Arkells – Morning Report

Ontario indie-rock outfit Arkells rocketed to domestic and arguably international fame with the release of their third album, High Noon.  The album was was chalk full of exceptional made-for-radio tunes that successfully toed the line between mainstream crowd pleaser and the best kept underground secrets.  Every song was larger than life and easy to love without feeling fabricated or forced, making for a truly unique offering.

Fast forward a couple of years and the Arkells are now tasked with the daunting task of writing a follow-up to the album that redefined their career.  It sounds like a setup, but so is the reality of writing one of the best Canadian indie-rock albums in recent memory.  The result, Morning Report, shows early evidence that the band was aware of their precarious career positioning and put forth a substantial effort to ride the wave of their momentum.  For the most part, the band succeeds.  

While the album lacks the initial shock and awe of it’s predecessor, Morning Report offers an encouraging collection of standout singles.  “Savannah” spotlights the big, anthemic choruses that made High Noon such a memorable listen.  Energetically referencing the song’s title, frontman Max Kerman nostalgically describes the day-to-day affections of the object of his eye.  Horn and piano breath life into a story of young love as Kerman wittily comments on lucking out of his league in lines like, “She was named after, her dad’s favourite city, I was named, after the fact.”  Other sure-fire toe-tappers like “A Little Rain (A Song For Pete)” command that same invigorating spirit.  

By contrast, “Passenger Seat” scales back the melody to a minimalist, vacant soundscape, relying on somber keystrokes and synth beats to establish a deep-seated sense of loss.  If “Savanah” was based on affectionate memory, then “Passenger Seat” takes a hard look at present day falling out.  Meanwhile, “Making Due” occupies a curious space in between, perhaps offering a road towards resolution in the mid-tempo runner’s standout line, “I’m wondering, where can we go from here… run from the past but it’s gaining on me.”  In each case, Arkells showcase some serious depth of musicianship.

The only drawback?  The best songs come clustered in the middle of the tracklisting, with a handful of less remarkable offerings positioned upfront and occupying the rear.  For starters, opener “Drake’s Dad” suffers from an unfortunate case of trying too hard to create something that band has already mastered within the scope of their best tracks.  The track serves as somewhat of a teaser intro, infusing saxophone, gospel singers, and an extended intro in an effort to lift the album to a whole new anthemic high.  But at nearly four minutes, the track reaches an early plateau, lingers, and repeats to no discernible benefit.  Worse yet, once the track concludes, “Private School” lacks the sort of follow-up “oomph” required to fully capitalize on the swelling anticipation established in the first.  The track thrives on a unique time signature but retreats upon reaching a very underwhelming chorus.  The song mostly works on its own, but feels tepid at a time when Morning Report should feel explosive.  The same can be said about the rather middling nature of “My Heart’s Always Yours,” “Hung Up,” and “Come Back Home,” all of which quietly fade into the backdrop amidst Morning Report’s standout tracks.

Overall though, Morning Report marks another success for Arkells.  When the band hits their groove, the results are every bit as satisfying as High Noon.  The only shortcomings suggest that the band may have been a little self conscious in their expectation to live up to their past, and in some cases buckled under the pressure to generate that next big hit.  That being said, the album holds a handful of hits waiting to happen, so the boys’ career should be in the clear.