Sloan

Winnipeg Free Press - Section G - - ENTERTAINMENT -

Pyra­mid Cabaret Tonight, 9 p.m. Tick­ets: $35.50 at Tick­et­mas­ter, Soul Sur­vivors, Into the Mu­sic So we’d come in — he’s a real ‘vibe’ guy, like a surfer ba­si­cally — put on a click, weird beat, and be like: ‘Just play some­thing. Now you play some­thing. All right, you play some­thing.’ “And it was just garbage.” Con­sid­er­ing Sloan has al­ways es­sen­tially been com­posed of four solo artists, their co­he­sion and con­sis­tency is sur­pris­ing. Pent­land at­tributes it in part to the fact that, in­di­vid­u­ally, their tastes have been more or less un­chang­ing since the band’s be­gin­ning. On the other hand, Murphy says he’s been ac­tively work­ing to make time­less-sound­ing records since their dis­tor­tion-con­torted de­but Smeared. Although their next record, 1994’s dra­mat­i­cally more ma­ture and now­beloved Twice Re­moved, first laid down the blue­print for their sound — cheer­ful power pop tinged with jan­gly psychedelia — they still hadn’t com­mit­ted to the one-for-all thing. “When we made that record, I thought: ‘What the (hell) are you do­ing? We made this record, it got us on a ma­jor la­bel, and now you’re mak­ing a com­pletely dif­fer­ent record?”’ Pent­land re­calls. Fi­nally with 1996’s One Chord to Another, the band achieved ego­less equal­ity. Pent­land even gave the band its first two Top 10 sin­gles in The Good in Ev­ery­one and Ev­ery­thing You’ve Done Wrong.

Sloan’s last full-length, 2011’s punchy The Dou­ble Cross, was crit­i­cally cel­e­brated by crit­ics in the U.S. and did bet­ter there than some of their past records.

Still, Murphy points out, “It’s hard to com­pete with the nostal­gia peo­ple have for the songs that came out in univer­sity or when­ever they were in love with life or what­ever,” says Murphy. “I think the mu­sic that we’re mak­ing is just as good, but it would be naive to think it’s go­ing to have the same kind of ef­fect on peo­ple.”

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