Track Listings (14) - Disc #1| All Artists: Broken Social Scene Title: Broken Social Scene Members Wishing: 0 Total Copies: 0 Label: City Slang Release Date: 1/24/2006 Album Type: Import Genres: Alternative Rock, International Music, Special Interest, Pop, Rock Styles: Indie & Lo-Fi, North America, Experimental Music Number of Discs: 1 SwapaCD Credits: 1 Other Editions: Broken Social Scene [CD+EP], Broken Social Scene UPCs: 827590140028, 5033197358017, 5033197358024, 5033197358086 |
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Search - Broken Social Scene :: Broken Social Scene
 | Broken Social Scene Broken Social Scene Genres: Alternative Rock, International Music, Special Interest, Pop, Rock
Broken Social Scene began in 1999, born of a theme that has become the stalwart of the band's existence - friendship in tough times. Kevin Drew was a talented, but essentially unknown musician who specialized in lovely b... more » |
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Product Description Broken Social Scene began in 1999, born of a theme that has become the stalwart of the band's existence - friendship in tough times. Kevin Drew was a talented, but essentially unknown musician who specialized in lovely bedroom instrumentals. Brendan Canning was a vet of several Toronto almost-made-its, including hHead, Len, Spookey Ruben and By Divine Right. Cocooned in a Toronto basement in the winter of 1999-2000, Drew and Canning worked on their elegant debut, Feel Good Lost. Though mostly instrumental and somnambulant, this recording was the template for the band's growth - Drew's restless creativity was tempered and focused by Canning's gracious experience. Around this yin-yang orbited numerous talents such as Leslie Feist, drummer Justin Peroff, Stars' Evan Cranley, and Do Make Say Think members Charles Spearin and Justin Small. A live band began to grow and Drew and Canning's partnership expanded to a group of cagey vets (Andrew Whiteman, Bill Priddle) and wide-eyed "kids" (Peroff, John Crossingham, Metric's James Shaw and Emily Haines). For a year, Broken Social Scene was comprised of whoever showed up, playing whatever was written the day before. In 2002, after months of recording, re-recording and countless mixes, Broken Social Scene released You Forgot It In People to great critical acclaim. The album won a Juno Award for Alternative Album of the Year. The band spent the next two and a half years on the road, touring the U.S., Canada, Europe and Japan. In 2004, Broken Social Scene released Bee Hives, a collection of outtakes from the fruitful You Forgot It In People sessions, which included the haunting version of "Lover's Spit" sung by Feist. 2005's Broken Social Scene was a fitting title for the band's third record - an apt aural representation of the band's friendship. The album is messy, overrun, irregular but spirited, passionate, honest and hopeful. It landed this indie band from Toronto on TV screens across North America, on The Late Show with David Letterman and Late Night with Conan O'Brien, and scored another Juno win for Best Alternative Album. On May 4, 2010 Arts & Crafts will release Broken Social Scene's follow-up to the acclaimed self-titled record. The new album, Forgiveness Rock Record, is co-produced by the band and Tortoise's John McEntire at Soma Studios in Chicago, with additional recording at Giant Studio and The Schvitz Studio in Toronto. For a limited time only, Broken Social Scene will be available once more as a special edition, double disc package including the full album plus a bonus EP entitled EP To Be You And Me, featuring seven additional tracks. Broken Social Scene with the bonus EP To Be You And Me is the perfect addition to the Broken Social Scene catalog collection, which includes the popular titles below. Similarly Requested CDs
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Member CD Reviews Mike W. from IRVINE, CA Reviewed on 7/22/2021... This is my first impression of the band Broken Social Scene release "Broken Social Scene" 2006 on City Slang records upon first listen.
I would describe "Broken Social Scene" as mostly frentic, uptempo, fun, sped-up Indie Rock. It is almost like if Phoenix were a grunge rock band or you were listening to a Death Cab For Cutie record at 45rpm. It's as if Greg Dulli of the Afghan Whigs were making pop records! There are a few mid tempo songs and maybe 1 or 2 ballads, but the album is uptempo as a whole. My favorite song by the Canadian band on this cd is 'Hotel'. Upon doing a little research online I learned the group can vary in size from six to as many as nineteen members depending on the song. CD ReviewsNot Just Another Rock Band Tom | Toronto,, Ontario, Canada | 12/21/2005 (5 out of 5 stars) "Here's five good reasons for liking this album: 1) The concept is interesting. The band, with between five and seventeen members, shifts shape like an amoeba, with some songs sounding relatively spare and stripped down while others provide a wall of sound approach. 2) The music is fresh and innovative, simultaneously off-the-cuff and structured, borrowing heavily from the My Bloody Valentine approach whereby vocals and instrumental details are often buried deep in the mix while still contributing to the overall atmosphere of the song. 3) The hooks are often gorgeous and get catchier with repeated listenings, meaning that the more familiar you become with the music, the more you will take from it. 4) Again like My Bloody Valentine, vocal duties are divided between male and female lead singers and both are equally effective and evocative. 5) They don't sound like anyone else. In short, this is a CD that you will likely still be playing frequently in six months or a year. Just really, really good music. " Eccentric Brilliance Scott Louis | Houston, Texas | 10/14/2005 (4 out of 5 stars) "Broken Social Scene, a loose collective of up to 17 people from all around Canada, has a well-elaborated history. De-facto band leader Kevin Drew (Do Make Say Think) and Brendan Canning have, since 1999, been committed to their mission of creating beautiful indie rock. Broken Social Scene's debut, Feel Good Lost, was an album-long instrumental that left many (me included) wondering where this supercollective was going. Then, in 2002, "You Forgot it In People" hit like a hydrogen bomb. Here, we had musicians famous for making 10-20 minute epics compressing themselves into a 4 minute pop song. And it really, really worked. YFIIP was nearly flawless.
"Broken Social Scene" was, due to the immense popularity of YFIIP, one of the most widely-anticipated albums of 2005. Anyone familiar with the band could not wait to see the direction they went next. This record, it turns out, is an interesting hybrid of their first two recordings. There are remnants of the instrumentals of "Feel Good Lost," somehow magically intertwined with the pop feel of YFIIP. The real difference in these albums is the feel of the recording. YFIIP was tight, composed, and put together. It was BSS at 10am, ready to take on the world. This album gives us a glimpse at BSS at 730, just waking up, not yet ready, but still brilliant. That being said, there is something a bit...off about this record. It almost feels like there are TOO many good ideas going on at once, and that they are thrown together when the creation of two songs would have been more appropriate. That is not to say that this record is not glorious, just that it takes some time to get used to. There are many times on this album that hit you with a formidable wall of sounds, and it takes multiple listenings to decipher what is really going on. Producer David Newfield (who apparently "became obsessed" with trying to top YFIIP) makes some of the riskiest moved behind a console I've heard in quite some time, but somehow manages to bring together innumerable instruments into a cohesive, if sometimes intimidating, whole. The lyrics are subdued to the point of being indecipherable in places, and instruments are brought to the front of the sound when they are least expected. When it all boils down, this is a great record. Let there be no mistake about that. Does it top "You Forgot it In People?" Probably not. But then again, to compare these two records is not really even fair. BSS are a new band every time they get together to record, and we should treat this as a new release by a new band. And in that regard, this is a fantastic album. There is much aural experimentation, brilliant musicians toying with time signatures, and a crack producer having fun with bringing together a myriad of sounds. Highly Recommended." |
