knowncutter's Full Review: Return to the Sea [Digipak] by Islands
If one were to metaphorically relate the music of Islands Return to the Sea to an actual island, an idea so corny and unimaginative I scoff at its very presence, they would probably take the following approach. First they would suggest an island containing lush, diverse forestry, to represent the all encompassing eclecticism of the music on Return to the Sea. Next they might attempt to portray some sort of utopian environment with constant sunlight and cuddly creatures (I’m thinking chipmunks with cheeks the size of small bowling balls), naturally detailing the exuberant, occasionally giddy joy of Islands indie pop. If the poor misguided soul insisted on carrying this exercise even longer, they might concoct some convoluted island on which the only liquid available to satiate your thirst was milk. This symbolism of course is used to make clear that Islands miscellaneous ways of presenting their indie pop are not for everyone, for example the lactose intolerant or people that simply don’t like dairy products.
In a perfect world, such an elaborate analogy, however obtuse and juvenile it may be, would be enough to make clear the central intricacies of this album. Fortunately for you, I realize that my hypothetical, clichéd analogy is not only obnoxiously vague, but is also insulting to anyone who values things like dignity. Consequently, I will now carry on as if such a terribly mediocre metaphor never happened.
Islands is the necessary offspring conceived from The Unicorns, a Canadian trio that self-imploded after only one release, Who Will Cut Our Hair When We’re Gone?. Actually, to say they self-imploded would be something of a stretch, seeing as Islands retained two thirds of the group’s core: lead singer/songwriter Nick Diamonds and drummer Jaime T’ambour (guitarist Alden Ginger left the band for personal reasons).
Islands recognize their roots, but rather than adhere strictly to them they build upon the enormous unfulfilled potential of the Unicorns. That said, in no way does the band even attempt to come across as The Unicorns Jr.
One of the Unicorns biggest flaws was wasting the occasional excellent melody by never repeating parts of a song. Nick Diamonds rectifies that wrong with Islands by taking his knack for killer hooks and utilizing them strategically throughout songs. You know, with such outlandish concepts as choruses and repeated verses.
Islands also tosses the lo-fi charm out the window and charges forward with more of a self-assured confidence and polished production. I warn you now though; Diamonds vocals are something of an acquired taste. He reminds me a little of Wayne Coyne only with better range and perhaps a little more swagger. Or maybe Neutral Milk Hotel's Jeff Magnum without the maniacal passion. Either way it's a style those accostommed to the likes of Eddie Vedder may not accept.
By far though, the most important aspect of Return to the Sea is how well thought out and finely tuned most of the songs seem. As a member of Unicorns Diamonds made many a sane man lose his marbles over how so many catchy moments could be wasted on his inability to craft a coherent song. These songs are not only constructed in clever, enjoyable manners, but they offer diverse, ingenious musical additions as well. Examples of such things are too numerous to count, but some brief ideas of what I’m talking about are easily found in things like the backing whistling on Humans, the rapid-fire flute/recorder on Jogging Gorgeous Summer, or the unexpected rapping portion of Where there’s a Will There’s a Whalebone. In short, these additions along with many others turn what might otherwise have been mediocre pleasantness into sheer grandeur.
One listen to the intertwining mist of Swans (Life After Death) or the near perfect pop of Rough Gem, which may very well have stolen the main progression of Billy Joel’s We Didn’t Start the Fire, may leave you wanting to label this the album of the year. And if it stopped after the crazed brilliance of Volcanoes, which opens with a phone-in to a radio show by a demon named Oscar predicting the end of the world in 2007, I might have to agree with you. Alas, Return to the Sea ends on a couple of dour notes (not including the entertaining hidden track, which consists entirely of Diamonds vocals, a wispy piano, and the occasional backing vocals from the band).
If is simply boring and hook-less, although I suppose if you’re in the mood for a calming saxophone solo it might hit the spot. Ones is very much the same, essentially all tedious build up without the inevitable climax it seems to promise. Neither of these two tracks are actually terrible, but they keep Return to the Sea from hitting astronomical levels of excellence.
So to anyone searching for an exciting place to get lost I’d recommend you take a Return to the Sea. There’s an island waiting there just for you (I apologize for that corniness, I really do. I’d take it back and wrap up this review in a less phony way, but I’m out of time).
Song Rankings
$= Great song worth your money
Download (essentially steal)= Good song
Skip= Average Filler
Garbage= Completely unnecessary
1. Swans (Life After Death)- $
2. Humans- Download
3. Don’t Call Me Whitney Bobby- Download
4. Rough Gems- $
5. Tsuxiit- Skip
6. Where There’s a Will There’s a Whalebone- $
7. Jogging Gorgeous Summer- Download
8. Volcanoes- $
9. If- Skip
10. Ones- Skip
11. Bucky Little Wing (Hidden Track)- Download
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