Stars came by our Cali cabana wondering where the hell they were, describing their scorched earth surroundings to be somewhat of a Flintstones Bedrock captured in a hipster time warp. Luckily, our desert escape offered the band refuge while their performance of "The North", "Backlines", and "A Song Is A Weapon" gave us chills beneath the 100-degree peaking sun rays. The trio of songs is from the Canadian group's seventh full-length release, The North, available now via ATO. Watch Torquil and Amy croon above two acoustic guitars in this transcendent session.
kind of get down to the basic song and songwriting of it. I like playing this way. And to just kind of break it down to the purity of its, the way it was written most of the time. It's fun to perform and I think it translates well. I mean, there's no way. Can you imagine seven synthesizers baking in the sun right now? That would not work. So it's nice to kind of have, to be of two minds of playing these songs. It's so cold in this country Every road home is long He had a map that he bought For the price of a song He had a reason to go there And a warm place to stay And when it came time to leave It was never the right day Good luck, bad luck, survival Sleep is my friend and my rival Good luck, bad luck, survival There was this girl who he married and he left far behind He couldn't picture her face now It was like he was blind Up at five in the morning Yeah, every breath was a storm It's so cold in this country you can never get warm Good luck, bad luck, survival Sleep is my friend and my rival Good luck, bad luck, survival Good luck, bad luck, survival Sleep is my friend and my rival Good luck, bad luck, survival It takes survival It's a strange disappearance yeah, it's a real mystery You see you sleep in the snow Does he feel free? There's a person he once was in a place far away It's so cold in this country October to May Good luck, bad luck, survival Sleep is my friend and my rival Good luck, bad luck, survival Good luck, bad luck, survival Sleep is my friend and my rival Good luck, bad luck, survival Survival It takes survival It takes survival Good luck, bad luck, survival, survival, survival music experience treat us? it was good. I met some really nice people, fellow musicians who I'd never met before. It is harder to be like, close with Amy and develop that relationship on stage because in a festival setting because it really is a three way, it's a ménage à trois. It's because the audience is part of that triangle so if they're far away, and you're not able to kind of get them close, then the storytelling becomes more difficult. So I feel like when we play festivals, it's more about the whole band coming out and just kind of pushing the energy out to the audience rather than being able to take that time go to inwards cause I think when you go inwards on a stage like that, you kind of lose people. It has to be very forward. You pull me in you take me down and what you want is what I love the colors of the road that lead me home tonight One, two, too many times you took to trick me up Now that I know it's all you want, it's still never enough Calling on my backlines Climbing from the battle to the other side If courage is a live wire I see it in your eyes Too many pills think they know how to keep the choke on you But you've got power-pressure, when I have too much to lose The stakes are high, my mind is twisted, and the pressure's up At 4 o'clock I wake my head, more dizzy than a flood Calling to my backlines Climbing from the battle to the other side If courage a live wire I see it in your eyes Running from the battle to the other side If living isn't hard-wired I see it in your eyes Calling to my backlines Crawling from the battle to the other side If living isn't hard-wired I see it in your eyes Calling to my backlines Hiding from the shadow, leave the rest behind If courage is a live wire I see it in your eyes I see it in your eyes See it in your eyes man, you know? It's a continuum. I think you know, if you're receiving, like I'm a fan of bands you know? And each record comes at a different time in my life. So they all seem very distinct to me. But I think if you're in the band, it's all part of one blur, which is your life, you know? And you just keep trying to get it right and not screw up. So The North and all these records we made they kind of take a secondary place to the relationships we've been having for years and years. And to just getting through the day. You know the record is what happens when you're just trying to get through the day. But it's really just the same people trying to write great songs and trying to get better at it and trying to raise their kids and live their life, you know. So for us, it keeps going. It doesn't separate. Waiting at arrivals by the baggage carousel Time can be a tyrant but it's always served you well A game is just a game and a prize is just a prize How do you keep a straight face when you're telling all those lies You are the one, you are the bullet in the chamber of the gun You are the long forgotten prodigal son And you will be here ages after I'm gone I can only hope to kill you with a song The television tells me you're a father to a soul You held us in your arms and pressed our backs against the wall What is that you're looking at, tell me what you see That specter in the corner looks awful a lot like me You are the one, you are the bullet in the chamber of the gun You are the long forgotten prodigal son And you will be here ages after I'm gone I can only hope to kill you with a song, with a song, with a song I can only hope to kill you with a song, with a song I've got one shot to kill you with a song, song, song You are the one, you are the bullet in the chamber of the gun, yeah You are the long forgotten prodigal son And you will be here ages after I'm gone I can only hope to kill you with a song I can only hope to kill you with a song I've got one shot to kill you with a song I can only hope to kill you with a song, yeah I've got one shot to kill you
Love and death have always been the twin engines of the popular song: the pursuit of love and the mourning of its passing; the havoc death wreaks upon love; loves survival in the aftermath of death; death as metaphor for the loss of ones identity to the consumptive power of love...
Few bands of recent times have understood this as completely as Stars. And fewer bands still have so eloquently articulated, in words and in melodies, the seemingly countless ways love and death fill our days and rule our lives. Ten years after singer-lyricist Torquil Campbell and keyboardist Chris Seligman conceived of Stars in a decrepit New York apartment, one can listen back through the bands discography and hear dozens of songs that find new ways to contemplate these ancient, ageless subjects.
To that end, The Five Ghosts, Stars fifth full-length album, would seem to be business as usual. Indeed, a scan of its song titles "Dead Hearts," "I Died So I Could Haunt You," "The Last Song Ever Written" would suggest as much. And yes, the band whose previous album, 2007s In Our Bedroom After the War, imagined romance in the shadow of the threat of apocalypse, are as fascinated as ever by the potential of the ruinous love song.
But The Five Ghosts is different from previous Stars albums. Simpler, sparer, and more confident (in its own quiet way), it also trades some of the bands previous dramatic flourish for the sort of direct, heart-bearing communication that comes from hard-won experience.
"I cant deny that Im in these songs," says Torquil. "Ive always written from a kind of theatrical perspective, which Im still doing, but the guy in the film might look a lot like me this time."
During the writing and recording of The Five Ghosts, Torquil became a father, and he also suffered a family bereavement. Those experiences, he readily admits, are all over his contributions to the album, including its title which arrived, inexplicably, into his thoughts after a pair of troubling events. He recalls that Chris, who lives in Montreal, took accommodation in Vancouvers notoriously grim Downtown Eastside as the making of the album began.
"It was an old place that had been made over as apartments," Torquil relates, "and he eventually left after three days, in the middle of the night, claiming that each night he suffered from insomnia until about five, at which point he would dream he was awake and an 'entity would appear at the end of his bed a female entity that he felt was malevolent, that actually wanted him dead. It was really quite hilarious, but also kind of terrifying. He was so shaken by it, and it was such a strange story. It got us thinking about ghosts.
"And then my dad died. And then they were everywhere. And then that phrase, 'the five ghosts, appeared in my mind. I Googled it, and its a Feng Shui term. I had no idea about this Id never looked up anything to do with Feng Shui. Its a term they use to refer to the bad energy in a house when someone you love has died."
Yet The Five Ghosts overarching mood, even during its most outwardly downcast songs, is one of uplift, bolstered by music whose economy and easy grace are unprecedented in the bands history. Following the valedictory urgency of In Our Bedroom..., it might be interpreted as the calm after the storm.
"I suppose were always influenced by the climate around us," says singer, guitarist, and co-lyricist Amy Millan. "Between 2004 and 2008, there was an incredible sense of feeling like the meek were not being heard, so it forced us to make our voices gigantic. There was definitely a conscious decision going into this record that we wanted it to be more compact."
"Stars put out three pretty polemical records after [2001 debut] Nightsongs," adds Torquil, "three records that very baldly espoused a cause and an emotional approach, and urged people to find that within themselves. We were all committed this time to not being so on-the-nose with what we did."
All of Stars credit producer Tom McFall, with whom the band reunited for the first time since 2005s Set Yourself on Fire, with playing a key role in giving The Five Ghosts its clarity of purpose, and for, in Chriss words, "pushing people in directions they wouldn't have gone on their own. It took the band places, compositionally and musically, that still allowed a oneness, but through a different view."
The band also pushed themselves in new directions, convening in Vancouver last spring to write as a unit. "It was five musicians in a room together writing songs that was very unique for us," says bassist and guitarist Evan Cranley. "Its usually Chris and myself; or myself, Chris, and Patty [drummer Pat McGee]. We write, or almost 'score, the song instrumentally before the vocalists even hear the tune."
"The way In Our Bedroom... turned out was a reflection of the process," explains Pat. "We wrote for a long time, demoed, fine-tuned, arranged and rearranged, recorded and re-recorded. And, for better or worse, that's how the album sounded. This time, we wanted to leave a lot of room for creativity in the recording studio."
"We didnt let ourselves get divided by different tangents," says Torquil. "We stayed in the room until the song was unified. What youre hearing is people who are happy to sign off on the tune, whereas on occasion in the past, theres been five different ideas struggling to reconcile themselves within a song, and ultimately we decided to solve that problem by putting them all in. And that can work! But this time we were very interested in the idea of saying, 'Lets see if we can find one idea that we all really say yes to."
The result is 11 songs that encapsulate everything thats always been great about Stars, but stripped of excess ornamentation and unashamed to stand in their relative nakedness. As the band bids farewell to its first decade, The Five Ghosts is both a consolidation of Stars strengths and the suggestion of new beginnings. "Theres still a strong through-line with all of our albums," says Amy, "love, death, hate, sex, and the never-ending seduction of the pop hook."