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The Dears have not gone away and come back, but they have been transformed: by experience, by necessity, by life and its manifold curveballs. And with their new album, MISSILES, they have emerged as elder statesmen of the Canadian indie rock renaissance. They have been to awards shows and have been nominated for prizes, they have shared the stage with musical heroes, and they have sold out shows around the world. They have been recognized, mythologized, and eulogized. They have returned home to Montreal triumphant, and they have suffered defeat. But with defeat as their muse, they have grown and matured. And they have decided to stay.
From the release of their debut album END OF A HOLLYWOOD BEDTIME STORY in 2000, The Dears’ story has been one of burgeoning commercial and critical success. Known for their transcendent live performances, capital-R romanticism, and truly magnificent sprawling orchestrations, The Dears have always seemed a band with a destiny. With each subsequent album, they grew in breadth and depth: building an exuberant fan base, developing their craft, and exceeding expectations.
This period of pop-cultural growth and artistic development saw its culmination in two definitive albums: the thunderously beautiful and lushly evocative NO CITIES LEFT in 2004, and the less sonically magniloquent but gorgeously dense and thematically-rich GANG OF LOSERS in 2006.
But by the summer of 2007, The Dears were in crisis. With a need to cast out the demons that had started to gather around the periphery, Lightburn set about writing tracks for a solo album, but four songs into the process, discovered that what he was making was a new Dears record.
Recorded quickly, the album is a feast of stripped-down arrangements and raw emotion served up like a rustic meal, its songs polished but still containing traces of the rough soil from which they were born. The most explicit example is the affecting final track, Saviour, whose vocal track – an original demo take, recorded with a hand-held microphone only moments after the final lyrics were written – remains unadulterated, vulnerable amongst the organ swells and chorus of children’s voices. The music is restrained, yet there is an urgency to the lyrics. Lightburn is the confessor: first decoding, then submitting. Yanchak, whose striking voice is more present than on past albums, is the protector: nurturing and unbreakable.
(Quelle: Homepage The Dears, 5.2.2009)