Frontman Kevin Drew remarked that they’d played it back when it was Northsix (before Bowery Presents bought the space on 66 North 6th Street and remade it). Not that BSS hadn’t played this space before. “Extended” in that it wasn’t a festival-shortened set, and they played past curfew, which they weren’t force to live like life was. “Intimate” in that it was at a venue small for the group (who’d previously headlined Bowery Presents’ much bigger Terminal 5 – QRO live review), and sold out fast. And the day following, Broken Social Scene played the new ‘Coachella East’ festival, Panorama (headlined by Arcade Fire), but this was the intimate and extended show. show in five year was the Thursday prior in Chicago, and the second was the day after that at Pitchfork Music Festival ( QRO photos), but we New Yorkers consider the first New York show the first ‘real’ U.S. This year, the band played their first shows south of the border since then, coming to Brooklyn’s Music Hall of Williamsburg on Thursday, July 21st for an amazing performance. Five years ago, BSS went on a hiatus after 2010’s Forgiveness Rock Record ( QRO review), as the various members of the sprawling collective pursued their own projects. Sign up for the 10 to Hear newsletter here.A decade or so ago, Broken Social Scene broke out of Toronto as part of the ‘Canadian Invasion’ with such acts as Arcade Fire, a new wave of indie-rock.
But that’s the appeal: Sometimes it’s the outtakes-the photos where everyone is blinking and has beady red eyes-that feel the most candid, the best representation of the past, decades out.Ĭatch up every Saturday with 10 of our best-reviewed albums of the week. They’re less varnished and intoxicating than the songs that would make the final cut on a studio album. These songs feel like an old photo album of Polaroids and disposable camera pictures from the band’s formative years, even if none of them feel all that essential. “All My Friends,” meanwhile, is a beautiful but sardonic song about having friends in magazines and telling “little lies” while having “massive dreams.” Most of the record feels up-close and personal, but “All My Friends” is so homespun and raw it feels particularly intimate. It integrates sampling with cool-toned, krauty guitars and synths.
“Until It’s Dead” is equally experimental but far more muted. While definitely a bit gimmicky, the song is also oddly compelling. It’s a mashup of “Stars and Sons” and “Lover’s Spit” made by producer David Newfield and originally released on a 7" single from 2006. “Stars and Spit,” from 2006, is loud and jangly, with pops of synth, scuzzed-out guitars, and cavernous percussion. The collection’s latter half features its strongest and most complicated material. “National Anthem of Nowhere,” a Broken Social Scene version of a song written for Andrew Whiteman’s Apostle of Hustle side project, is just as chill, but not nearly as schmaltzy. “This House Is on Fire,” an outtake from Forgiveness Rock Record, evokes being stuck inside during a snowstorm. The mood grows more hushed around the album’s midpoint. It segues into the 2001 track “Do the 95,” where Kevin Drew’s vocals feel like baseballs being flung at you from inside a batting cage.
Opener “Far Out,” originally from a pre-order EP released in anticipation of 2010’s Forgiveness Rock Record, is a delicate ambient interstitial, twisting and turning like a toy ballerina in a jewelry box. Old Dead Young is best appreciated as the first retrospective from a band whose music is already all about self-mythologizing and looking back at the past.ĭespite being essentially a grab bag of ephemera, Old Dead Young plays like an actual album, sequenced like any Broken Social Scene record, shifting between styles and collaborators. They’re not the band’s best songs, and most of the record isn’t particularly memorable. For the most part, these 14 tracks are a pretty subdued listen. Old Dead Young, the band’s new career-spanning B-sides and rarities collection, won’t necessarily give you the same ecstatic lift of their more beloved material. For fans of a certain age, their work has become synonymous with being a teen: Lorde is one of those fans, and she memorably interpolated “Lover’s Spit” into “ Ribs,” making an adolescent anthem of her own. For over two decades, the Canadian collective has written anthemic, heart-on-your-sleeve indie rock songs that make you want to sit on your crush’s lap at a house party or shotgun a beer in a cornfield. Broken Social Scene have been soundtracking intimate firsts since the internet was a little baby and made a lot of noise when you turned it on.
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