CD review: Islands, "a sleep and a forgetting"

About the new album, Islands leader Nick Thorburn keeps questioning the most basic assumptions of POP. "This is not a song," he says in the middle of one.

Later, he announces "this is not a movie," right when his team thrashes quite hard to make anymore. Elsewhere, circumspection informs the listener, "you are not a fan."

From there, you can have one.

Thorburn is not only being perverse here. This Division of POP fourth wall to play with the lines between truth and fiction, artwork and Fleeing.

His motives? A terrifying romantic breakup — one that clearly shook him so fundamentally, he was not only the entire new album, that if the lyrics with all the bickering over allegations. They're meant to depict the point that what you heard is not a musical but a literal depiction of trick the wretched state.

Of course, such an attitude could easily lead him to create a gentle chaos. Art not with transforming pain into something prettier? Rest assured, Thorburn has already done. He just uses the literalism of lyrics as a little exaggeration, to pull back the iron curtain for the truth of the situation.

Chose the correct sound to convey this. "A sleep and A Forgetting" sounds like just any previous album from the famous Canadian band. There is no charge or musical Rocking, density, previous works. Also, there is less area to run. Almost every State save Thorburn has been maintained by the best known CD, 2008 of "arm way." is a 20% smaller group now, resulting in a much more spare and clear sound. In fact, you just sound like an album at all. It is more like a solo album with group name.

It is terse, too. The whole issue watches at just over 37 minutes. Sometimes, it is so focused on and personally comes as a response to the Mitchell Thorburn Four "blue."

Fortunately, he has a talent worth sharpening that hard. The melodies have gotten wider and more satisfied, even as the organs around it has become too something fragile. The space left between the average ups the concept of isolation. But the melodies are still warm.

Consists almost entirely of ballads, the album references the lonely tonnes of Roy Orbison and Buddy Holly's simplicity. Thorburn of high, sweet voice often recalls the nerdy earnestness of Holly, while the regime may be impersonating the herky jerky-beats. Several songs feature the guitar lines that brought under slope with Southern soul.

The beauty of the melodies suggest a dreaminess while ranking the dire reality speaks clearly of sound. The final number, "same thing," sorrow seems to overtake Thorburn as finds all songs and odd days and loves it. But the music itself contradicts this. It sounds completely individually, with a sound and torture entirely its own.

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