For a year after my first record, I was confused and searching. I was writing all over the place and not finding anything that was essentially different. But after tour last year I was turned onto dubstep." The genre's grimy beats and sonic minimalism influenced the creation of Siberia, if not necessarily shaping the music itself (though she does pay homage with a dubstep drop on "Fourth Dimension.") Rather, dubstep led Lights away from the "perfection" of her past work. "Everything was tuned and timed just right. The new stuff is raw and gritty but still pop with a focus on the melodies. It's the marriage of those two that make it really different and unlike anything I've ever done before." This dirtier direction came from collaborating with Holy Fuck, a fellow Juno-winning, electronic-influenced Canadian act who she met when both played the dance stage at last year's Reading and Leeds festivals in the UK. Impressed by their "grime and grit," she decided to see what might happen when she infused her pop sensibilities with their experimental tendencies. "I went over to Brian [Borcherdt's] house with Graham [Walsh] and we just started jamming until something started to form, as opposed to the last record which was more structured and less live feeling. We wired old synths and toy synths through all these pedals and machines from their junk table," she laughs. "They're straight-up mad scientists." Her other main collaborator was Shad, who she knew through a mutual friend. "He's so humble and so intelligent," she says, "and I knew he'd kill it." Indeed, Shad drops his typically articulate knowledge on the crunchy, soiled "Everybody Breaks a Glass" and "Flux and Flow," which Lights describes as "the perfect marriage of this sweet melody and the hardest beat ever. It's about how that applies to life because you have to be soft and you have to be strong." Lyrically, the album is light years from her last, which was written when the singer, who spent much of her childhood travelling to places like the Philippines and Jamaica with her missionary parents, had left the nest and landed in Toronto. "A lot of those songs came from a sad but hopeful place. I was alone and pondering a lot. I'm a lot more aware of the person I am now and each of these songs is about an experience I've gone through," she says. "This record came from a very happy place." Then why is it called Siberia? "It's based on something that was said to me, that we could be happy even in a place like Siberia. It was such an inspiring thing to say, because Siberia is cold and a little daunting and represents unfamiliar territory." That last bit is particularly sticky for Lights, who left her safe pop haven for these unexplored sonics, though the metaphor carries even further because despite being an infamous land of ice and exile, Siberia is epically beautiful and so is Siberia. The dividend from her early award-winning success--not to mention her sprawling online footprint which includes over a half-million Facebook fans and over a quarter-million Twitter followers, not to mention a cult fanbase amongst the Comic-Con set--is her current artistic freedom. Her up-for-anything experimentations with Holy Fuck produced an astoundingly eclectic album that belies its snow white title. Siberia's diversity leapfrogs from the hip-shaking dance-pop of "Toes" and the arms-up anthem "Banner" to the singer-songwriter-y romantic ballad "Cactus in the Valley," written on an acoustic guitar, and the nine- minute instrumental album closer "Day One" which sounds crafted by a rusty, lovesick robot--but that didn't make recording her sophomore album any easier. "For the first one, nobody had any expectations for what I was supposed to sound like. You write your first record only for yourself. You don't have fans yet and there are no preconceptions. So I had to reinvent myself all over again, rediscover myself as an artist and remember I can do whatever I want." Siberia`s beats skitter and thwack, the retro electronics fire like decomposing lasers and the analog synths dirty up her trademark pretty melodies, propelling Lights' emotion-soaked but still-cute croon into her sprawling, imperfect new sound. Call it anti-electro, dream-step or perhaps even grit-pop. Whatevs. Just rest assured that it's the same bright Lights; she's just built herself a bigger city.
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Product Details

  • Audio CD (August 7, 2012)
  • Original Release Date: August 7, 2012
  • Number of Discs: 1
  • Label: Last Gang Records
  • ASIN: B005HWUDFI
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (66 customer reviews)
  • Amazon Best Sellers Rank: #81,563 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Darius Jackson on October 4, 2011
Format: Audio CD Verified Purchase
Lights creeped onto the scene in 2009 with "The Listening" a fun, energetic, experimental debut album that had it's moments ("Savior"," Drive My Soul"), but had flaws that even Lights admitted earlier in the year, such as a tad too much auto-tune even for her liking. However, unlike most Artist that explode out of the gate with a giant debut album full of hits, only to have the inevitable follow up album be full of uninspired dribble and filler, Lights saved her best for last - and it certainly has payed off.

Enter Siberia. This album is excellent follow up to her debut effort. It's polished, it flows from one track to another, and diverse enough to keep you listening on repeat for quite some time. The album instantly sucks you in with the hypnotic titled track "Siberia", a melodic track that showcases Lights soothing vocals to a tee - no screaming, no whining, no wailing vocals, just a good opening track that relaxes you and leaves you impressed when over. The leading single "Toes" is perhaps the catchiest song on the album, the bumping synths definitely gets the toes tapping, and you will have "Oh, you capture my attention" stuck in your head for the weeks to follow. It's borderline criminal. "Timing Is Everything" "Banner" "Peace Sign" are all excellent tracks, each one showcasing how much Lights as matured her sound and voice since 2009. If you have doubts about Lights vocal range, one only has to listen to the chorus to "Flux and Flow"; a fat-sounding beat with some dubstep influence and an amazing chorus makes this one one of my favorites. "Fourth Dimension" has dubstep influence, but not overdone - which is a prevailing theme throughout the album, just enough to recognize, but not so much it drowns you out in disgust. These are just the tracks that caught my attention.
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I preordered this cd with high hopes. Her first cd, "The Listening", was amazing and I expected great things. One thing is for sure, I was not disappointed, in fact quite the opposite. At first, I was a bit unsure with her new sound, but it quickly grew on me. Between her talent with her instruments, and her voice, with an uncanny ability to write her own songs, I can't decide what I enjoyed most. I'm beyond pleased with her newest cd, and can't wait for more. You certainly can't go wrong with this album.
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It sounded a bit rough at first, but a few more seconds and I fell in love and got hopelessly addicted. Lights is amazing in what she does, and her transformation (if you can call it that) still holds the elements that made me love it in the first place!
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This album is definitely different from her previous album, The Listening, but that's one of the things that makes it so great! Lights has an amazing voice and a knack for writing great songs and she proves it once again in Siberia. This album is definitely on the grittier side of electropop with dubstep influenced laced throughout it and a few great features on her songs that really add to them. Most of the complaints directed towards this album are from people who are strictly fans of the shiny and bubbly side of electropop, but if you have a more open mind and a wider range in music taste, I know if you are a fan of Lights this album will not disappoint. :3
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I can't really add much to everyone else's positive reviews. LIGHTS is an incredible singer and songwriter, enough said. I've loved her since a friend introduced her to me a few years back.

If you haven't heard her... the Listening, her first cd, at least to me, had a very upbeat female postal service esque sound.

I love electro pop and LIGHTS is perfect for an enjoyable electronic sound. Her lyrics are thoughtful, her sounds are creative and her singing is pleasant and airy.

This new cd has a harder electronic feel compared to the last one. It's very poppy with a pulsating electronic edge that is not necessarily techno dance music. There's nothing like it and its hard to describe.

If you like the electropop sounds of la roux, passion pit,ellie goulding, oh land, lenka, faded paper figures, feist, postal service, imogen heap and the like, please check this cd out.

I thought I would throw in my own postive review on amazon in the hopes that LIGHTS finds the fans she deserves!

Where the Fence is Low is currently on repeat in my cd player. The song is incredible.
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Format: Vinyl Verified Purchase
I love this album. I ordered the vinyl version of this album, (which it was packaged very well), and I haven't stopped listening to it since the day I bought it! She is an amazing talent. My favorite songs are Where the Fence is Low, Toes, Flux and Flow, and Fourth Dimension. It also had a card where you can download the Mp3 version of the album. All in all great buy!
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I decided to get this album after hearing a sample of Peace Sign online. I loved about half the album right away. Some of the other songs took time to grow on me. I like the somewhat distorted sound and light dubstep sounds. I don't find it to be distracting or annoying like some distorted music. My family that's heard it doesn't like it. I guess you should listen online before purchasing to get an idea of what it's like.

Many of the songs are catchy, and some remind me of 80s music. It's one of the more unusual albums I've bought in recent years. I like the mix of pop and bass-heavy sound throughout it.
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