We review 'Lover's Rock' the latest album from Montreal art-alt-rockers The Dears

The Dears, from Montréal have announced the release of their eighth studio album “Lovers Rock” which is out on 15 May 2020 on Dangerbird Records.

Formed in 1995, their breakthrough came in 2003 with the release of the album “No Cities Left” described as a romantic soundtrack to the uncertain times, caused by with 9/11, war in the Middle East and the looming economic crisis. Strange how, almost two decades later, for the release of “Lover’s Rock” times feel uncomfortably similar.

In promoting the new title Murray Lightburn has drawn a direct line between the dark doom feel of “No Cities Left” and this album,” adding that you can play the new album then the old one back to back and they interlock. There is a difference though as Lightburn explains that around 2001, it felt like, “we have no control. We don't know what's going to happen next.” Now it’s a doom that's within our grasp. “It’s in the air. It’s between us. But we do nothing about it.”

On Lover's Rock, Husband and wife team Murray Lightburn (vocals & guitar) and Natalia Yanchak (vocals & piano) are joined by longtime drummer Jeff "Looch" Luciani, who's been in the fold since 2011’s “Degeneration Street”, and two holdovers from Lightburn's solo record, Steve Raegele (guitar) and Rémi-Jean LeBlanc (bass). There’s also a string section, a cameo from fellow Montrealer Sam Roberts (who was also on No Cities Left) and saxophone from both Canadian Alex Francoeur and the E Street Band’s Jake Clemons (on the rattling “Stille Lost”).

The Dears have always made apocalyptic love songs for an existential crisis, there are also certain sonic and aesthetic parameters ever present, within which the music can be both unsettlingly experimental and impossibly lush.

From what I’ve been written you’d think this was doom laden post apocalyptic punk or some kind of angry metal, but you’d be wrong. What is so amazing with The Dears is great orchestral / indie / art / rock sound. Bright, complex, flowing and intricate.

The album opens with the anthemic ‘Heart of An Animal’ with beautifully crafted vocals the lyrics paint a picture of the dystopian reality we have arrived at, but delivered in a hauntingly light way. Because of this clever crafting it delivers its message so effectively.

‘I Know What You’re Thinking About and it’s Awful’ slows the pace down with a wonderfully atmospheric style focused on the piano and muted organ tones and strong underlying bass, the chorus of “I can’t forget it…. I’m not over you”. It has a soulful feel to it…. Just beautiful.

Next up we have ‘Instant Nightmare’ which contracts so well with the previous track, with it’s loud and brash intro. Lyrics sung by Natalia it’s a dystopian anthem…. “It’s an Instant Nightmare, it’s like we’ll never wake up…… we know its all a scam” I loved the way the lyrics are delivered against a minimalist background in an almost synthetic/replicant style… emotionless way and then the music grows in between. Wonderfully effective delivery.

The pace and feel changes again with an almost Cure like guitar entry to the next track ‘Is This What You Really Want’. Again the lyrics cut across the soft delightful calm track so effectively with their bold form “nobody wants to die but does anyone want to live every day going through the motions” The chorus is a delightful duet between Murray and Natalia with a muted sax backing.

‘The Worst in Us’ is more upbeat and catchy and has a fantastic drum and piano section in the middle before the tempo changes with the introduction of lead synth sounds, which leads on to ‘Stille Lost’………….. The intro blew me away and the first few bars made the hairs stand on end on my arms and reminded me so much of the classic Bauhaus track ‘Bela Lugosi’s Dead’. Murray’s vocals are excellent on this track, demonstrating a wide range with a wonderful deep introduction. As the song develops the volume increases and is underpinned by a beautifully passionate sax performance.

The decibels drop suddenly and the tempo changes again as the tranquil intro to ‘No Place on Earth’ comes in, before being rudely interrupted with a raw guitar track. This tranquillity is interrupted with a blossoming of raw, muffled indie guitars as Murray sings “I don’t care where I’m going but I won’t be without you”. The additional injection of a more grunge inspired guitar later in the track helps it build towards an intense energy, before suddenly slowing right down to end of light and delicate vocal notes.

The next two tracks shift the style quite dramatically. First we have a much more Rhythm and Blues, or Motown kinda feel to ‘Play Dead’ which is followed by an almost 70’s like folk ballad styling to ‘Too Many Wrongs’. I loved the positioning of these towards the end. The change felt right before we reach the end of our “Lover’s Rock” journey.

Finally, we come to ‘We’ll Go Into Hiding” like most of the album with it’s organ/synth and string undertones to a canvas of textured guitars and bass, with a delightful flute weaving through almost Fleetwood-esque. But the real highlight here is the lyrics, again well delivered by Murray. It brings all the dystopian gloom to an end as it weaves the story to it’s conclusion. As the music trails away to silence the lyrics fittingly are your final memory of this album:

“I don’t want to hear excuses, we’re leaving this place tonight, building a better future, it’s going to be alright”

“I promised you a good life, you’ll never turn back the clocks, we’ll make it last forever, on Lover’s Rock”

The Dears upbeat musical style with downbeat lyrics and themes could seem unusual and maybe it makes it more challenging for their sound to reach a wider audience. BUT, The Dears have extraordinary musical skill, wonderful vocals (both Murray and Natalia), and with this they craft beautiful soundscapes. “Lover’s Rock is an excellent album and they maintain a high standard throughout. Favourite tracks are ‘Instant Nightmare’ ‘Stille Lost’ and ‘We’ll Go Into Hiding’.

Best played from start to finish. This is an excellent addition to any vinyl collection and worth a solid 4/5 score.