Print Edition: March 14, 2012
The Men
Open Your Heart
Renowned as willfully abrasive and atonal, The Men’s sophomore release Open Your Heart achieves a delicate balance between grit and guts while demonstrating impressive depth. The Men maintain the blistering intensity of their debut Leave Home, as their songs remain robust, except in this album the band displays better range. Open Your Heart clocks in around 45 minutes, not only leaving plenty of space in the recordings for the band to emphasize the sheer force and technical expertise of their rhythm section, but also giving the band a chance to dive into their vulnerable and charming side. The title track “Open Your Heart” has an uncanny resemblance to the Buzzcocks’ “Ever Fallen in Love,” though it never truly sounds like it’s ripping them off, but rather acknowledging the Buzzcocks’ spanning influence. “Candy,” the album’s crowning jewel, tips its hat even in its inebriated state to the country/confessional tactics employed by the likes of the Rolling Stones and The Replacements. Overall, Open Your Heart proves that, unlike their previous release, The Men can create a pleasing yet not-easily pegged down listening experience, giving the album a broad appeal.
The Magnetic Fields
Love at the Bottom of the Sea
“The only girl I’ll ever love is Andrew in drag,” drones Stephen Merritt in his typically dispassionate baritone confessional over a drum machine and sparkling acoustic guitar riff. This second track from Love at the Bottom of the Sea sonically and thematically references The Magnetic Fields’ ambitious 69 Love Songs project, though the heartbreaking absurdity of romance has never been a topic far from Merrit’s heart. The band’s latest record, their first in three years, is also a return to the off-kilter, synth-powered pop of The Fields’ early material; one can assume that Merrit had a lot of pent-up synth riffs kicking around coming on the heels of the so-called “no-synth trilogy” (i, Distortion, Realism). But the sound of Love is something fresh, the band embracing more recent electronics in a manner that lends their already otherworldly music a glittery precision and unsettling sonic acuity that draws the listener further into Merrit’s strangely universal inner life. The attention to detail, the melodrama, the heartache and humour, and the classically-minded pop song craft work together in an altogether arresting combination. These songs are all short, maxing out at 2:39, and this focus pays dividends in Merrit’s most consistent record in years.
Tanlines
Mixed Emotions
After two years of having their music online, the unique male duo Tanlines debuts their first album Mixed Emotions. The album is an eclectic mix of sounds that cannot be described as fitting one particular genre. Tanlines provides a listening experience that is rare as organic African beats are mixed with sounds from the ’80s, creating a very original set of songs. Mixed Emotions offers a mature collection of music that seems like a far stretch from contemporary music. That said, Mixed Emotions definitely isn’t for everyone. However, Tanlines’ willingness to experiment is an admirable quality that shouldn’t go unnoticed; for those willing to give it a listen, I definitely would recommend the tracks “Not the Same” or the alluring “Cactus.” Ultimately, Mixed Emotions brings together a dynamic fusion of sounds to convey an important message that conforming to the rules doesn’t always get you ahead.
Andrew Bird
Break It Yourself
I first fell in love with Andrew Bird’s music with Noble Beast, and even with such high expectations this new album does not disappoint. The listener is treated to the same simple guitar and ringing harmonics that have made Bird’s previous albums such strong musical offerings. Add to this mix whistling, violin strings both played and plucked, and a healthy dose of folk beats, and we could be in a Halifax bar in 1890. It is undeniably Andrew Bird – some melodic themes hearken back to previous songs, such as the whistled bridge in “Eyeoneye” which feels kind of like a musical Easter egg to the dedicated listener. As always, the lyrics are dense, twisting, and thought-provoking without being forced or boring. This is the kind of album you want to play as loud as you can through car speakers just as spring weather is hitting. As Bird croons in “Eyeoneye,” “No one can break your / heart / so you break it yourself.”
