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Album Review

The sixth studio album (and first outing in nearly five years) from sunny/sordid pop confectioner Joel Gibb and his merry band of rainbow revelers, picks right up where 2009's transformative Origin: Orphan left off, moving the Canadian collective even further from the traditional, guitar-led chamber pop cadence of albums like Smell of Our Own and Mississauga Goddam, and into more club-ready electro-pop territory. One can only churn out so many deliriously catchy dishes of self-described "gay church folk music" before the taste buds begin to wilt, and the electrified (they've removed the pews and installed a dancefloor), modestly populated AGE serves as an efficient palate cleanser, with highlights arriving via the resplendent opener "Skin & Leather," a decadent mix of Patrick Wolf, Ultravox, and "It's a Sin"-era Pet Shop Boys, the evocative "Doom" (can something be both hook-filled and monastic?), the jangly, Stone Roses-inspired "Year of the Spawn," and the tart, tuneful, and testy single "Gay Goth Scene."

Biography

Formed: 2001 in Toronto, Ontario, Canada

Genre: Alternative

Years Active: '00s, '10s

With a mix of queer politics, explicit sexuality, symphonic indie pop, and theatrical spectacle that borders on the religious, Toronto's the Hidden Cameras are the brainchild of singer/songwriter/guitarist Joel Gibb. The 2001 debut album Ecce Homo -- a collection of four-track demos released on Gibb's own Evil Evil imprint -- introduced a stripped-down version of the Hidden Cameras' witty, acoustic-based songwriting, which drew comparisons to the Magnetic Fields and Belle & Sebastian. Ecce Homo also...
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AGE, The Hidden Cameras
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