But he really, he puts a lot of attention into detail and he left a lot of the vibe up to the band. It's kind of crazy how well kept it is and how much he knows and how - we called his studio Buttons and Buttons and Buttons and Knobs - there was just so much gear and craziness going on in there. And he very much studied everybody for the first little while that we were down there, to see who was bringing what to the table. We spent time - excuse me - a lot of time down in Chicago, spent some time in Toronto. And we did this over - we had a lot of time to record this record and we spent a lot of time down in Toronto. And he did bring a fresh sound to us because he's very meticulous in how he records. DREW: Well, he brought a fresh way of us working together, that's for sure. So what did he bring to the game? What effect did he have on your sound? But since I have your attention, I got to give you want you want and maybe I'll in the trailer. CANNING: Yeah, and a little Bacharach, of course.īROKEN SOCIAL SCENE: (Singing) I got to make believe it be that way. DREW: A little Van Morrison, "Love Boat" vibe. CANNING: Yeah, a little "Love Boat." A little "Love Boat." Maybe. DREW: I like to throw the "Love Boat" in there as well. That's where you're getting that sound from -all, you know, these great players and all of us sort of collaborating. On that tune in particular, you got Charles Spearin, Bryden Baird who was a longtime Feist collaborator, and Evan Cranley. You know, there's so many great horn players. CANNING: You know, we sort of, we love Motown. CANNING: I think whatever you hear, then you're right. Now, I mean is this Motown I'm hearing or is it like Stax/Volt horns that I'm hearing? HANSEN: Let me ask you about a specific cut then, "Art House Director," great horns in this. And I know Brendan has always wanted to just try a concentrated effort with a record and we did, though we do have 31 guests on this album, B.īROKEN SOCIAL SCENE: (Singing) (unintelligible)
And we toured all over the world in 2008, and it just came together. DREW: It just became apparent that the Charles Spearin and Andrew Whiteman, Justin Peroff, Sam Goldberg, Brendan and myself were becoming this tight-knit band. How do you think that's affected your sound? But you scaled back the size, if I'm not mistaken. This actually, what I've been reading about you, Broken Social Scene, is more of a collective than I guess what could just say a band. And all those things over the last 10 years have happened to all of us, and so it just seemed like the right notion to go with. And in families you got to forgive and forget, and then you have highs and lows. It just seemed like the reason we were all back together was because we're kind of like a family. DREW: Actually, we were opening up that emotion to everyone. First of all, I wasn't sure if you were playing with refrigerator magnets or there is something behind the title of the new album "Forgiveness Rock Record." I mean, are you apologizing for something? CANNING: I - which one, who's Plant and who's Page? HANSEN: All right, here's I mean the obvious question hanging in the air now: who's Lennon, who's McCartney? BRENDAN CANNING (Musician, Broken Social Scene): Yeah, hello as well, Liane. KEVIN DREW (Musician, Broken Social Scene): Hi. "Rolling Stone" magazine once called them the Lennon and McCartney of the group. We're joined now from the studios of the CBC Toronto by two founding members of the group.
They've since scaled down, though you wouldn't notice it, given the energy level of their new CD. Back in the day it wasn't unusual to see some 15 players on stage at one of their concerts.
HANSEN: Broken Social Scene has been around for a decade now. And when vocals belt out the chorus, you get the big sound of Canada's Broken Social Scene.īROKEN SOCIAL SCENE (Rock Band): (Singing) Forced to love. Here's the lineup: a drummer pounds a driving beat, a punked-out fuzz bass keeps time with jangling lead and rhythm guitars, a keyboardist, even a flute player join in.
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