Out of the twelve sparsely-arranged songs of ( We All Lose One Another, I'll Bring the Sun, Motor Motel Love Songs (2003) collected early material,īut Idols Of Exile (Arts & Crafts, 2006) was an even bouncier collection Jason Collett, who had already released Chrome Reflection (2000) under the moniker Bird, started his solo career withīitter Beauty (2002), one of the best country-pop recordings Toronto's singer-songwriter and Broken Social Scene's guitarist (particularly the ten-minute It's All Gonna Break) were just about ( Hotel, Major Label Debut), it was clear that the band's effort While occasionally lively ( 7/4 Shoreline) and atmospheric Windsurfing Nation: too many sounds to be sorted out, too many Ibi Dreams of Pavement, Handjobs for the Holidays and Precisely because there was little left to "feeling". Smoldering cauldron of contradictory ideas sounded positively overwhelming Of You Forgot It in People but not its spontaneity. In its anarchic and protean overreaching.Ĭollects B-sides, alternate takes and studio demos.īroken Social Scene (Arts & Crafts, 2005) recaptured the ambition While lacking a unitary theme, the parade of styles was captivating precisely The lyrical impetus of the album peaks with the moving six-minute dirge Lover's Spit, sung in a tone that borrows from both Lou Reed and Bob Dylan at a funereal tempo against the backdrop of a horn fanfare. The exotic twang-driven muzak of the instrumental Pacific Theme. Shampoo Suicide (from Latin-funky shuffles a` la Santana to eerie bacchanals), Stars and Sons (from mellow soul-pop to surreal dissonant freak-out), Solos, but the ones in which the music gently morphs into its own negation: The most memorable moments are not the melodies or the guitar riffs or the To poppy Dinosaur Jr-esque work-outs ( Cause = Time, with one of To Latin-tinged folk-rock ( Looks Just Like the Sun),įrom childish folk lullaby ( Anthems for a Seventeen Year-old Girl, penned by vocalist Emily Haines) You Forgot It in People (Arts & Crafts, 2002), that employed 15 players.īookended by two brief instrumentals, the first one anĪmbient watercolor ( Capture the Flag) and the last oneĪ neoclassical interlude ( Pitter Patter Goes My Heart), The Stomach Song does the same thing to folk music, except that it addsīlossomed with the more robust and varied The seven-minute Blues for Uncle Gibb is indeed an old-fashioned blues, although recorded as if we were listening to it from a keyhole. The closer, Cranley's Gonna Make It, is an upbeat country-rock shuffle. The electro-orchestral lull of Passport Radio dilates and distorts a soul ballad.
The drums trigger the metamorphoses of Love and Mathematics, from jazzy interlude to minimalist iteration to emphatic crescendo. I Slept With Bonhomme at the CBC harkens back to the minimalist nostalgic chamber music a` la Penguin Cafè Orchestra. To the gently droning and looping eight-minute Last Place, the most To the dissonant violin lullaby Mossbraker Impressionist watercolor Guilty Cubicles to the Kevin Drew and Brendan Canning, debuted withįeel Good Lost (Arts & Crafts, 2001), a low-key (mostly instrumental)Ītmospheric fresco made of many interlocking parts, from the Jason Collett: Song and Dance Man (2016), 5/10īroken Social Scene, hailing from Toronto (Canada) and led by Jason Collett: Here's to Being Here (2008), 5/10 Jason Collett: Idols Of Exile (2006), 6.5/10 Jason Collett: Motor Motel Love Songs (2003), 5/10 Jason Collett: Bitter Beauty (2002), 6/10 ( Copyright © 1999 Piero Scaruffi | Terms of use) Broken Social Scene: biography, discography, reviews, best albums, ratings
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