Swan Lake releases beautiful moaning
Published Nov. 14, 2006
It's only natural that Swan Lake would eventually form.
The super group composed of some the most celebrated Canadian acts of the past few years represents a cross section of the most successful and brilliant musicians of the indie world: Dan Bejar of Destroyer and The New Pornographers; Spencer Krug of Frog Eyes, Sunset Rubdown and Wolf Parade; and Carey Mercer also of Frog Eyes. And, as might be supposed, the three don't disappoint.
This inevitable formation is compounded by the fact that the three musicians' voices are strikingly similar. It was simply a matter of time before they found their natural complements and joined the same group.
As a rule, it's difficult to distinguish between each because of this similarity, but it doesn't take away from the quality of the album in the least. The three have been entangled in the past few years as Bejar used Frog Eyes to be his backing band while recording Destroyer's 2004 album, Your Blues.
Although Mercer and Krug had performed with each other in Frog Eyes, the permanent addition of Bejar adds even more distinction to the music.
The resulting album, Beast Moans, is solid, often relying heavily on the common style of each musician's work. Each influence comes together nicely, and there's no lack of cohesion as the album begins to take form and develop, each aspect matching like a lock and key.
"A Venue Called Rubella" stands out as the most memorable track on the album.
The ubiquitous stomps and shakers drive the track, accompanying an unchanging piano line and vocals that gradually decline in volume. There's an overwhelming presence as though there's someone standing in the room with you - there's life in the album, created in the music.
The following track, "All Fires," one of the tracks that found its way onto blogs and MySpace accounts everywhere before the release follows immediately and continues the trend of spellbinding life.
"The Partisan But He's Got to Know" shows off the talents and influence of Frog Eyes members Mercer and Krug as the track begins in an identical way to "Time Reveals Its Plan at Poisoned Falls" off The Golden River as resonating vocals burst and emote fiercely at once in an explosion of sound. The lyrics are off in the distance at times, but it reflects the detachment of reality - a theme commonly expressed through the duration of the album.
One aspect of the album certain to surprise and take the listener out of the music is that the band does the "Hey, are we recording?" bit that has managed to wriggle and infiltrate mainstream music. Regardless of the transition, there is still a feel of a seamless flow into "The Freedom" begun by Bejar.
The instrumental lines often cover the vocals, taking the listener out of the music - one of the negative aspects of the album. Unfortunately, this occurs frequently and, thus, it can sometimes be difficult to find your way back.
It might take a couple of listens to become accustomed to the style of their voices, but eventually, they become lulling and hypnotic, easily setting the listener into a trance - best exemplified by "Petersburg, Liberty Theater, 1914."
In essence, in their newest album, the Canadian super group meets and surpasses all expectations, but not to the extent that most of the listeners might have hoped.
