Artist: Broken Social Scene
Album: You Forget It In People
Year: 2002; re-release: 2003
Rating:
Hype is a double-edged sword, kids. As much crap as everyone gives the pop music scene, the indie rock scene is probably ten times worse when it comes to the old hype machine. Look at half of these so-called “rock saviors” who are supposed to “save” rock from those damn rappers and DJ’s. All of this bickering usually comes off as close-minded pap spout off by bitter, jaded rock purists who seem to think that rock is, and always has been (despite it’s relatively young age), the only valid form of musical expression (what’s this jazz, funk, hip-hop, and soul you speak of?). What they fail to realize is that a lot of the most exciting and important musical releases of the past decade  has been by hip-hop, “electronic,” and other such artists that do not necessarily fit under the rock header. Which is why I’ll take The Roots, Massive Attack, DJ Shadow, and Jurassic 5 any day over whatever Stooges/garage rock rip-off band that NME declares to be the second coming.
I personally believe that there is lots of tripe coming from every genre, so it’s not just indie rock’s hype machine that’s at fault here. Hey, the indie hip-hop scene has been plagued with a quantity over quality problem with every random no-talent hack putting out a 12" just as indie rock has its good share of “look how indie I am” bands who are just.....really...fucking......boring.
But kids, every so often there is a band deserving of the storm of monumental praise and word-of-mouth that comes their way. Enter Broken Social Scene. Not only do they have a healthy scoop of hype, what’s more, they actually live up to every last drop. As much as I liked The Strokes when they were hailed as the best band in centuries, I was expecting a little more. Broken Social Scene go above and beyond everyone’s expectations.
BSS have the right idea. It’s so hard to find a completely “new” sound, then why bother? That’s seems why so many young bands have decided to revive the glory days (whatever they may be). The Social Scenesters decide instead of a simple retread of days past, why not tweak and completely turn the sounds of yesteryear inside out? Imagine Nick Drake if he liked feedback. A lot. You’re still nowhere near what’s going on in the band’s second full-length release You Forget It In People.
I’ve always had a thing for guitar feedback, especially in the pop song setting. That abrasive chaos is amply and beautifully evident in the first trio of “real tracks” (not counting the ambient interlude of an opener) on People. “KC Accidental” sounds like a collection of false starts, a feat that actually creates a stunning drone, before leading into a short verse and then explode into one of the most intense climaxes of any rock song in years.
“Stars And Sons” sounds almost like a jolly little pop tune complete with hand-claps until it erupts with a barrage of guitar squalls during the latter half. Big Star meets Sonic Youth, maybe?
“Almost Crimes,” possibly the album’s highlight, threatens to fall apart at any moment and makes excellent use of male-female vocal interplay. More feedback ensues. More unbridled energy and chaos. I love this album.
“Looks Just Like The Sun” offers a little relief, but does not in any way slow down the momentum of the album. This fantastic little bossa-nova-style slice of indie pop does mellow AM radio with little irony and lots of cleverness. “Anthems For A Seventeen Year Old Girl” follows in the same sub-dued vein and decides to indulge in lots of beautiful strings, a manipulated vocal track, and an almost dub groove.
Ambiance seems to be a key component in You Forget It In People’s aesthetic.  Never sounding repetitive or needlessly droning, the songs make good use of layers, surreal instrument effects and manipulations, and various otherworldly elements (all of which come together outright on “Shampoo Suicide”). Not surprising considering Kevin Drew has spent time in ambient post-rock outfit Do Make Say Think. He, along with Brendan Canning, form the core of this musician’s collective that features various indie players; this collective aspect, as opposed to a what one might call a “true” band, possibly has a hand in the album’s variety and spontaneity.
You Forget It In People is last year’s sleeper-hit (it didn’t get a wide-release until this year) and this year’s obvious top-ten list contender (it didn’t get a domestic U.S. release until this year). Call Broken Social Scene the saviors of rock if you will. And all though I despise that label, I won’t get mad at you. These guys are that good.
by Paul Haney