…And we’re back.*
“Our love, don’t mess with our love
Our love is so much stronger”
The Dears are a Montreal-based indie rock outfit that formed way back in 1995. Their membership has been in constant shuffle and flux over the years, the only real constants being frontman, Murray Lightburn, and his partner in everything, Natalia Yanchak, though even she came to the party a little late. The group released their debut album, “End of a Hollywood bedtime story” in 2000 but it wasn’t until their sophomore release, 2003’s “No cities left”, that the indie rock world really started to take notice. In fact, this album is now considered one of the great albums of the early 2000s Canadian indie rock renaissance, right up there with “Funeral”, “Set yourself on fire”, “You forgot it in people”, and “Old world underground, where are you?”.
I remember first listening to the album, perhaps a year after its release, picking up on all the Britpop references and glorifications, thinking that it might require a deeper dive, and then, promptly putting it down again for lower hanging fruit. And then, near the end of 2005, I caught wind that Ottawa was getting a new alternative rock radio station** and that their soft launch involved playing great alternative rock without commercials or DJ interruptions. I listened to it as much as I could for the month or so that it lasted. And one day in the car, I remember hearing a familiar song one day, remember thinking that the vocalist sounded a lot like Morrissey but that the music sounded awfully like Radiohead, circa “OK Computer”. Upon later research, I realized that said track was “Lost in the plot” from the aforementioned Dears sophomore record, which then begged immediate and repeat listens. I finally became a fan of The Dears and my attentions have yet to wane through the six albums that followed over the next fifteen years.
“And I promise not to cry anymore
All the reasons beat the crap out of me
Everyday when I wake up they are waiting”
“Lost in the plot” was the second single to be released from “No cities lost”. It is a sonically sinister and intergalactic five minutes of beauty. The guitars jangle like Marr and Lightburn warbles like Morrissey but there’s a ton more layers here and at the bridge, things change tack to a hip-shaking swagger that might make Brett Anderson blush. Yeah, there’s more than a bit of Britpop pastiche going on but it’s also forward, rather than retro thinking. Indeed, it’s an explosion of passion and love and hope and that’s a plot I don’t mind losing myself in on the regular.
*I took an unscheduled blogging holiday over the past couple weeks, in part to rest these old bones from attending five nights of concerts in the span of two weeks and in part to just recharge.
**To fill the void created when XFM went adult contemporary and was rebranded as CISS FM in 2004
For the rest of the Best tunes of 2003 list, click here.