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In Our Bedroom After the War

by

Stars

 
In Our Bedroom After the War
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Avg: 4.0 (636 ratings)

Canadian indie-poppers protest at the barricades of love.

  • We Say...

    Review by Peter Parrish

    Mid-2007 turned out to be a bountiful time for Stars fans. The collective remix project Do You Trust Your Friends? arrived in May, and two months later — well in advance of its CD version — came the follow-up to 2005’s indie-pop feast Set Yourself On Fire.

    For much of In Our Bedroom After the War, vocalists Torquil Campbell and Amy Millan appear to be channelling the liberated, emotional excess of the Romantic poets, invoking a sense of willful abandon which tinges the record with glee. Even as keyboards ring sadly and voices tell of relationships on the brink, it still feels as though someone, somewhere is getting their carefree kicks — as if our Canadian wordsmiths are waltzing at a lakeside retreat, revelling in the sensations they’ve unleashed.

    When they’re not rushing headlong at tragic lovers, surging choruses goad the group towards the barricades, into the rioting fray. Lines of conflict, both escalating and resolved, contribute to the central conceit of dizzying highs and lows. Even the gentle, horn-flecked sway of “My Favourite Book” hints at this duality — driven by devotion, but also invigorated by the wider knowledge that heartbreak could be just a page away.

    As might be expected, the strongest hook in the Stars orbit remains the vocal interplay between Campbell and Millan. Whether exchanging quips on the none-more-lonely skit “Personal” or jostling for territory on “The Ghost of Genova Heights,” their contrasting tones complete the rich instrumentation, like the silk lining of a debonair garment. As the closing title track breaks into a stately piano-stride, Campbell softly intones “It’s us / Yes, we’re back again / here to see you through / ‘til the day’s end.” He’s right — but what his comforting message can’t quite convey is the breathless nature of a typical Stars day; twenty-four hours devoted to the terrible, brilliant cost of love.

  • They Say...

    Review by Jason Lymangrover, All Music Guide

    In Our Bedroom After the War may prove that Torquil Campbell would be better off orchestrating Broadway show tunes instead of playing the part of an indie pop frontman. The titular song that ends Stars' fourth album is a heavily layered theatrical production laced with birds singing and bells ringing as Campbell's relationship culminates with a choir of voices and a massive symphonic crescendo. Campbell and crew are striving for a bigger-is-better formula, watering down the majority of their rock sensibilities with heavily layered chamber pop and this makes for a mixed bag. While some of Stars' best songs appear on this record, others are performed with such an overstated bravado that it renders them too sour to digest. "Personal" is a character-driven melodramatic ditty that chronicles a protagonist who places a newspaper ad and is stood up because she is too obese. Two schmaltzy piano ballads feature Campbell delivering his best imitation of Morrissey covering Elton John, in a manner of campy crooning that could easily be interpreted as pomposity. With the exception of those decadent stinkers, and a few mediocre numbers, Campbell and Amy Milan churn out some of their best work and harmonize soothingly throughout. One of their most instantly catchy singles "Take Me to the Riot" capitalizes on a snappy hook vaguely reminiscent of Ned's Atomic Dustbin's "Grey Cell Green," and sits well alongside the candy-covered Rhodes and orchestral flavored breakbeat of "My Favorite Book," which could fit on a greatest-hits record by the Cardigans. The themes of sweet, sweet lost heartbreak are still evident, and the enhanced sheen makes the material sound more like contemporary easy listening music than ever. Since the group is on the Arts & Crafts label (home to Broken Social Scene), they can still be described as indie, but they're just barely holding on to that credibility. While it wouldn't be surprising to hear Set Yourself on Fire while shopping at Urban Outfitters, this album seems ideal for The Gap. As a whole, the band sounds tighter than ever, and if they continue down this road, and keep inflating their production like a balloon, there's a danger that they could easily go pop. Until then, keep your head up, there's no need to reach into their back catalog just yet. [Also released with bonus tracks.]

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