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What the Press is Saying...

READ Chartattack interview (Monday May 30, 2005)

When you have a song that revolves around a Canadian downhill skier (and one that isn't as well known, even in Canada) well my dear people you damn well better have the music to back it up. And Stirling is stellar in that regard. With a sound that is equal parts Interpol, The Strokes and Editors, tracks such as the angular, infectious "Longest Fall" make one take notice instantly. The Cure-ish "Ostalgia" is another keeper that starts slow but is layered perfectly with guitars and a deep, rich, bass line. But perhaps the best complement that can be given is that a song like "Idaho Highs" sounds like it was better suited for Pulp's His N Hers album than one or two of the tracks that actually made it. This is especially more evident with the ensuing hi-hat heavy, dance-rock "These Too Safe Seas". Meanwhile, the group also shines on the radio-friendly pop rock gem "Burton & Taylor" and the equally adorable "Under the Pavement". Fans of Brit pop should cherish a band and an album as terrific as this! Though there’s a whiff of generic melodic British-influenced rock throughout this sophomore album, the highs are actually quite lovely and indicate the possibility that Stirling may rise above the pack. Possessing a voice that sometimes cuts close to Elbow’s Guy Garvey, Matt Booi is definitely at home in the layered, guitar-driven climax that bands like Coldplay, Pilot Speed and even Snow Patrol revolve around. But, luckily, there is little moping to be had and Stirling seem to have found a bit of a swagger, seen best on “Slack Sabbaths.” Another catchy number comes via “Idaho Highs,” where Booi’s voice gets a good workout amidst the brisk beat and crashing drums. Sure, it’s been done before but that doesn’t mean Stirling don’t know how to catch your attention. Why, they even rise to another level on closer “Bourbon Kings,” which builds amazing tension with its piano, Booi’s excellent delivery and some awesome guitar. While this disc is a bit spotty, the heights hit are quite nice and provide hope for the future. Booi's lyrics are anchored by dense musical arrangements that translate as well in an intimate boutique show as they did when the band opened for the likes of Kasabian and Elbow. Bandmates Joshua Dallmann, Jeremy Gontier, and Mike Rivet provide a sonic landscape that perfectly compliments the songs' sense of longing and nostalgia. The Fall of The Winter Palace took a long year and a half to make, and the extra time lends a sense of thoughtfulness not found in many of today's brand of easily consumed indie rock. Imagine if you will, that the Jarvis Cocker and David Bowie impregnated Nico from the Velvet Underground with some crazy scientific sperm milkshake, but they gave baby up for adoption and it was raised by the members of Jesus and Mary Chain and Jan Arden in the suburbs of Edmonton Alberta. If you try hard imagining what that baby's singing voice would sound like, you will hear the glorious sounds of Stirling. The Fall of The Winter Palace takes the listener back to the time when music was fun, witty and danceable. I am convinced that if enough people hear this record it could put an end to the War on Terror. Perhaps that is too lofty; I can, however, guarantee it will definitely make dancing on a Saturday night fun again. My favourite song on this album is called Idaho Highs, mostly because of its sing along chorus. The most impressive is the epic closer Bourbon Kings. It was dedicated to me at a recent show where the band blew the goddamned roof off of the Mod Club in Toronto. Honestly, this is the best album not by the Arcade Fire that I have heard in the last 5 years and there is not a bad song on it. Honestly. The Britrock obsession locals Stirling showed on their debut long player, Northern Light, continues on this follow-up. Singer Matt Booi has chilled out on the piano dirge direction he was taking the group in and lets the band gravitate back to the guitar-centric territory where they're most comfortable. He's a shameless caterwauler, somewhere between Bryan Ferry and Jarvis Cocker, which might turn off the less dramatically inclined, but he knows when to pull in and give Josh Dallmann room to work his reverbed-out minimalist guitar style on the strongest material (Longest Fall, My Resistance Is Low). This disc won't ignite the revolution its title alludes to, but it's a victorious coup in its own right. Stirling has emerged from the depths of Canada's music scene, gathering a steady cult following and delivering a sucker-punch of bonafide brilliance. Moving on an almost epic scale to a backdrop of images projected on stage, their sound swept the rapt audience. Deliciously mesmerizing. The album successfully captures the intensity of their live show, which will be evident when they're playing large arenas to thousands of screaming girls. This is a band poised to take Canada by storm and don't be surprised if the world follows. These guys actually do sound good enough to be NME's next darlings. The melodies are thickly layered and the resulting sound is darkly atmospheric. "Côte D'Azur" is a rocking standout and "The Art Of Burning Bridges" is unbelievably haunting. Take my advice and get into this band now, so you can say you liked them before their inevitable fame.

• For more information about Stirling visit their website: stirlingmusic.com
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