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Nick Diamonds' polymorphous pop band, Islands, is back with their third studio album, Vapours. The 2006 debut, Return to the Sea, found eccentric and mellifluous pop tunes performed with a cast of characters from Montreal's thriving music scene (including members of Arcade Fire and Wolf Parade), helmed by Nick Diamonds and Jamie Thompson.
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.5 x 5 x 0.25 inches; 2.19 Ounces
- Manufacturer : Anti
- Original Release Date : 2009
- Date First Available : July 31, 2009
- Label : Anti
- ASIN : B002JODULG
- Number of discs : 1
- Best Sellers Rank: #161,164 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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By m.r.showers on March 19, 2018
This record isn't comparable to any of Nicks previous work which might scare some away, but it's worth a listen. And if you are looking to a good counterbalance to this album, check out what the other half of the Unicorns is doing with the album Clues: Clues!
Maybe it was all the wild, physically taxing guitar solos. Maybe it was the prohibitive costs of hiring another full orchestra. Or maybe Diamonds and company just got sick of writing seven-minute-plus songs without sounding pompous. Whatever it is, Vapours is a concise twelve-song set with nary a one going over five minutes, highlighted by the kind of easygoing, electronica-based indie pop that opener "Switched On" typifies. A rollicking drum machine and bass rhythm propel a gently flowing melody and Diamonds' bright vocals into the kind of effortless pop chorus that Islands have always been capable of before, but never with this kind of ease. It's what makes unassuming tunes like the thudding, funky pulse of "Devout" or the hypnotic, dreamy soundscapes of "On Foreigner" such instant pleasures, the kind of songs that immediately call to mind the dog days of summer, with nothing to do but soak up the sun or cruise down a burning highway. None exemplify this feeling more than the title track, a piece that makes a push for most accessible song Islands have ever put to record. Guitars bounce in time to a simple floor-on-the-floor thump while the bass tickles below the surface, Diamonds' explaining, "it's the bassline in your mind! It's a sexy way to cry!" before the chorus kicks into sugary overdrive. And that's before the irrepressibly vibrant brass section comes in.
Of course, it wouldn't be Islands without a bit of weirdness, and Vapours more than has its share of oddball moments. First single "No You Don't" is a dud, a bare piece of electro-pop that sounds as if it was compiled from a bunch of Nintendo samples and flounders in its own bleeps and boops without achieving any sort of measurable liftoff. Islands even catches the Auto-Tune fever on "Heartbeat," a tune that initially sounds like a Discovery outtake (read: a terrible, terrible idea), before the marching drums roll in and the guitars collide with one of the album's catchiest choruses.
Perhaps the best part about Vapours, however, is its typically Islandsian layers; for all its immediate hooks and grabbing choruses Vapours is, like its predecessors, an album that keeps on revealing more on repeated listens. Diamonds proved long ago that he is one of the more subtly witty and relentlessly sharp lyricists in the indie realm, and his songwriting, from the hilarious storytelling of album highlight "Disarming The Car Bomb" to the sly drug metaphors on "No You Don't," takes more space to decipher and fully appreciate than I have here. Straightforward pop tunes like the spacey synth anthem "The Drums" or the feedback-soaked roar of "The Shining" sound merely adequate the first time through, until you hear the gradual deconstruction in the former or feel how perfectly Diamonds' horror-movie tones fit in with the feedback-soaked roil of the latter.
But for all its little complexities, Vapours doesn't get carried away like Arm's Way and even Return To The Sea tended to do at times. At its root this is a record that is in love with the simple structure of a good pop/rock song, one that basks in the glow of summery feel-good tunes, no matter how many are actually fairly twisted thanks to Diamonds' off-the-wall subject matter. It's a distinctly different sound for Islands, their most electrified effort yet and one that will no doubt receive heaps of praise and criticism for its seemingly trendy bias towards electronica-based instrumentation. When all is said and done, however Vapours reveals what no amount of lyrical obfuscation or layers of production can obscure: Islands are exceptionally good at what they do, and what they do is write remarkably unconventional yet immediately endearing pop tunes.
Standouts for me include opener "Switched On," which has one of the best vocal hooks of the year. It's a funky, mid-tempo love song, but it manages to safely avoid all the typical cliches. "Tender Torture" is another favorite for me, with some oddball lyrics that I think have something to do with being stuck on a desert island with coconuts (it's probably deeper than that). "Heartbeat" is a really strong example of Nick's synth leanings, with very artful use of a vocoder on the vocal track, which tends to get overused on any record that calls itself synthpop these days. All in all, a great pop record that any fan of the Unicorns or Islands will dig.