| · This collection of B-sides is the third album released by Broken Social Scene.
True fans of Broken Social Scene will be pleased with the band’s latest endeavour, Bee Hives. The album, a recording of B-sides and experimental ideas, came about while the band was in desperate need of a break between recording their first and second albums. Even so, Bee Hives invokes a feeling of calm and peacefulness – kind of like that fuzzy state between sleep and consciousness.
Abstract yet melodic, Broken Social Scene enthusiasts will enjoy the atmospheric sounds and beats of the new recording which is most reminiscent of their first album, Feel Good Lost. The last track "Lover’s Spit," a re-recording from their sophomore release, You Forgot it in People, is undoubtedly one of the most beautiful songs on the album. Vocalist Leslie Feist sings her rendition with such tenderness, it makes you want to endure the pain of being jilted by a special someone just so you can medicate yourself by listening to the track over and over.
Although teeming with soothing instrumentations and hypnotic vocals, Bee Hives is nothing less than a medicated blue pill to lull you into dreamlike escapism.
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| · Bring on the B-sides and rarities, bring on the backlash. To quote a friend, "More like boring social scene."
Given the popularity with which Toronto scenesters Broken Social Scene have dominated non-commercial music in Canada, the fact that they are releasing a B-sides and rarities compilation will be much ballyhooed. The question though is, how much worthy supplementary material can they have after only releasing two full-lengths.
In my opinion not much – the songs on Bee Hives lope along with a pace that isn’t self-conscious by any means, but unfortunately that translates into pure self-indulgence. With most of the songs over (and in some cases well over) the five-minute mark, most of the album feels aimless as opposed to interesting.
That is not to say that Bee Hives is without its moments. The Yo-La-Tengo-inspired "hHallmark" is a bubbling charmer of an instrumental and it’s hard to argue with Amy Millan’s (of Stars) guest vocals on "Backyards," but the remainder doesn’t put forth any effort to grab attention. It’s as though the band is content to rest on their laurels, not realizing that there was a reason these songs were B-sides in the first place.
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