Lackluster Theatrics

For the The Dears’, 2015 is something of a comeback year. The Canadian indie rock band have released a string of albums going back as far as 1995, the last being Degeneration Street in 2011. The group has since been quiet, but busy working on their follow up—a two-volume release called Times Infinity. When speaking to The Montreal Gazette, keyboardist and vocalist Natalia Yanchak said “Volume 2 is a little bit darker. Volume 1 is a little more positive — in a Dears way.” While Volume 2 is anticipated for 2016, listeners their first album in four years with Volume 1.

There is a strong sense of positivity that runs through these ten songs, reinforcing Yanchak’s comments. Each song is approached with a level of alacrity that makes the album immediately listenable. The album cover even glows with nostalgia and warmth. But though The Dears’ energy and theatrics have long been their trademark (evidenced by the overwhelming positive reviews about their live performances), these theatrics and attempts at arena-ready pop fall short on Times Infinity Volume One. The lyrics are far too vague, repetitive and conventional to induce a meaningful emotional response, and the songwriting feels stagnant and rigid. On “I Used to Pray for the Heavens to Fall” a song just about as long and cliche as the title, singer/songwriter Murray Lightburn sings, “Nobody’s called here in days / No one ever calls these days / Looking out at the city lights/ Looking down on the street tonight.” This is only one example of the mix of overt drama and unoriginality that makes the record so challenging to get close to, while distracting from the music underneath it.

Times Infinity Volume One contains an eclectic sound, but to such a degree it is hard to catch the thread that connects the songs. The album feels scattered and directionless. At times, The Dears are loud and energetic, while other moments see the band adopting a clean and pop-driven sound. This contrast makes the album feel uneven. Furthermore, their use of faded ’80s synth and percussion flourishes sounds outdated, particularly within a musical climate where so many other artists are doing the same.

Still, there are a few engaging moments on the album. The final track “Onward and Downward” swirls with synths that move into moody and chaotic horns, with delicate singing by Yanchak. Elsewhere, “Hell Hath Frozen in Your Eyes” is operatic and atmospheric, and the song where Lightburn’s voice is strongest.

But ultimately, Times Infinity Volume One is a disappointing comeback. One might hope that Volume Two will pull the project together, and create a far more realized release than how it currently stands.