Well, right from the word go; this album shows that they’re still Broken Social Scene and not letting anyone change that. In signature BSS style, they start this album slowly, with a mostly instrumental track to remind everyone just who BSS are. But it doesn’t really kick off until lead single ‘7/4 (Shoreline)’ a happy go-lucky pop song full of brash intelligence and a wonderful feel-good rhythm (where they actually succeed in trying to sound like Pretty Girls Make Graves but without the punky, distorted guitars). Not only that, but it’s one of the few catchy pop songs that managed to be in an interesting and unique time signature, which shows their progressive nature and desire to push things forward in the pop-Indie music world. So far, so good.

And from there on, the album continues to surprise, please and stay unique in a way only Broken Social Scene can. From the obscure beats of ‘Major Label Debut’ to the fast paced, dance rhythm filled ‘Fire Eye’d Boy’, this is classic stuff from BSS yet again. However, fans of previous records at this point will feel a little underwhelmed; after all, this album so far hasn’t been a massive progression on YFIIP. It’s not until ‘Windsurfing Nation’ that we really see the direction Broken Social Scene has moved in. Said track being a very alternative dance and hip-hop influenced track, in fact, this song alone sounds like a b-side of an early Tricky song, helped by the guest vocals of K-OS. And again, in a way only BSS can they pull this new direction off effortlessly, and then some.

This urban theme sits within the album for the next few songs, and manages to deliver the usual BSS style of relaxing, exciting and pleasing in a whole new way. It is, however, in the final section of this album that really accents BSS’s uplifting sound, clearly saving the best until last. ‘Superconnected’, for instance, shows BSS’s heavier edge and sounds like a whole new version of the previous album’s anthem ‘Almost Crimes’ but times ten. This track, full of multi-layered guitar riffs, driving drum beat and catchy sing along vocals from Canning, is one of the most uplifting and euphoric experiences you will hear for sometime, and easily will become an anthem of 2006, regardless of whether BSS really do break into the mainstream.

Then, in a complete change of direction, ‘Bandwitch’ shows a yet unseen, creepy, atmospheric, and generally 'nervous' side to BSS. It still has all the textures and hooks you could expect from a BSS song, but this time takes a very dark side, verging on anxious tribal music, complete with a haunting female vocal harmony, tribal drums and guitar and piano sounds floating in and out of the listener’s view without being detected, a style Nick Cave has been famous for perfecting throughout his career. This track is like Broken Social Scene taking a trip to the jungle and, through their appreciation and tourism, have created this, one of the most sinister yet enjoyable tracks the band have created.

So really, it is clear BSS have achieved exactly what they wanted to do. This is another classic album from the seventeen or so strong band which still compliments their earlier sounds but deviates away from it enough to keep it unique and enjoyable. Where this band will go next is unheard of, perhaps they wont. But what’s important is that this is an equally important album as ‘You forgot it in People’ and may or may not push them into the mainstream. Who knows, who cares, and it really is irrelevant to this, but it’s possible that they could quit while they are ahead from here. While listening to this album, I came up with a theory that, this could possibly be like the relationship of Converge’s last two albums. ‘Jane Doe’ is the widely appreciated record with a diverse sound and a universally passionate energy, but it also the easier of the two to break down and enjoy, it is, if you can use such a term with Converge, the poppier album. ‘You Fail Me’ however some critics disregarded as their worst work, but in the eyes of others, their most progressive and focused, partly due the lack of catchy hooks. And this could well happen here, as ‘You forgot it in People’ is a much catchier, diverse album, but this is the more focused and progressive of the two. But the fact remains that this album will leave you with a warm smile in your heart, (particularly by the time you reach the end of the epic ‘It’s all gonna break’, and for any new fan, is essential. The ultimate post-work album, and quite possibly the album of 2006, but let’s give 2006 a chance, it’s only been a month.

Adam Turner-Heffer