Third time's a charm for Canadian's latest album
Erin Shea
Issue date: 9/11/09 Section: Entertainment
9/11/09 - After releasing two failed albums in the United States, Canadian rocker Sam Roberts seems to have finally gained a small footing here with his third album, Love at the End of the World.
While Roberts had minor success here with the single "Brother Down" off of his U.S. debut, We Were Born in a Flame, it never really stuck. Whether this latest success lasts is yet to be seen, but Roberts' most recent singles, tellingly, are more evocative of We Were Born in a Flame than his second, less successful album, Chemical City, if that's any indication.
Being a long-time fan of Roberts though, I must say that I'm disappointed in the musical rewind he's got going these days. As I am a member of the minority who found the more experimental, concept-driven Chemical City to be far superior to his still excellent, but safer debut.
It's still Sam Roberts though, which means Love at the End of the World is still made up of the same simple, classic rock that he's known for.
The Montreal native has always drawn more from Bruce Springsteen than any of his fellow Canadians, and that influence is clear on this effort. It's a record driven by Roberts' conviction, an emotional pull that few others possess.
It could be due to his extreme prominence in his native Canada, but Roberts has this uncanny ability to make every song arena-ready. When Roberts is jubilant, you can feel it through the speakers. When he's angry, you can't help but be pissed off too. He's not afraid to get a little gritty. The production isn't perfect and sleek and the lyrics, while profound, are simple, uncomplicated lyrics.
The first single, "Them Kids" features a rollicking chorus that will be stuck in your head for days, guaranteed, but it does seem a little out of place. This is because Roberts, 34, is a little young to be singing about the poor musical tastes of young people today.
It's a good song, which has rightfully received some airplay here, but Love at the End of the World is so chockfull of far superior songs, such as the psychedelic, dreamy "Lions of the Kalahari" or the rebellious and aggressive "Up Sister" that could have made better, more accessible singles.
However, despite my disagreements with some of Roberts' choices for this album, namely the musical retread, he still remains one of the most solidly entertaining artists out there-one worthy of just as much fame in the United States as he currently enjoys in Canada. So watch out for him, because hopefully this time his success will stick.
While Roberts had minor success here with the single "Brother Down" off of his U.S. debut, We Were Born in a Flame, it never really stuck. Whether this latest success lasts is yet to be seen, but Roberts' most recent singles, tellingly, are more evocative of We Were Born in a Flame than his second, less successful album, Chemical City, if that's any indication.
Being a long-time fan of Roberts though, I must say that I'm disappointed in the musical rewind he's got going these days. As I am a member of the minority who found the more experimental, concept-driven Chemical City to be far superior to his still excellent, but safer debut.
It's still Sam Roberts though, which means Love at the End of the World is still made up of the same simple, classic rock that he's known for.
The Montreal native has always drawn more from Bruce Springsteen than any of his fellow Canadians, and that influence is clear on this effort. It's a record driven by Roberts' conviction, an emotional pull that few others possess.
It could be due to his extreme prominence in his native Canada, but Roberts has this uncanny ability to make every song arena-ready. When Roberts is jubilant, you can feel it through the speakers. When he's angry, you can't help but be pissed off too. He's not afraid to get a little gritty. The production isn't perfect and sleek and the lyrics, while profound, are simple, uncomplicated lyrics.
The first single, "Them Kids" features a rollicking chorus that will be stuck in your head for days, guaranteed, but it does seem a little out of place. This is because Roberts, 34, is a little young to be singing about the poor musical tastes of young people today.
It's a good song, which has rightfully received some airplay here, but Love at the End of the World is so chockfull of far superior songs, such as the psychedelic, dreamy "Lions of the Kalahari" or the rebellious and aggressive "Up Sister" that could have made better, more accessible singles.
However, despite my disagreements with some of Roberts' choices for this album, namely the musical retread, he still remains one of the most solidly entertaining artists out there-one worthy of just as much fame in the United States as he currently enjoys in Canada. So watch out for him, because hopefully this time his success will stick.
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