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No Cities Left, the debut album from Montreal, Canada's The Dears, confirms it's not just American acts like Interpol and The Killers who currently harbour a guilty crush on the luminous charms of British indie. Such Anglophilic sentiments appear to be mostly courtesy of bandleader Murray Lightburn, whose warm, swoonworthy vocal delivery is
No Cities Left, the debut album from Montreal, Canada's The Dears, confirms it's not just American acts like Interpol and The Killers who currently harbour a guilty crush on the luminous charms of British indie. Such Anglophilic sentiments appear to be mostly courtesy of bandleader Murray Lightburn, whose warm, swoonworthy vocal delivery is pitched somewhere between the warm croon of Morrissey and Damon Albarn caught at his most nakedly earnest. But it would be unfair to dismiss "Lost in the Plot" or "Expect the Worst/'Cos She's A Tourist" on the basis of geography alone, particularly as so often, they threaten to match - and occasionally overwhelm - the originals from which they draw inspiration. An extended line-up that includes a three-piece horn section, The Brebeuf Brass, as well as violin, sax, and double bass brings an fullness of sound to songs like "Pinned Together, Falling Apart"--and Lightburn's refreshingly irony-free delivery leads to some truly lump-in-throat moments: "I have never cried in anybody's arms," he sings on "The Death Of All The Romance", "The way I have often cried in yours." --Louis Pattison
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