"Ibi" breaks in with a woozy, five-alarm guitar- a warning call for the track's off-key surrealism and pile-on distortion. But, however symbolic, "Faces" is only a casual stretch, with follower "Ibi Dreams of Pavement (A Better Half)" serving as the album's first true workout. The contrasting titles alone- one direct, one Dali-esque- speak volumes. Just consider each disc's mood-setting introduction: YFIIP's "Capture the Flag" is muted and tasteful BSS's "Our Faces Split the Coast in Half" gets out of bed, trips, falls down, does a sloppy summersault, and gets back up no worse for the wear. Whereas You Forgot It in People was exacting and refined- each cymbal crash snipped to perfection, each underlying string melody was spare and to-the-point- Broken Social Scene is wily and flowing. This exercise in excess makes the ambitious You Forgot It in People seem positively understated by comparison.ĭe facto band leader Kevin Drew recently told Pitchfork that Broken Social Scene producer (and NYPD punching bag) David Newfeld "got addicted to the idea of trying to top YFIIP." He added: "His massage therapist says he might die in 10 years unless he changes his lifestyle." It's Newfeld's risky mixing and uncanny knack for coalescing myriad instruments and voices into a propulsive whole that defines this new album. When Feist joined the band for the highlight of the night, the brilliantly sugar-coated “Almost Crimes,” Detroit and Canada couldn’t have been better friends.Now, with file-sharers queuing up like mad and pre-orders bumping them to Amazon Top 50 status, the collective reacts to the furor by expanding and magnifying another six members join the brood for its self-titled third full-length, and the band's once-refined studio sound is blown up into a pixilated blur of blood-gush guitars and squall-of-sound production that's somehow meticulously unhinged. Fan favorites such as “Cause=Time” and “Stars and Sons” were strung together with new material such as “Superconnected” and “7/4 (Shoreline)” off the newest self-titled LP. For when the band made a final attempt at pushing through their set, the result was a successful hour and a half of solid rock and roll. Perhaps the mildly disturbing occurrence was unsettling enough to scare Houdini’s ghost out of the theatre. This discussion, however, quickly turned into a bizarre striptease act in which Kevin stood before the sold-out crowd in nothing but a pair of boxers. Lead singer, Kevin Drew, did his best to improvise a question and answer time between the audience and himself. After a twenty-minute hiatus, one couldn’t help but sense that Houdini had his hand in the matter. When BSS (with their ridiculous amount of stage-gear) has a tech problem, finding the cause is like finding the needle in a Marshall hay-stack. Although the elements of feedback and clamor have been no strangers to the band’s trademark sound, this was a pain-inducing, shrill noise. The band (as well as their sound-tech) was completely bewildered as to what was causing this holy mess. However, during the next two songs, a horrendous clamor of feedback and static brought the show to a screeching halt. At this point, all seemed well as the band of thirteen Canadians promised nothing other than their unique brand of guitar-heavy pop and organized chaos. After Feist made a failed attempt at seance, her appetizing performance was brought to conclusion.Īfter a fitting saxophone and trumpet intro, BSS stepped out onto the stage and quickly dove into a fiery-rendition of “KC Accidental” from their previous masterpiece, You Forgot In People. Apparently, the world-famous magician, Harry Houdini met his end in the theatre. Near the end of her set, she reminded the audience that this gorgeous venue also happened to have a dark history. On “Gatekeeper,” her backing band (which consisted entirely of Broken Social Scene members) proved to be in top-notch shape as they supporting the act. In true Jeff Buckley-esque fashion, her set was highlighted by an exceptional use of space and silence that aided the nuances of her subtle style. Her performance of solo material left many speechless. The angelic female singer-songwriter Feist, an occasional contributer to Broken Social Scene, opened the show.
While border-crossers and college students eagerly awaited this sold out performance, it was clear that the buzz of Broken Social Scene had, if for only one night, brought music fans from two countries together. It quickly became apparent by the increasing murmur of “eh’s” that Broken Social Scene was not without the support of their fellow Canadians.
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