The Constantines – Tournament of Hearts
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Tournament of Hearts The Constantines Release: Oct 11, 2005 Sub Pop Records |
Working full time is a catastrophe of proletariat America. Line work, counting units, creating a middle-class where there once wasn’t is a product of blue collar history. Manufacturing products for consumption required punching-in and losing control of your dreams.
Henry Ford created Detroit. In essence the man distributed industry across state and national borders. This is especially true when speaking of Canada.
Exclusivity has been running rampant through indie rock with too much fervor. Young educated professionals dreaming up stories of Russian fairy tales and epic quests have turned to songwriting. It’s about time someone started writing of the toils from an everyday-dead-end job again. So, while The Decemberists write of palanquins, Ontario’s The Constantines write of discontented laborers, with a throw back to Springsteen, Steve Lambke wordsmiths’ images of conductors and hotline operators.
Tournament of Hearts is short. It’s filled with a chugging, droning, building center. With booming, Sabbath-like beats emulating machinery in some Canadian mill. Breathing in acidic dust through a poorly designed HEPA mask and then climbing on stage to moan and grunt as best you can is the embodiment of vocalist Lambke. Monotonous is usually an insult to music. Yet, similarly to a line worker, Tournament of Hearts turns the tedious into some implied wanting ambition. What The Constantines don’t write keeps one listening, waiting, and expecting a blast to occur. However, the album wouldn’t be truthful if that catharsis was accomplished. The laborer goes in everyday, places the steel, clears his hands, and punches the button.
I’d be tempted to use the term “stoner rock” here. I presume just a mention without appending it to Tournament of Hearts is a safe way of separating The Constantines from groups that dominate the genre. Though, it should be stated that those looking for the next classic rock influenced indie band will be equally satisfied as those cynics who abhor any suggestion of “garage rock.”
Sub Pop has once again proved it’s willingness to put out fantastic records whether or not they follow the path of label predecessors.
Haven’t heard the record, but I like the review. I think these guys have a former member of the Deadly Snakes, another great working-class Canadian rock outfit.
I checked out allmusic.com and didn’t notice a reference or any shared members between Deadly Snakes. Hmm.. Maybe it’s a different band you’re thinking of.
Yeah, it’s Tangiers. James Sayce is the guy. He played on the Snakes first album, although allmusic does not list him. Talk about inane trivia!
Tangiers put out an album on French Kiss, Thunderbirds label. That’s like 6-degrees…
I’ll be checking them out here in London on 13th Nov – have you seen them in Detroit two days ago?
For all its reputation for being a backwater, Canada has spawned more cutting edge artists lately than any other place – Hot Hot Heat, Arcade Fire, The Dears, Broken Social Scene, Stars, The Stills, The Unicorns to mention but a few. It’s been a veritable well of talent.
No, I missed their show. They played with friends of mine (and Jeff’s, who also posts here frequently) Thunderbirds Are Now! which is why I mentioned 6-degrees of separation.
I don’t think of Canada as being backwater at all. Windsor is like a second Detroit (albeit a cleaner, better managed version) and Quebec City, Toronto, Montreal, etc.. have European hipster written all over ‘em.
Canadian artists have definitely put out some fantastic records over the years (I don’t know about “cutting edge” but eh… To each his/her own). It’s always good to note that Canada has a system of artistic grants to assist in flourishing Canadian artists. In an attempt to regulate American influence over Canadian culture, bands actually get help touring, recording, etc. from the government. That’s quite different from America, where arts find a place between oil and real estate, simply a way to increase cash flow.
The opening paragraph sounds much better now :)
What I really meant to say was that some of those bands were responsible for starting the new indie revolution several years back and have been much more influential in their ways than typically being given credit for – so, perhaps “cutting edge” wasn’t the best term to use. Hot Hot Heat triggered off the post-punk revival in 2002, The Dears ushered the return of shoegazing with exquisite melodies and ambience and, more recently, Arcade Fire invented a whole new approach dubbed post-rock.
That is interesting about the Canadian bands being able to get grants from the goverment. Over here, the Labour govt has decided only a few weeks ago to start giving a leg up to the fledgling labels, obviously in a far-flung attempt to win back the youth vote they’re desperately going to need. It’s naturally been met with a lot of cynicism, but I personally think that any move to keep the independents alive should be welcomed.
Thanks, it’s tough to proofread your own stuff and find everything that needs to be re-arranged, etc.
I could see how that would be met with some cynicism, but being a musician myself thereby responsible for paying for recording, promoting, and whatever else necessities pop-up, I’d take whatever I could get…
Really, you’re in a band, which one? You guys got a website?
As it is, I’m going to The White Stripes show @ Hammersmith Apollo tonite. Jack has decided to go ahead and write that Coke song, which I’m not happy about at all but I’ll give him one more chance!
I’m in a band called Document. We’re on haitus because the bassist, Jeff Thomson also a contributer here, is attending law school.
I’ve downloaded and listened to the Document EP – hope you manage to get together again soon. It’d be great to catch you live in London one day!