It’s Canuklestani Day here at Musical Junta! I know, I know, calm down. Okay, no more sugar for you. I’ve got a doubleshot here, with Sam Roberts’ latest and Jason Collett’s penultimate. I bought these two albums about 6 minutes apart and listened to them together and so it really only makes sense that I’m going to review them together. The sounds are similar. The music really works together. And, to be frank, they’re both really good.
Hardly a secret north of the border, Sam Roberts, or Sam Roberts Band, are rather unknown in the states. A few folks know about his poppy southern rock sound, but, no where near enough. And part of the problem is that he is a Canuklestani who plays what I can only describe as poppy Southern rock—but isn’t really in the alt-country vein and it doesn’t cross over into the stoner jam band genre either. Acoustic guitars mix with electric brothers mix with a keyboard and tambourine. Mixed with some French. Sometimes. Look, their Canadian.
Love at the End of the World is the band’s third full album and they are not trying to reinvent themselves on the album—and it sounds great. They’ve just been working on and improving their sound. The guitar work is top notch and the music is inviting and foot-tappingly good.
But that’s another review. Hopefully, one I’ll never write.
The album is full of great song—5 five star songs by my count. There are another 3 four star songs. Check out, Love at the End of the World, Stripmall Religion, Oh Maria, Fixed to Run, Them Kids, Detroit ’67, End of the Empire and Words & Fire. Yeah, that’s a long list. When was the last time you had eight solid tracks off a single album? I got it for five bucks off Amazon. That is value right there. The disc is fun, it is totally approachable pop and it is perfect windows-down, stereo-cranked-up, driving music.
Love at the End of the World also one two Juno awards—the Canadian Grammy’s—for Artist of the Year and Best Rock Album of the Year. It was the band’s second time winning Artist of the Year (their 2004 We Were Born in a Flame previously won. Also, check that out.) They remain somehow able to not be plastered all over the radio here, but I’m not sure how much longer that will last.
Even better is the album is about 2 years old at this point, which means their next effort should be right around the corner and that you can find this disc in reseller bins at local brick and mortars.
Jason Collett is probably better known for his work in Broken Social Scene but I prefer his solo stuff. Idols of Exile is a soft(ish), thoughtful album that shows shades of The Decembrists, Wilco, John Vanderslice and Iron & Wine. The mixture of the traditionally more “country” instruments—violin/fiddle, piano, banjo, lap steel—with the more traditionally pop/rock instruments—electric guitar, synth keyboard, boom boom drums-- really works and sets a relaxed mood with the album. While there are a number of songs that are doomed to serve as background noise for when I just want something playing, there are a couple songs that are really standout, great tracks.
The album is not complex, musically, and it is better for it. I’ve heard that the toughest thing to write is a good simple story, song or poem. These are good, simple songs. Songs will layer up, with piano matching fiddle matching lap steel or something else eventually, but for the most part these songs remain basic and they’re better for it. The style and feel of the alt-country songs would be lost if they had tried to mix in more tracks or overlay more sound.
The album is at its best when Collett is duet-ing, if that is a term. Don’t let the, at times, simple instrumentation cause you to think the album is boring. Hangover Days is probably the best track on the album and it is a stark, simple song that Works. The stripped down instrumentation just lets the vocals dominate and do their thing and the song is better for it. We All Lose One Another is another instrumentally simple song with luscious harmonies and short stints of duet.
The lack of complexity just Works. If you’re looking for a good, quiet alt-country-ish album, pick it up.
Maybe it’s because I was listening to this in the spring or maybe it is because I was listening to it with the Sam Roberts album, but It really sounds like two sides of the same album. Sam Roberts was the bouncy, high energy Side A and Jason Collett was the more thoughtful, quieter Side B. I love when albums line up like that. It raises them both, in my estimation, which is kind of bizarre because while both artists are Canadian and have a bit of that country twang… aaaand the similarities really end right around there.
Dig the albums. Overall, Sam Roberts' third is a stronger offering, though.
Album: Love at the End of the World
Artist: Sam Roberts (band)
Rating: 8.3
Best Tracks: Love at the End of the World, Stripmall Religion, Oh Maria, Fixed to Run, Them Kids, Detroit ’67, End of the Empire and Words & Fire
Listen if you like: Great rock, classic rock, a country twang in your rock, Foot-tappingly good songs
Album: Idols of Exile
Artist: Jason Collett (solo)
Rating: 6.9
Best Tracks: Hangover Days, We All Lose One Another
Listen if you like: Alt-Country, softer music, duets, simple songs.
