REVIEW: Sloan, Between the Bridges (Murderecords)
- Iain Kenneth MacLeod
During a band's year and a half hiatus, there is enough time for rumors to spread about breakups, supposed infighting to leak to the media, and alleged solo projects to be discussed behind the counter of many small record stores. Perhaps that is why Sloan decided to work straight through that time and produce 3 great albums, have their most potent single ("Money City Maniacs") fused with Labatt's Blue beer ads and also compile a video anthology called "Second Hand Views." More specifically, their fans were rewarded with the quintessential double live album entitled 4 Nights at the Palais Royale and their critics were left to proclaim that rock is still alive and alright with the addition of Navy Blues to their catalog.
Those already familiar with this post-fab foursome should read no further and quickly add their sixth release Between the Bridges to a nearby shopping cart. It contains all the essential elements that make discovering which influences were smeared on the many sided record sleeves so rewarding. With a world tour to begin at the end of October, Sloan have not only committed themselves to the business but have been consistently able to keep their 'art' in the right place.
If there is any concept behind this CD, it is hovering over the city that bore (bored?) them. Between the Bridges is a half-baked pretentious pop-opera about Halifax, it is a a personal "Farewell to Nova Scotia" as the band headed off to Toronto. A Maratimer will pick up on the opening track's reference to an infamous mental institution while "The Marquee And The Moon," with it's bizarre name checking and John Cale-like drone, will put a smile on faces within the landscape between the MacKay and MacDonald bridges. The other tracks show Sloan continuing to grow and challenge themselves, as well as their listeners, from the phase shifting of "Sensory Deprivation" to the friendly sing along harmonies of the first single, "Losing California."
Between the Bridges is not only an extremely solid pop album, but it is also one of Sloan's most cohesive, mature and focused albums to date. It is equal parts sensitive, quirky, sensible, and cerebral... all thanks to the contributions of guitarist Jay Ferguson, bassist Chris Murphy, guitarist Patrick Pentland and drummer Andrew Scott, respectively. Since each band member brought an equal portion of songs to the turntable this time, it will stand up as the first clear example of what the Sloan democracy is capabale of sounding and feeling like.
