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Forgiveness Rock Record CD

4.7 out of 5 stars 9 customer reviews

Price: £9.16 & FREE Delivery in the UK on orders over £20. Details
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Product details

  • Audio CD (10 May 2010)
  • Number of Discs: 1
  • Format: CD
  • Label: City Slang
  • ASIN: B003A2J984
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Bestsellers Rank: 84,516 in Music (See Top 100 in Music)
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Product Description

BBC Review

Given that most albums suffer from a woeful dearth of ideas, it may seem somewhat perverse to criticise one for flourishing too many. However, Forgiveness Rock Record–the fourth album by Canadian collective Broken Social Scene, and their first for five years–would have benefited immensely from brisk editing. It's not that the umpty-dimensional indie-prog melange presented here is objectionable–far from it–but that it's so unfocused that it becomes difficult to perceive Broken Social Scene as anything but the musical equivalent of a chimpanzee typing pool: when they do come up with something lucid, it feels like it's rather more by accident than design.

Inevitably, Forgiveness Rock Record is the result of the deliberations of a committee. Hilariously unwieldy hodge-podges like this usually are, and often in proportion to the size of the collective that created them. Even after what the accompanying press release calls a "paring down", Broken Social Scene's current core line-up still consists of no fewer than seven people, and the giddying roster of guest performers on Forgiveness Rock Record runs into double figures, including contributions by members of Stars, Metric, The Sea & Cake and The Weakerthans. By about halfway through, it's difficult to be entirely confident that you didn't play bass on a couple of tracks yourself.

There are some great moments here–given the number of personnel deployed, the law of averages alone would have ensured that. Texico Bitches is dreamy, gentle indie-pop that recalls the canon assembled by legendary New Zealand label Flying Nun (The Chills, The Bats, et al) in the late 1980s. Meet Me in the Basement is an exuberant, stomping-gospel instrumental that sounds like it's waiting for the Polyphonic Spree to contribute a suitably exultant chorus. Ungrateful Little Father, initially a spare Eels-like ballad, feels like a highlight, but it may be that its apparent relative simplicity has the same appeal as being offered a plain cracker amidst six courses of extravagant gateaux–at least until it, too, outstays its welcome, nudging seven minutes, most of which is vacuous noodling evocative of a failure to tune in a shortwave radio.

Though clearly as replete with imagination as they are with personnel, Broken Social Scene would benefit from the attentions of a less indulgent producer. So would anybody who buys their future albums. --Andrew Mueller

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Customer Reviews

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Top Customer Reviews

Format: Audio CD
For many Broken Social Scene's 2005 self titled third album was the musical equivalent of Marmite and many reviewers seem to either love it or hated it. It does have some great songs not least "7/4 Shoreline" and "Ibi Dreams of Pavement" but sometimes even on those you felt that the sheer number of musicians in the band almost consumed and devoured all available musical space on the record. On times it all turned into a rather messy and confused cacophony. It contrasted greatly with the sure footedness found on their second album "You Forgot it in People" one of the best albums of the past decade and a clear shot across the bows to there great Canadian rivals the Arcade Fire.

What then about "Forgiveness Rock Record". The first point to make is that it is a long album packed with musical ideas some of which work so well you sense it is there best work thus far. Alternatively other parts leave you praying to the god of musical editing that one day someone may honestly tell the frontmen Brendan Canning and Kevin Drew that size doesn't matter and less is more. As a result there are a couple of gripes to get out of the way. "Texaco bitches" for instance is a song that David Bryne would have discarded from rehearsals for Talking Heads 77. "Highway slipper jam" starts off like someone is about to sing "daylight come and me want to go home" and goes into a fairly dull and plodding acoustic song with whistling. I'm not certain about the instrumental "Meet me in the Basement" although it could be a grower, alternatively "Water is Hell" is at best a bonus track and could have been happily left of an album that clocks in over 64 minutes.

But enough of the grumps. The bulk of this album is scintillating stuff.
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Format: Audio CD Verified Purchase
I bought this one recent. I was surprised by this wonderfull cd. Marvelous music where the songs are so poppy and so diffirent on individual listening. Allthough the music is so coherent. listen to ' chase scène' ' all to all' and ' THE sweetest kill' but do not forget the rest of the songs. The best CD of BSS ever.
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By Syriat TOP 1000 REVIEWER on 23 May 2011
Format: Audio CD
I first heard of Broken Social Scene when their second album Broken Social Scene came out. I won it in a 6music competition. And it was one of the most eclectic records I think I ever heard. I filed it away (loving some of it deeply and just not getting other parts of it) and forgot about it. Until I was in a record shop recently and saw the new CD. And I bought it on a whim. Simply put I should buy more CD's on a whim

Forgiveness Rock Record does something which very few CD's do these days. It divides opinion. Everyone seems to disagree on their favourite track. Some loving (for instance) Texico Bitches whilst others claiming it the weakest track on the album - I love it by the way. But every track seems to grow on you.

The opener, World Sick, is an upbeat tongue in cheek number that kicks off the album with a bang. And this is pretty consistently kept up in quality terms until track 4 - Forced To Love. Guitars crash, Vocal harmonies swoop in for the chorus and we hear the first real masterpiece of the album. Check Youtube out for the Letterman version.

Don't worry the swishing air like vocals are also still there, whilst never quite reaching 7/4 (Shoreline) heights tracks like All To All really do work well. Ungrateful Little Father, with its sweary chorus, really seems to lodge in brain for a long while after listening to it. Its just a quirky memorable track. And what would seem throwaway in other peoples hands seems expertly put together here. Not to say that every track is a gem. the close, Me and My Hand, is just a little too poor. Water In Hell is eerily reminiscent of Pavement. But in a good way, although its starting to grate. And horns can be overused on occasion - Art House Director sounds like The Zutons if they were any good.

This is an album which delivers something new on every listen. And makes you wish they were a bit more prolific.
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Format: Audio CD
My first impressions of this long awaited album (5 years!) from Broken Social Scene is that is a clear improvement on their previous, self-titled one. The real question, however, is whether it can reach the heights of You Forgot it in People (YFIIP)

This album features less contributors than the self-titled album; and as a result many of the songs feel that bit leaner and less bogged-down than its predecessor. In my mind this is a good thing.

One thing did did strike me was that a large number of the songs are quite melodic and accessible, with the vocals clear and up-front in the mix, for example the first single 'World Sick' (possibly too long for a single, although it will no doubt be chopped up for a 'radio-edit'), 'Chase Scene' and 'Forced to Love'. These songs for me are more reminiscent of YFIIP than their self titled record.

'All to All' is more of a departure for the band, and is also excellent - drum machines and a nice string-section is the backdrop for new band member Lisa Lobsinger's magnificent vocals. This is a highlight on the album for me, along with 'Forced to Love'.

While there are many enjoyable individual tracks present on this record; there is quite a diversity in the songs, which is probably the inevitable result of the number of strong contributors to it. While this is always the case with BSS to a degree, with this one I have not got the feeling that the whole things works as well together as either YFIIP or indeed Feel Good Lost did. I think there is something of a balance missing, with some tracks meandering on for too long, and others not quite fitting in with the tracks preceding or following them.

As to the earlier question - can it stand up to Your Forgot it in People?
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