Otherwise, Let’s Try the After is a pleasant Andes Creme de Menthe following the feast that was Hug of Thunder, as Broken Social Scene tackle a few of their distinct modes-propulsive and tricky instrumental rock, explosive guitar-hero theatrics, slow-burning balladry-in capable, familiar fashion. The weakest tune in this new crop is the EP’s first single and closing track, “All I Want,” with Apostle of Hustle frontman Andrew Whiteman taking lead vocals after opening with a dirty bassline faintly reminiscent of the Killers’ macho 2017 single “The Man,” the song mutates into a vaguely post-punk-ish groove that ebbs and flows unsatisfyingly. We have more to give,” he promised in a press release accompanying the EP’s announcement. 1, is no different it’s a mix of surging mostly-instrumentals and fairly compact pop songs, arriving with a promise from Drew himself that he and his compatriots won’t vanish for so long again. In a few respects, the band’s latest EP, Let’s Try the After Vol. The subsequent EPs that have accompanied every album since 2005’s self-titled record have typically offered explorations of Broken Social Scene’s alternately tight and loose approaches, at times doling out a bit of self-mythologizing for good measure.īroken Social Scene’s companion piece, EP to Be You and Me, featured a fast-paced take on the previously slow-burning “Major Label Debut” and a submerged reprise of the title track to Broken Social Scene’s largely ambient 2001 debut, Feel Good Lost. Over the last 20 years, Broken Social Scene have proven themselves the rare act to fuse those opposite poles in a manner that’s emotionally nourishing even at their most obtuse. Even by its own hazy standards, post-rock has taken on an unusually wide range of forms, from the jazzy and quixotic to pure, uncut, ascendant drama. After a seven-year hiatus (there are few things more explicitly post-rock than taking forever between albums), Broken Social Scene returned with Hug of Thunder, their shortest record to date, which represented a full realization of the warm-embrace rock music they’ve leaned toward since the days when bandleader Kevin Drew turned live renditions of “It’s All Gonna Break” into a call-and-response anthem.īut amid the empathy and urgency streaked across Hug of Thunder was a band still unafraid to doodle moodily in the margins, from the instrumental ditherings in the midsection of “Victim Lover” to the sax-led breakdown in “Stay Happy,” the latter which practically and lovingly ripped from the playbook of BSS-adjacent post-rock act Do Make Say Think. Even as the band’s songwriting has taken on a more explicitly uplifting and streamlined form, they’ve never quite forgotten where they came from 2010’s lovely, shapeshifting Forgiveness Rock Record was produced by John McEntire of post-rock godheads Tortoise and featured the Sea and Cake’s Sam Prekop on a song that practically mirrored the tropical, wafting dreaminess of his main act.
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