Thank You Good Night Sold Out
Thank You Good Night Sold Out is a live album by The Dears, released in 2004 on MapleMusic Recordings. "Autotomy" – 11:17 "C'Était pour la passion" – 5:28 "End of a Hollywood Bedtime Story" – 5:58 "Who Are You, Defenders of the Universe?" – 4:17 "22: The Death of All the Romance" – 6:24 "Warm and Sunny Days" – 7:11 "Lost in the Plot" – 5:26 "Pinned Together, Falling Apart" – 22:01
No Cities Left
No Cities Left is the second album by The Dears, released in 2003 on MapleMusic Recordings. It was the band's second full-length album of new material and was so successful that it was re-released in Canada in 2005; the album features fellow Canadian indie-rocker Sam Roberts playing violin on "Never Destroy Us". All songs written by Murray Lightburn. "We Can Have It" – 5:42 "Who Are You, Defenders of the Universe?" – 3:41 "Lost in the Plot" – 4:49 "The Second Part" – 5:31 "Expect the Worst/'Cos She's a Tourist" – 7:52 "Pinned Together, Falling Apart" – 6:01 "Never Destroy Us" – 4:29 "Warm and Sunny Days" – 5:47 "22: The Death of All the Romance" – 5:56 "Postcard from Purgatory" – 7:57 "No Cities Left" – 5:23"Don't Lose The Faith" was omitted from the original American release. The 2005 re-release of No Cities Left included "Don't Lose the Faith" and the content of their EP Protest. Videos were released for "Lost In The Plot" and "22: The Death of All the Romance". Murray Lightburn - Lead and background vocals and acoustic guitar, Fender Rhodes, melodica, midi programming, maracas, handclaps Natalia Yanchak - NordElectro organ and clavinet, synthesizers, Fender Rhodes and background vocals, handclaps Martin Pelland - Bass guitar, background vocals, handclaps George Donoso III - Drums, background vocals, handclaps Valerie Jodoin-Keaton - background vocals, handclaps Sam Roberts - Violin Heather Schnarr - Violin Matthew Perrin - Double Bass Josh Fuhrman - Tenor Saxophone, baritone saxophone Brigitte Mayes - Cello, Fender Rhodes, background vocals, handclaps The Brebeuf Brass: Matthew Watkins, Chris Seligman and Evan Cranley
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords or riffs. Post-rock artists are instrumental combining rock guitars and drums with electronic instruments; the genre emerged within the indie and underground music scene of early 1990s. However, due to its abandonment of rock conventions, it bears little resemblance musically to contemporary indie rock, borrowing instead from diverse sources including ambient music and minimalist classical; the individual styles of bands that have been described as post-rock differ making the term controversial among listeners and artists alike. The concept of "post-rock" was coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of Mojo magazine. Reynolds expanded upon the idea in the May 1994 issue of The Wire. Writing about artists like Seefeel, Disco Inferno, Techno Animal, Robert Hampson, Insides, Reynolds used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre and textures rather than riffs and power chords".
He further expounded on the term, Perhaps the provocative area for future development lies... in cyborg rock. Reynolds, in a July 2005 entry in his blog, claimed he had used the concept of "post-rock" before using it in Mojo referencing it in a feature on Insides for music newspaper Melody Maker, he said he found the term itself not to be of his own coinage, saying in his blog, "I discovered many years it had been floating around for over a decade." The term was used by American journalist James Wolcott in a 1975 article about musician Todd Rundgren, although with a different meaning. It was used in the Rolling Stone Album Guide to name a style corresponding to "avant-rock" or "out-rock"; the earliest use of the term dates back as far as September 1967. In a Time cover story feature on the Beatles, writer Christopher Porterfield hails the band and producer George Martin's creative use of the recording studio, declaring that this is "leading an evolution in which the best of current post-rock sounds are becoming something that pop music has never been before: an art form."
Another pre-1994 example of the term in use can be found in an April 1992 review of 1990s noise-pop band The Earthmen by Steven Walker in Melbourne music publication Juke, where he describes a "post-rock noisefest". The post-rock sound incorporates characteristics from a variety of musical genres, including krautrock, psychedelia, prog rock, space rock, math rock, tape music, minimalist classical, British IDM, dub reggae, as well as post-punk, free jazz, contemporary classical, avant-garde electronica, it bears similarities to drone music. Early post-rock groups often exhibited strong influence from the krautrock of the 1970s borrowing elements of "motorik", the characteristic krautrock rhythm. Post-rock compositions make use of repetition of musical motifs and subtle changes with an wide range of dynamics. In some respects, this is similar to the music of Steve Reich, Philip Glass and Brian Eno, pioneers of minimalism. Post-rock pieces are lengthy and instrumental, containing repetitive build-ups of timbre and texture.
Vocals are omitted from post-rock. When vocals are included, the use is non-traditional: some post-rock bands employ vocals as purely instrumental efforts and incidental to the sound, rather than a more traditional use where "clean" interpretable vocals are important for poetic and lyrical meaning; when present, post-rock vocals are soft or droning and are infrequent or present in irregular intervals. Sigur Rós, a band known for their distinctive vocals, fabricated a language they called "Hopelandic", which they described as "a form of gibberish vocals that fits to the music and acts as another instrument."In lieu of typical rock structures like the verse-chorus form, post-rock groups make greater use of soundscapes. Simon Reynolds states in his "Post-Rock" from Audio Culture that "A band's journey through rock to post-rock involves a trajectory from narrative lyrics to stream-of-consciousness to voice-as-texture to purely instrumental music". Reynolds' conclusion defines the sporadic progression from rock, with its field of sound and lyrics to post-rock, where samples are stretched and looped.
Wider experimentation and blending of other genres have taken hold in the post-rock scene. Cult of Luna, Russian Circles, Palms and Pelican have fused metal with post-rock styles; the resulting sound has been termed post-metal. More sludge metal has grown and evolved to include some elements of post-rock; this second wave of sludge metal has been pioneered by bands such as Giant Battle of Mice. This new sound is seen on the label of Neurot Recordings. Bands such as Altar of Plagues, Lantlôs and Agalloch blend between post-rock and black metal, incorporating elements of the former while using the latter. In some cases, this sort of experimentation and blending has gone beyond the fusion of post-rock with a single genre, as in the case of post-metal, in favor of an wider embrace of disparate musical influences as it can be heard in bands like Deafheaven. Post-rock appears to take a heavy influence from late 1960s
Gang of Losers
Gang of Losers is the third full-length album from Montreal band The Dears. It was released on August 29, 2006 in Canada under the Maple Music Recordings label and on October 3, 2006 in the USA under the Arts & Crafts label. On July 10, 2007, Gang of Losers was announced as a finalist for the 2007 Polaris Music Prize, alongside such other acts as Feist, Junior Boys, Chad VanGaalen. All songs written by Murray Lightburn. "Sinthtro" – 1:31 "Ticket to Immortality" – 4:22 "Death or Life We Want You" – 3:19 "Hate Then Love" – 4:44 "There Goes My Outfit" – 3:46 "Bandwagoneers" – 4:40 "Fear Made the World Go'Round" – 3:56 "You and I Are a Gang of Losers" – 4:57 "Whites Only Party" – 3:10 "Ballad of Humankindness" – 4:13 "I Fell Deep" – 4:56 "Find Our Way to Freedom" – 4:27The first 10,000 copies included an unlisted bonus track, "The Highest". The Australian and New Zealand version contained a bonus disc with four tracks, two which were recorded live at Triple J on June 8, 2006. Raise The Dead - 4:03 The Highest - 3:45 There Goes My Outfit - 3:52 Ticket to Immortality - 3:43 George Donoso III – drums Martin Pelland – bass guitar Valerie Jodoin Keaton – synthesizers, vocals Natalia Yanchak – piano, vocals Murray Lightburn - composition, other Patrick Krief – electric guitar, additional piano on "Ballad of Humankindness" Chris Seligman – French horn on "Sinthro" and "Ballad of Humankindness" Rev. William J. Lightburn – tenor saxophone on "Find Our Way to Freedom"
Missiles is the fourth full-length studio album by Canadian indie rock band The Dears, released on October 20, 2008 on Dangerbird Records in the United States and MapleMusic Recordings in Canada. The album was marked by creative tensions within the band. By the time the recording process was complete, most of the supporting musicians had left, leaving only core members Murray Lightburn and Natalia Yanchak. Lightburn subsequently selected several other musicians, including members of Pony Up, as a temporary touring band. George Donoso III - Drums, Background Vocals, Handclaps Roberto Arquila - Bass Guitar, Percussion Murray Lightburn - Guitar, Bass Guitar, Vocals, Percussion Patrick Krief - Guitar, Background Vocals, Percussion Robert Benvie - Guitar, Snyth, Background Vocals, Percussion Adrian Popovich - Guitar Natalia Yanchak - Keyboards, Vocals Aaron Seligman - Handclaps Jonathon Achtman - Handclaps Brian Smith - Handclaps Jason Thomas - Handclaps, Percussion Matt Watkins - Trumpet Chris Seligman - French Horn Evan Cranley - Trombone Jade McNelis - Violin Marika - VLNS Anthony Shaw - VLNS Kristina Koropecki - Cello Rev. William Lightburn - Saxophone Every Kid Choir: Amethyste Baranes, Samuel Baranes, Amelia Bonter, Esme Steadman-Gantous, Simone Steadman-Gantous, Erika Vigneault, Sinna Mouilin-Creyx, Varnen Pareukan, Abby Gilbert, Maria Gabriela RECORDING: Daniel Lagace, Drew Malamud - Studio Plateau, MTL Joseph Donovan, Adrian Popovich - Mountain City, MTL Jace Lasek - Breakglass, MTLMIXING: Roberto Arquila, Murray Lightburn, Drew Malamud - Hotel 2 Tango, MTLMASTERING: Bob Ludwig - Gateway Mastering, Portland, MEArtwork: Edward MaloneyA&R: Jeff Castelaz and Peter WalkerMANAGEMENT: DangerbirdLEGALMENT: Craig Averill, Esq.
Dangerbird Records - Album Release Information The Dears - Missiles - on Rdio The Dears - "Missiles" - on Spotify Missiles - "Money Babies" music video on YouTube Missiles - "Disclaimer" music video on YouTube Missiles - "Lights Off" on YouTube Missiles - "Money Babies" on QTV on YouTube
Degeneration Street is the fifth studio album by The Dears, released February 15, 2011 on Dangerbird Records in the United States and Pheromone Recordings in Canada. The album marks the return of several band members who were absent from the band's previous album Missiles, including Patrick Krief, Rob Benvie and Roberto Arquila. Advance promotion for the album included shows in both Montreal and Toronto in which the band played the album in its entirety; the album was named as a longlisted nominee for the 2011 Polaris Music Prize. "Omega Dog" - 5:01 "5 Chords" - 3:34 "Blood" - 4:09 "Thrones" - 4:33 "Lamentation" - 4:20 "Torches" - 1:36 "Galactic Tides" - 4:38 "Yesteryear" - 3:51 "Stick With Me Kid" - 3:28 "Tiny Man" - 5:04 "Easy Suffering" - 4:33 "Unsung" - 4:15 "1854" - 5:23 "Degeneration Street" - 4:57 The BandMurray Lightburn – Vocals, Other Natalia Yanchak – Keyboards, Vocals Rob Benvie – Guitars, Vocals Patrick Krief – Guitars, Vocals Robert Arquilla – Bass Guitars, Vocals Jeff Luciani – Drums, PercussionOther MusiciansMélanie Bélair - Violin Bojana Milinov - Viola François Pilon - Violin Sheila Hannigan - Cello Chris Seligman - French Horn Evan Cranley - Trombone Liam O'Neil - Baritone Saxophone Maia Davies + Anna Ruddick - "Ooh/Aahs"Other PersonnelProduction/Mastering - Tony Hoffer Sound Factory Studio B, Hollywood, CA Assistance - Cameron Lister Mastering - "Big Bass" Brian Gardener Bernie Grundman Mastering, Hollywood, CA Assistance - Marie Lewis Recording - David Shiffman Studio Mixart, Montreal, QC, Canada Assistance - Pierre-Philippe Boulay Art - Construction/Deconstruction - The Dears Art - Layout - Patrick Francis Guay / Rory Wilson / The Dears Photography - Richmond Lam Administration - Kat Sambor / Ben Berry Management - Jeff Castelaz / Dangerbird Management A&R - Jeff Castelaz / Peter Walker Legalment - Craig E. Averill, Esq./Serling Rooks Ferrara McKoy & Worob, LLP Rolling Stone - "A four-part song cycle involving apocalyptic prophecy and frozen hell, Degeneration Street reads as art-rock with a death-metal storyline...
Lightburn's amoebic tenor is still the main attraction: soul crooner one minute, punk shouter the next, he's a prime candidate for rock's next Broadway musical." Pitchfork - "Everything Degeneration Street attempts feels a bit too emphatic. When it rocks, it heads for the arenas; that problem has two-fold consequences. First, it makes many the songs maudlin and melodramatic unbearable. What's more, it makes each Dears approach-- heavy rock insurgencies, sweeping synthesizer ambles, big breezy janglers-- seem that much more polar; the album feels scattered and uneven, like a band without direction or restraint." Paste Magazine - "If Degeneration Street, The Dears’ fifth full-length, is any indication, they don’t seem to give too much of a shit. It’s the most Dears-like thing they’ve produced: an ambitious, insanely layered, eclectic concept album about the thick, looming boundaries that separate Heaven from the Hell we call Earth." BBC Music - "Degeneration Street has more than its fair share of catchy hooks, the usual Dears trademarks of stylistic diversity, with plenty of obvious pop references from the 60s to the 90s.
It will no doubt go down well at their famously torrid live shows, will be popular with drivers. Just don’t expect much in the way of subtlety, humour or lyrics that stand up to much analysis in a home listen context. Lightburn may have been compared to Morrissey, but it’s much more for his vocal tone than any strong sense of irony or wit." NME.com - "Degeneration Street possesses an adventurous spirit – albeit within The Dears’ now defined parameters.'Yesteryear’ juts out with ’60s pop charm, the band’s full-blooded power only blitzkrieging through in its chorus, while opener ‘Omega Dog’ and ‘Stick With Me Kid’ marry undercurrents of nocturnal electronics and coy strings to the more recognizable guitar and vocal traits. Though, its success still falls on Lightburn’s shoulders, a vocalist who’s always straddled the line between impassioned and overwrought, his idiosyncratic faux-British growl is as passionate as ever. Clash Music - "Degeneration Street fits the mould well and is an articulate piece of work.
The former influences have become diluted and the band stands as its own protagonists, inventive for sure but flirting with commercialism en route. Few albums this year will match up to the level of proficiency and commitment here and yet it remains a distinct probability that the world still won’t listen. An album that will shadow most others." The A. V. Club - "Degeneration Street is a credit to Lightburn’s songwriting acumen and stubbornly heightened emotions; the Dears make some bulky records, but no half-hearted ones." The Dears Official Website Dangerbird Records - Degeneration Street Album Release Info The Dears - Degeneration Street on Rdio The Dears - Degeneration Street on Spotify Degeneration Street - "Omega Dog" Music Video on YouTube Degeneration Street - "Omega Dog" Live @ Sonic Boom Records on YouTube Degeneration Street - "Blood" Live in Mexico City on YouTube Degeneration Street - "Yesteryear" Live on KEXP on YouTube