Stars - In Our Bedroom After the War
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Free Music Notes for In Our Bedroom After the War
Free Music Review: Hope in Darkness
Hit: 4 Stars
I can remember where I was the first time I heard Stars. I was at my mundane little office job enjoying some internet radio when suddenly, amongst the typical and expected, came a song that immediately distracted me from the job I was supposed to be doing. It was not only beautiful, but touching, catchy, and - dare i say - perfect. The song was "Heart," the title track from Stars' 2003 breakout album. The song stuck with me, but I never really pursued my interest in the band. One day, about a year and a half later, I was in my local record store looking for something to buy. For some reason (providence, really), I thought of Stars, a band I hadn't heard in months. But the store didn't have any copies of "Heart," only their new album, "Set Yourself On Fire." Hmm? I wasn't sure. I scanned the barcode on the CD and previewed the first song on the album, "Your Ex-Lover Is Dead." I've been a Stars fan ever since. Their entire catalog is filled with effortless pop masterpieces, featuring brilliant songwriting, poignant imagery, and stellar production. Needless to say, my expectations for "In Our Bedroom After the War" were high. I am thrilled to say that I am not disappointed.
Stars albums have the habit of starting things off with an audio sample of a quote that typically reflects the title and mood of the album to follow. This one is no different. After a 2-minute synth introduction (reminiscent of "What the Snowman Learned About Death"), the voice of a older woman, audibly weathered by the years of her life, rises. She asks, "All the blood and the treasure and the losing it all, the time that we wasted and the place where we fall; will we wake in the morning and know what it was for up in our bedroom after the war?" It soon becomes clear that this is different than the typical carefree Stars album, and a far cry from their "Romantic Comedy" days.
The album hits its stride right out of the gate with "The Night Starts Here," a synth-heavy pop song with Amy and Torquil trading lyrics. It's sound is extremely reminiscent of the music off of "Heart," and for that I can't help but love it. The lack of a big, strong, satisfying hook is a bit disheartening, but this is a Stars album so you know that one is coming. As it turns out, we don't have to wait very long at all. "Take Me to the Riot" is one of the album's better tracks, and features Torquil shouting "Take me, take me to the riot" over guitars, strings, synths, and some surprisingly intense drumming. Of course, Amy is there softly singing along, adding a nice touch without overpowering. It's the album's first truly impressive track.
And boy do they keep piling them on! The next track, "My Favourite Book" is the first song that Amy takes charge of, pouring out her gorgeous vocals like honey (or, you know, something else that's sweet). They're accented by the excellent use of woodwinds and "do do dos" in the background. It's jazzy stylings are perfectly suited to the band, and I'm really surprised this is the first time that I've heard them play anything like this. The song is a gem that doesn't reveal it's true beauty at first, but grows on you over time. The same cannot be said for "Midnight Coward," an upbeat, yet poignant duet between Torquil and Amy. The two harmonize with one another, singing, "I can see what's coming, but I'm not saying it." Later in the song, when all the guitars and synths have gone, the two vocalists are left with only a piano to accompany their words. It is a highlight of the album and one of it's most beautiful moments.
"The Ghost of Genova Heights" is perhaps the most peculiar song I've ever heard from the band. It's verses are shoddily crafted, offering nothing really memorable musically or lyrically. In the chorus, however, the band takes a clear turn towards Michael Jackson-esque 80s pop. Torquil begins singing in an awesome falsetto, "I always see you when I never should. Now you're back in the neighborhood." I can't get it out of my head. Ultimately though, the song suffers because there's really not much to remember aside from the chorus. The band can't really even find a decent way to end the song. Fortunately, it's followed by "Personal," a "too-good-to-be-true" love song told through the communication of two singles through personal ads. I won't give away the ending, but it should be noted that this is without a doubt the saddest Stars song to date. The first time I heard it, I was visibly upset by what happens in the story. It is a powerful song, to be sure.
Unfortunately, the album really starts to struggle from there. "Barricade" is a simple piano ballad with a respectable performance from Torquil, but for some reason it doesn't feel very authentic to me. One of the signs of a good pop artist is that they can make anything sound real and true, but to me this song sounds manufactured and false. When Torquil sings "Meet me at the barricade, the love died but the hate can't fade," he's singing it well, but without true conviction. For a song that is so somber and emotional, Toquil is noticeably distant. "Window Bird" sounds like your run-of-the-mill indie rock song sung by a female, and Amy is completely underutilized. The same can be said for "B*tches in Tokyo," whose rockin' chorus is overshadowed by a complete lack of anything affecting or catchy.
"Life 2: The Unhappy Ending" is a step in the right direction, with Torquil and Amy contemplating the reality that life is not always as happy as it is in the films. Amy sings "Here's the part where you save me. Here is the scene where you save the day. Why can't the ending be happy? Why must it always resolve this way?" The song's lyrics and instrumentation are it's saving grace, as unlike most Stars songs, it's hook is far from memorable. "Today Will Be Better, I Swear!" is about what you would expect; reassurance that yesterday might have been good but today will be better. Again, the group struggles to find a reason for the song's existence as its lyrics and hook are poorly executed. Still, there is something admirable in the song's instrumental second half, if only for the fact that it reminds me of "The Big Fight."
For so many middle-of-the-road songs in the album's second half, "In Our Bedroom After the War" ends with what is arguably the best song the group has ever made and the album's title track. It tells the story of two lovers adjusting to life with each other in a post-war world, trying to capture the beauty in every second and remind themselves that they have each other. Torquil sings"Lift your head and look out the window. Stay that way for the rest of the day and watch the time go," before crying "The war is over and we are beginning!" The song ends with an eruption of instrumentation and vocals proclaiming "It starts up in our bedroom after the war! After the war!" It is simply stunning. I've listened to it over a dozen times now and I still get goosebumps every time. Personally, "Your Ex-Lover is Dead" is still my favorite Stars song, but this one comes in a close second.
When it's all said and done, I can't help but be happy with "In Our Bedroom After the War." While it's true that I could have done without 3 or 4 tracks, the album's highs brilliantly mask it's lows. "In Our Bedroom After the War" portrays a band coming to terms with the bleak and sorrowful world that we live in today; acknowledging that life and love is not always as bright and sunny as their past music would suggest. At the same time, however, the album is inexplicably hopeful despite the band's noticeable turn towards the dark side of life. If anything, "In Our Bedroom After the War" is a testament to the band's faith in humanity, in love. It leaves you feeling safe in a world of chaos, knowing that when it's all over there will still be love and we will still have each other.
Recommended for fans of Stars and anyone who needs hope.
Key Tracks:
1. "Take Me to the Riot"
2. "My Favourite Book"
3. "Midnight Coward"
4. "Personal"
5. "In Our Bedroom After the War"
7 out of 10 Stars
Free Music Review: You're my favorite book
Hit: 4 Stars
The Canadian indiepop band Stars has never had a problem with crafting sad songs with shimmery music and pretty vocals, and this has definitely not changed in "In Our Bedroom After The War."
In fact, their fourth full-length album takes that tendency even further. Instead of a string of individual songs, it's a musical-style sequence of songs that seem to be about the sorrows of life and live during a war. With, of course, with lots of lush indiepop and murmury vocals.
It opens with a slow-building electropop tune that isn't quite catchy enough to make you pay attention. That is reserved for the swirling, dreamlike ballad "The Night Starts Here," a simple song with moments of insight ("You name your child/After your fear/And tell them/"I have brought you here").
Fortunately the songs that follow take after the latter than the former -- shimmery keyboard tunes, driving guitar-filled powerpop, exquisitely flickering ballads, and the discoey flavour of "Ghost of Genova Heights." Don't be fooled by its upbeat sound -- the concept is perhaps the most depressing one that Stars has ever done.
The album does stumble a bit in the second lap, with the warbly "Barricade" and forgettable "Window Bird," but fortunately it picks up after that. There's a brief spurt of colourful indie-rock, and swirling ballads, ending with the mellow, retrospective title track. It's a fitting finale, and saves the album from being TOO depressing.
On the first listen, "In Our Bedroom After the War" is basically the kind of chamberpop the band has been making for ages. Musically, much the same as their past work, save for a couple songs ("Bitches in Tokyo") where they dabble in new sounds.
And the band has a pretty polished sound at present -- there's lots of smooth guitar and clattery drums keeping the peppier songs moving. In the softer ones, they're woven with plinky piano, chimes, colourful streaks of synth and some dramatic strings.
But wait -- listen carefully. Each song is a little, bittersweet story -- fragmented love affairs, veterans' ghosts, even a doomed affair between two soccer hooligans. But no matter how dark the songs get, Amy Millan's vocals are still sweet, and Torquil Campbell's are still extremely dramatic.
It ends prettily happily, though, with a ballad all about the end of war, and realizing that the world has just become a bit brighter. "Yes, we're back again/Here to see you through til the day's end/And if the night comes, and the night will come/Well at least the war is over..."
"In Our Bedroom After the War" is a little musical journey on its own -- and despite a few dud songs, it's a journey worth taking. Definitely worth hearing.
Free Music Review: They really are Stars
Hit: 4 Stars
Stars is the best band that I had never heard of until this year. I now own all their albums, including their strange little release SAD ROBOTS from November 2008. Blending interesting lyrics with synthpop sensibilities, a flare for the dramatic, and dueling male and female vocalists, Stars is hard to quantify, except that they are excellent.
Their newest album, IN OUR BEDROOM AFTER THE WAR, is darker than previous albums, which lyrics that can tear at the listener's heart. Poignant and richly rewarding, each song is something of a vignette of life. Some border on fine art in their quality of writing, even worthy of adaptation into short fiction.
What Stars does better than almost all Indie contenders is fluidly blend musical styles without seeming nothing more than a musical collage. "Take Me To The Riot," has an intense rocker feel, sort of The Cure blended with Arcade Fire, with the piano sweetly singing in the background. It is probably this reviewer's favorite, full of dark humor and brilliant intensity.
"My Favorite Book" slips into a 70s beat with understated vocals that is quite pretty. It is one of the lighter songs in the collection, but quite nice for what it is.
"The Ghost of Geneva Heights," is slow and intimate, with a beat that is re-imagined 70s with a grunge heaviness. Carefully minor key, this song grows better on each listening.
"Barricade" is a piano ballad in the likes of Ben Folds, but with lyrics that stand in stark contrast to the music. Dark, beautiful, poetic, and addicting: "There's only darkness at the finish. Meet me at the barricade. I'll be at the barricade. The love dies, but the hate can't fade..."
A collection of songs diverse in style but equally well done, the album is a perfect review of Stars' varied and quality musical styles. 4.5/5, and a must buy for any serious Indie fan.
Free Music Review: Relationships, Revolutions. Reconcilliations.
Hit: 4 Stars
The emotional heft of "Up In Our Bedroom After The War" is almost lost in the lighter than air pop that is Stars' stock in trade. Like Rilo Kily (without the interband entanglements) or Prefab Sprout (minus Thomas Dolby's production magic), the boy-girl trade-off between Amy and Torquil is reminiscent of such superb acts that the effortless pop almost passes you by.
But give the songs here enough listens, and they sink in. "Take Me To The Riot" has a sort of energetic naivete that brings a smile, while the finale layers on effect after effect - birds, waves etc - to crescendo the CD to a mighty close. (The atmospheric opener sets the stage nicely, too.) Torquil seems to be attempting a concept here, with lyrics that reflect a tumultuous relationship. Injected with giddy pop hooks and atmospheric production (but how I would love to hear this with Dolby's touch), "The Night Starts Here" and "My Favorite Book" echo vintage Fleetwood Mac. "Book" even sounds like Amy stashed a few Cardigans CDs in the booth, while "The Ghost of Genova Heights" feels like Scissor Sisters, with Torquil's falsetto echoing Jake Shears'.
There is also the occasional stinger that leaves its barb in place, like on "Personal." With just a single word change in the final verse, it trashes the internet dating bigotry where "no fats, no fems, no one over 35" type ads play to the shallowest common denominator. It is so subtle a cut that you may not even catch it until several spins on, like the way Morrisey, at his best, can kill you.
If any of those comparisons sound inviting to you, pick up "Up In Our Bedroom After The War." I doubt it will start a revolution, but at least Stars can claim Mission Accomplished and be honest about it.
Free Music Review: Allegro, non troppo
Hit: 4 Stars
For Stars, the nineties never happened. All members have metabolized the two pillars of 80s British pop-rock -- Smiths and New Order -- so thoroughly that they don't need to copy them, they just exude them. Prefab Sprout, Electronic, Sundays, Everything But The Girl, even Cure: the intelligent melodic music of Northern England is shimmering inside every song. On the other side, I bet that Campbell & Co. cannot locate Bristol on the map, and listen to Portishead or Tricky only when they are in wrist-slitting mode.
Why this long introduction? Because this heritage seems Stars' strength and weakness. At its best, the band has the innocence and urgency of a teen-ager finding the right words for the first time. "The Night Starts Here" and "Take me to the Riot" are memorable and enthusing. They sit of the wide shoulders of Bernard Sumner and Morrissey without plagiarizing them. There are many other songs that are pitch-perfect, efficient and honest. "My Favorite Book" and "Personal" are in this class. They are intelligent without being cerebral. But, when they are short on ideas, the songs flounder. They go on melodic 80s autopilot. I felt that "Bitches in Tokyo" and the titular song were enjoyable but gratuitous and detract from the overall experience. When you have 10 dry, powerful, <em> needed</em> songs from a Canadian rock band what you get is Neon Bible. Stars are not there yet. But they have potential for greatness, and they already have several excellent songs in their repertoire.
I heard that the band is very selective in its choice of material. I hope they could be just a bit more selective. It's just a matter of time until the perfect album.