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The Dears

No Cities Left

Spin Art | 2004 | Album

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Even on its first play No Cities Left sounds like an album I’ve heard before. It’s almost as though every chorus and every instrumental solo. Perhaps this case of déjà vu is due to the band’s listener friendly, symphony laced melodies or singer Murray Lightburn’s vocal similarities to the likes of Morrissey and Blur.

However, even with the old familiar feel the Dears, being the too smart Canadians that they are manage to pack in a few surprises. Namely, an impressively versatile vocal range shown on the part of Lightburn combined with a sweeping cinematic score.

One of the album‚s strongest tracks, “22:The End of Romance” features a duet between Natalia Yanchak and Lightburn. Their attempt at the female and male voiced love song is pulled off with polish even Belle and Sebastian would envy. Heartbreak and tragedy pour out of every beat of this perfectly crafted song of disillusioned love.

As the album wears on however Lightburn’s anglophile emulations begin to sound more like an unnecessary spin backward and a lack of innovation. The fact that this record was originally released on the band’s home turf all the way back in 2003, seems fitting as the sound itself seems mildly dated. This lack of ingenuity is hard to believe, considering Protest, the band’s innovative political operetta; I had come to expect limitless originality from the group and not mere homage.

While the album may not be their greatest work to date, it definitely stands as evidence that the Dears have already secured a fruitful future in the music industry. No Cities Left features eloquently written, skillfully wrought heartbreak all set to symphonies and delicate retro rock.
Sure it’s a bit over the top, but melodrama is what they do best.

Adrienne Urbanski