Miracle Fortress - Five Roses (Rough Trade)
2/5
By: Liam Manley
Sit down and write out a list of references (past and present). Perhaps Arcade Fire and Animal Collective for starters? Maybe back it up with some art-pop past masters such as Brian Wilson, Brian Eno and My Bloody Valentine? You're off to winning start, right? It's almost as it nothing can go wrong, right? Wrong.
2007 has rapidly turned out to be the year that indie-pop failed to follow up. From Arcade Fire to Modest Mouse (both creative misfires), Maximo Park to Clap Your Hands Say Yeah (both mostly ignored or dismissed, even though that was probably CYHSY's wont). The only possible exception could be Interpol, who, after signing to a major label, carried on their tradition of making mostly impressive records, rather than the fully realised piece of work that their potential hinted at.
Perhaps these guys didn't fail; perhaps it was a case of simply not living up to unrealistic expectations and hyperbole. It would also be fair to suggest that these bands were a hit purely because those expectations didn't exist in the first place and now the speedily consuming and easily bored audience want fresh blood and a continuation of the shock of the new.
All this taken into consideration, the timing of 'Five Roses' couldn't have been better. Get out your check list again...
Credible indie major label? Check (Rough Trade, in this instance).
Critically lauded friends? Check (Sunset Rubdown).
Part of a Canadian artistic collective? Check (co-founder of multi-functional art space Friendship Cove in the ever-hip Montreal, no less).
You could even add to the above that this that it's been nominated for the Canadian equivalent of the Mercury Music Prize, The Polaris Prize (although if it's anything like the MMP, probably not such a good thing) and that it was partly funded by the Government led Canada Music Fund, responsible for Death From Above 1979's superb 'You're A Woman, I'm A Machine'.
All in all, acting on this information you could be forgiven for expecting this to be an illuminating, inspiring and passionate piece of work, destined for the end of year lists. But no, it's not to be.
You can put in all the hours you want waiting for this to come to fruition, perhaps even develop some sort of Stockholm Syndrome-like state where you've deluded yourself that you're fond of it, but all your endeavour will be met with is apathy and half melody at best. You can give and give and get nothing in return, just like the battered wife of indie-pop; your zealous attention left unacknowledged in a marriage that is essentially passionless and loveless (which is far as the MBV comparisons go).
There are glimmers of hope part the way through with 'Maybe Lately'; a martial beat reminiscent of Arcade Fire giving way to a melody that is almost a direct facsimile of 'Don't Worry Baby', but not quite enough to stir Brian Wilson's legal team from the sandpit. The most favourable comparison one can muster for 'Miracle Fortress', the sole work of 23-year old auteur Graham Van Pelt, would be that of Mantitoba/Caribou's first LP 'Up In Flames'.
Sadly, Van Pelt doesn't quite have the strength of character or melody required to carry such gossamer light pop, qualities found in current artists such as Asobi Seksu's recent 'Citrus'. Despite all the hope and hype surrounding this release, 'Five Roses' is neither romantic nor innocent, just merely sexless.
Stream three tracks from 'Five Roses' HERE.
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