Broken Social Scene – Forgiveness Rock Record | Album Reviews | Consequence of Sound
Forgiveness Rock Record Broken Social Scene Meet Me In the Basement For the band's self-titled studio album, Broken Social Scene once again. Broken Social Scene returned to Austin on Friday, March 23 for a Scene Explore Entire Catalogue With Powerful Austin Set (SHOW REVIEW) Having released their fifth album, Hug of Thunder, in , Broken Social Scene has hits like “Please Take Me With You” and “Meet Me In The Basement”. Broken Social Scene played Chicago, brought out Andy Kim (pics, review) Then they did “Sister OK” off Andy Kim's album It's Decided, which he made in collaboration with Kevin Drew. Meet Me in the Basement (with John McEntire). — review by Zack Baker, photos by James Richards IV. —.
On his own, he proved nothing less than a master.
Stars skews towards the theatrically twee, Campbell selling his vocals with showtune panache and Millan often serving as a force to ground the songs in reality. It might seem like a reaching question from the humble Canadians of BSS, but if anyone of the associated projects had the capability to engage fans on the arena scale, it was Metric.
After this album, it was somewhat surprising when Haines and guitarist Jimmy Shaw would return to perform and record with BSS which they are back to doing on Hug of Thunder.Broken Social Scene - Meet Me in the Basement: Live at the Harbourfront Centre (07.11.09)
With Drew delivering his musical sermons from the pulpit, found the band in position to back up big ideas with big songs. An album-closing track directly about masturbation?
Horn sections pop as vibrantly as ever. Guitars are left to ring loudly. Songs drift from precise to sprawling. After a five-year absence, Broken Social Scene sounded as alive as ever. Still, there is an argument to be made that Metals is her best record.
Broken Social Scene: Forgiveness Rock Record | CD review | Music | The Guardian
The release offered up a series of compositions that took their time to reveal their direction. This was especially evident in the songs with female lead vocals, an artist who hadn't played a major part on any of their albums Lisa Lobsinger taking on all the leads on stage. I sort-of stopped listening to them for a while. Maybe I was turned off by the show, but Broken Social Scene somehow just didn't feel relevant anymore.
Then, last year's Forgiveness Rock Record, exploded out of nowhere. It was a huge surprise to everyone, their first new material in five years instantly winning over an entirely new generation of young fans and topping the indie charts.
BBC - Music - Review of Broken Social Scene - Forgiveness Rock Record
Not only was the album full of standout hits, but for the first time since their debut, Broken Social Scene released an entire album that really sounds like a cohesive and unified band. Mainly because with this album they're focusing on only on the talents of the smaller group of touring members instead of a huge list of guest stars, this new focus also makes for a phenomenal live show. Broken Social Scene's current set is an absolutely perfect mix of old and new. Over the course of 19 songs, they play all the standouts from Forgiveness Rock Record along with nearly every one of their major hits.
Halfway through, Kevin Drew entered to huge applause from the crowd as though the song was written for exactly that moment.
Broken Social Scene : Live in NYC
The band kept the energy high, immediately following with the most danceable song on the new album, "Texico Bitches. Even though Lobsinger's performance was my main complaint about their last show here, it's not her fault.
It's just impossible to "fill in" for artists like Feist, Amy Millan, or Emily Haines who are stars in their own right.
Tonight though, the high-point of my night was realizing the studio version of "All to All" actually features Lobsinger on lead vocals with the other ladies as background. The song was a standout on Forgiveness Rock Record and it's great to finally see her singing something which totally suits her instead of filling in for her more-famous counterparts.
The elaborately layered guitars and floating vocals of "Anthems for a Seventeen Year-Old Girl" was immediately followed with what Kevin Drew described as phase three, the opening drums and clapping of the audience providing a lead in to Sam Goldberg's catchy guitar work on "World Sick. Kevin Drew performed "Lovers Spit" almost entirely solo, sounding much more like the Leslie Feist's stripped down Bee Hives version, than the heavily orchestrated original.