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Where Broken Social Scene truly shine are on the songs where they allow their imaginations to take over while using the music as the canvas. As The Cure-esque riff tickles in the background, Drew seeks to escape with somewhere dear, leaving this place for somewhere filled with light. The next song, “Please Take Me With You”, is indeed a heart-fluttering love ballad.
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I don’t think this girl could crack a smile”, Drew sings with desperation. Look at all the things that you did lose. On the other end of the spectrum, “Victim Lover” is a languid ballad posing as a love song, but it’s the story of dystopian world. Highlighted by the splintering drumming that is akin to the fireworks of Preoccupations’ Mike Wallace and the shotgun blasts of horns, the song is an adrenaline rush that could be the opening salvo into a battle between two combatants. Part post-punk, part indie rock, part bossa nova, the song is refreshingly different and edgy. On “Vanity Pail Kids”, Broken Social Scene offer a glimpse of their creative early days. The criss-crossing, chaotic harmonies of Drew, Engle, Haines, and Feist, however, give the song its life and urgency. The multiple guitar arrangements and blaring horns are dazzling.
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This comes in the form of “Halfway Home”, a multi-layered composition that echoes the euphoric indie of Clap Your Hands Say Yeah. She emphatically proclaims in her trademark whispery vocals, “We’re just the latest in the longest rank and file list / Ever to exist in the history of the protest song”.Ī Broken Social Scene album isn’t complete unless there’s an anthemic rocker that gets your heart pounding and stirs your emotions. Haines takes the lead on vocals and declares that no one is alone in this struggle. On “Protest Song”, BSS amp up the intensity and deliver a shimmering little anthem. Through a stirring, jazz-infused, pop melody reminiscent of Forgiveness Rock Record‘s “Romance to the Grave”, Drew and newcomer Ariel Engle remind us that things things cannot get any worse. The penultimate track, “Gonna Get Better”, exemplifies the album’s focus. In true Broken Social Scene spirit, the band inject optimism and hope into challenging times. The album is first and foremost a protest one but unlike most that have been (or will be) created. Specifically, Hug Of Thunder is a reminder of the exhilarating power of Broken Social Scene’s music and a testament to the chemistry that exists within the fifteen-member collective. With the release of Hug Of Thunder, the break ends at seven years, but another streak continues. Five years separated their self-titled debut and 2010’s Forgiveness Rock Record.
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The list continues, although it would take a full essay to write about each member’s exploits.Īs each member experiences more success through their various projects, the gap between Broken Social Scene albums increases. Amy Millan, Evan Cranley, and Torquil Campbell, meanwhile, continue to create sumptuous indie-pop ballads through their band, Stars. Leslie Feist and Emily Haines (as a solo artist and through her band, Metric, respectively) have achieved chart-topping success. Kevin Drew and Brendan Canning have established themselves as two of Canada’s most sought-after producers while also recognized among the country’s great innovators. They have also become the ideal for what it means to be a super-collective, as each member has achieved success outside the group.
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In their nearly 20 years of existence, Broken Social Scene have established the benchmark for indie rock in the 21st century. “It is the blessing of old friends that you can afford to be stupid with them.” ~ Ralph Waldo Emerson