(Kingnoise Records, 2013)
(Image from confrontmagazine.com)
It’s been a long road. Our Lady Peace was one of my favourite bands in high school, and my fondness for their first four albums has never really diminished. It was after Spiritual Machines that the change started (new guitarist, new producer, no falsetto!?), and Healthy in Paranoid Times when I parted company with the band. I would listen to the occasional single and then turn back around, disappointed. Their most recent, Curve, caught my ear and kept me there. It wasn’t a matter of ‘returning’ to an earlier period in the band’s life as was promised quite a few times. Can’t step in the same river twice and all that. It was more as if both they and I were more comfortable with the band that they had become. It only does so good to stamp your foot and say ‘where’s the falsetto?’ and ‘where are the sweet riffs?’ because you’re not going to find them. The band has ten plus years of time put in since then, and they have all, obviously, matured. And, in a way, it got me ready for this album.
I bypassed Maida’s first solo album, The Hunter’s Lullaby, as I was still not ready to accept the fact that the band I loved had changed; hearing their lead singer doing singer-songwriter material was NOT going to help with that. Having enjoyed the approach on Curve, however, and hearing the lead single from the album (the brass-tinger folk of “Montreal”), I decided to make the leap.
The instrumentation is the first thing that struck me, as the first track on the album (the provocatively titled “How to Kill A Man”) begins with a sharp violin tremolo and female backup singers beautifully harmonizing on the chorus; the aforementioned “Montreal” has a jaunty horn line adorning the hook; both “Rising Tide” and “Numbers” employ drum machines, which I never imagined I’d hear paired with Maida’s voice. It’s fun to hear all different kinds of instruments being drawn on to fill out and suit each track (the anarchic, jazzy trumpet on “Rising Tide” is not something I expected to hear! It almost sounds like a brass line from Radiohead’s “The National Anthem) – it makes each song stand out more. This is especially true after being used to mostly hearing him front a guitar-bass-drum trio for so long. The album sounds quite lush as a result. It’s sparse when it needs to be, but the range of frequencies is filled out quite nicely as each track progresses.
Maida has managed to find a second somewhat unique voice after dropping his down post-Spiritual Machines. His assured baritone carries the melodies he’s written quite nicely, though it feels as if its timbre is lending the proceedings a more melancholic air – even the joyous-sounding “Montreal” feels bittersweet because of it. The best example on the album is probably the appropriately sombre “How to Kill A Man.” The melody is ponderous, as I have found they have been on the last couple of OLP releases, but not in the least bit boring (he commits a brief brush with his old falsetto during the verses) – the multiple Maida vocal tracks move smoothly with the backing vocals and manage to hit just the right peaks to create a haunting effect on “bury your heart with this guilt and regret/it’s the surest way there is to kill a man.”
At only eight tracks and 32 minutes, this is one of the shortest modern albums I’ve seen, not that I begrudge Raine Maida for being selective with his track choices – I’d rather have a fantastic short album than a decent longer one. And this one falls somewhere in between. Each track stands on its own quite easily, though the two singles (“Montreal” and “SOS”) are apparent, being the only ones that have notable hooks. The orchestral arrangements are a fantastic compliment to Maida’s voice, and I hope there are more of them in the future. My one complaint would perhaps be that the arrangements are at certain points more interesting than the melodies themselves! Nevertheless, a quite good collection of songs worth hearing, especially if you’re in a calm, introspective mood.