“Well, the only way I see this happening is in an extended ride North.” This spoken-word introduction, borrowed from Canadian pianist Glenn Gould’s 1967 documentary The Idea of North, begins The North, the sixth studio album from Toronto indie outfit Stars. The intro hearkens back to the group’s origins and the success of 2004’s Set Yourself on Fire, and indeed could not be more appropriate—a return to the basics results in an album that, while somewhat formulaic, is emblematic of a sound best described as uniquely Stars.
The opener, “Theory of Relativity,” begins with pounding drum pad beats and a catchy synthesized rhythm, setting a light and upbeat tone for the album. Airy keyboard runs lead into Torquil Campbell’s smooth vocals, which sprinkle a touch of Stars’ classic romanticism on the track. Amy Millan soon joins Campbell, initiating the iconic interplay between the two singers’ soothing voices.
The duo’s call-and-response style unfortunately makes few appearances on The North, but each instance it does makes for a noteworthy track. “The Loose Ends Will Make Knots,” for example, features Campbell and Millan’s alternating lines amid a series of claps and subdued synth melodies that all converge at the chorus: “You’re all I’ve got / I just want your past / I just want you now.”
Though Stars has been known for such cheap lyrics, the vocals have heretofore been well-executed and, for the most part, possess a certain naïve charm. With “Do You Want To Die Together,” however, The North reveals its only weak point: the cheesy and all-too-repetitive lines of, “Do you want to die together / Yes I do, yes I do,” combined with mundane alternating guitar chords make the song entirely unbearable.
In spite of this unfortunate lapse in judgment and a dearth of vocal exchanges between Campbell and Millan, The North stands out as one of Stars’ best. Amy Millan carries the album with tracks like “Lights Changing Colour,” which showcases her voice against reverberating drumbeats and background keyboard and synthesized melodies. “Backlines,” a crunchy, guitar-driven song punctuated by occasional string interludes, also allows Millan to shine.
“The world won’t listen to this song, and the radio won’t play it,” sings Campbell on “Hold On When You Get Love and Let Go When You Give It.” “But if you like it, sing along.” On this track, as well as most of The North, few listeners will be able to ignore this instruction.
Voice’s Choice: “Backlines”
