15 Songs, 58 Minutes

EDITORS’ NOTES

Decades of playing together only energized these pop-rockers from Halifax, Nova Scotia, as 2011’s The Double Cross was considered by many to be their best album to date. Figuring out how to differentiate their new album from their others, Sloan made Commonwealth a strictly defined double album with each member taking a side. Jay Ferguson opens with a track that sounds exactly like vintage Sloan. “You’ve Got a Lot on Your Mind,” "Three Sisters,” and the gentle, acoustic “Neither Here nor There” are clear highlights. Lead singer Chris Murphy brings a power-pop punch on “Carried Away,” while “Get Out” and “You Don’t Need Excuses to Be Good” favor electric guitars over the piano featured elsewhere. Lead guitarist Patrick Pentland offers the guitar-led “13 (Under a Bad Sign)” and “Take It Easy,” which sound like versions of the same song. It’s drummer Andrew Scott who pushes things with the 18-minute pastiche “Forty-Eight Portraits,” which sounds like the band walked in on a Pink Floyd session—complete with barking dogs and random piano chords—until a song forms around the three-minute mark. From there, various song ideas pop out of the mix.

EDITORS’ NOTES

Decades of playing together only energized these pop-rockers from Halifax, Nova Scotia, as 2011’s The Double Cross was considered by many to be their best album to date. Figuring out how to differentiate their new album from their others, Sloan made Commonwealth a strictly defined double album with each member taking a side. Jay Ferguson opens with a track that sounds exactly like vintage Sloan. “You’ve Got a Lot on Your Mind,” "Three Sisters,” and the gentle, acoustic “Neither Here nor There” are clear highlights. Lead singer Chris Murphy brings a power-pop punch on “Carried Away,” while “Get Out” and “You Don’t Need Excuses to Be Good” favor electric guitars over the piano featured elsewhere. Lead guitarist Patrick Pentland offers the guitar-led “13 (Under a Bad Sign)” and “Take It Easy,” which sound like versions of the same song. It’s drummer Andrew Scott who pushes things with the 18-minute pastiche “Forty-Eight Portraits,” which sounds like the band walked in on a Pink Floyd session—complete with barking dogs and random piano chords—until a song forms around the three-minute mark. From there, various song ideas pop out of the mix.

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3:27
3:49
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2:11
3:36
3:13
1:40
2:49
3:42
2:00
2:32
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3:38
17:49

About Sloan

Sloan were one of the most successful Canadian bands of the '90s, which was both a blessing and a curse. While they were well known in their homeland, where their Beatlesque power pop became a radio staple, they had a difficult time breaking into the American market, especially after their label, DGC, decided not to market their hooky pop in the wake of grunge. After spending several years fighting the label, and nearly breaking up, Sloan re-emerged in 1996 with One Chord to Another, a record that became an instant success in Canada and a critical sensation in the U.S. upon its American release in 1997, establishing the group as one of the leaders of the new wave of power pop groups in the late '90s.

Andrew Scott (drums), Chris Murphy (bass, vocals), Patrick Pentland (guitar, vocals), and Jay Ferguson (guitar, vocals) formed Sloan in Halifax, Nova Scotia, in 1991. Ferguson and Murphy had previously played in the local band Kearney Lake Rd., a group inspired by underground American bands like R.E.M. and the Minutemen. Scott and Pentland also played in various local bands, but the group didn't come together until Murphy and Scott met each other while studying at the Nova Scotia School of Art and Design. Sloan debuted in the spring of 1991, and within a few months, their feedback-laden live shows had gained a sizable audience. By the end of the year, their first recording, "Underwhelmed," appeared on the local Halifax compilation Hear & Now. Early in 1992, they released the Peppermint EP on their own Murderecords, and by the summer, they had signed with DGC. Sloan's debut album, Smeared, a record where Sonic Youth met Beatlesque pop, appeared in October in Canada and in January 1993 in America, and it was greeted with positive reviews. While the band had a gold album in Canada, the good press didn't translate to sales in the U.S., even as the group supported the Lemonheads and fIREHOSE at several concerts. Nevertheless, the domestic success of Smeared sparked a brief period of interest in "the Halifax scene," with groups like Eric's Trip, Thrush Hermit, the Hardship Post, and Jale all benefiting from the exposure.

For their second album, 1994's Twice Removed, Sloan simplified their sound considerably, concentrating on melodic, hook-laden power pop. DGC wanted the album to be noisier, yet the band won its fight to keep it bright and melodic. Nevertheless, DGC failed to promote the album upon its release, especially in America, even in the wake of good reviews and strong Canadian sales. The band toured relentlessly to support Twice Removed; the record was named "The Best Canadian Album of All Time" in a poll by Chart! magazine, and Spin called it one of the "Best Albums You Didn't Hear This Year," but DGC was not giving the band much support. By the end of the year, Sloan decided to cancel their remaining shows in the new year and decide whether they wanted to pursue a career.

Sloan re-emerged in the summer of 1995, playing a handful of concerts and releasing a single, "Same Old Flame," on Murderecords. During their hiatus, the members pursued various side projects, with Scott forming the Maker's Mark and playing in the Sadies, while Murphy drummed for the Super Friendz; Pentland wrote a handful of songs, and Ferguson worked at Murderecords and managed the Inbreds, as well as co-producing a record by the Local Rabbits. Toward late summer, Sloan decided they wanted to continue as a band, and that winter they recorded One Chord to Another, a record that expanded the power pop approach of Twice Removed on a small budget. Although its origins were modest, the album was a huge Canadian hit upon its June 1996 release.

After much negotiation, Sloan signed with the fledgling EMI subsidiary Enclave in early 1997, and One Chord to Another was finally released in the U.S. in the spring of 1997 to overwhelmingly positive reviews. Navy Blues followed a year later. A double live album, 4 Nights at the Palais Royale, was released by Murderecords in 1999, as was a new studio effort, Between the Bridges. Pretty Together arrived in 2001, followed by Action Pact in 2003. The career retrospective A Sides Win: Singles 1992-2005 was released in the spring of 2005. The following year, Sloan released their eighth full-length record, the self-recorded Never Hear the End of It -- which featured songs from all four members -- on Murderecords in Canada, while Yep Roc issued it in the U.S. Parallel Play arrived in 2008, followed by the Hit & Run EP (2009) and the full-length Double Cross (2011).

Sloan's democratic songwriting style was taken to its logical conclusion in 2014 on their next record, the expansive double album Commonwealth. Each of the four sides featured a suite of songs written by a single member of the band, allowing their different personalities to shine through. The most ambitious of these was Scott's, which featured a single 18-minute song. Commonwealth appeared to favorable reviews in September of 2014. ~ Stephen Thomas Erlewine

  • ORIGIN
    Halifax, Nova Scotia, Canada
  • FORMED
    1991

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