IN REVIEW: The Trews - S/T

Being a fan of The Trews hasn't always been easy. Sure, there have been great triumphs over the course of the Toronto by way of Antigonish crew's career; they've racked up hits on all four of their previous albums, but haven't crafted a really good album since 2005's Den of Thieves (in this guy's opinion, at least). Follow up No Time For Later may have spawned a couple of great singles, but marked a stylistic step down overall. Hope And Ruin, despite its stellar title track, tended to plod dangerously close to Nickelbackian waters in terms of musical and lyrical simplicity. In their attempts to dumb it down and appeal to a wider audience, they started seeing the opposite effect as average Joes remained indifferent and diehards lamented diminishing returns.

Of course, The Trews are better than this, and they went about the process of making things right with Thank You And I'm Sorry, a 2012 EP that saw them loosen up and concentrate on what brought them to the show in the first place. It was a literal act of gratitude and apology to their fans, and that same goodwill isn't simply carried over to their new album, it's amplified.

By self titling their fifth album, The Trews imply a rebirth, the desire for a do-over; for many bands what it actually means is that they've run out of ideas, but that's not the case for The Trews. Maybe more a refocusing of efforts than an outright reinvention, it makes the previous two LPs feel like misguided experiments. That's not to say valuable lessons weren't learned from those swings for the fences; there are sharp hooks on this record that may not have been possible without them. What makes the difference this time out is that the hooks are executed with less calculation and more passion. The album's best example of what I'm trying to convey is Permanent Love, a song that will do great on radio if they choose to release it, but it boasts smarter lyrics and a more intricate melody than past attempts.

Another clear highlight is 65 Roses, a sweeping acoustic eulogy for their former manager that's their most powerful song since Highway of Heroes, and it really showcases the depth of both band and album. Lead single What's Fair Is Fair packs a different kind of punch, with crunching power chords and a deep groove. However, the album's brightest shining star has to be In the Morning, a real stunner with a gentle vibe, summery melody and an impressive vocal appearance by Serena Ryder. It's the quietest song on the record, but it's a straight up smash.

It's immediately followed by the album's heaviest track, online hater-baiting New King; it shows just how effortlessly they can unleash a big rock song. If I'm being honest, perhaps the album could have used a couple more like this (although opener Rise in the Wake sports a nice crunch too). However, it's hard to be too critical of the softer songs when they're penned so well.

That song writing is the crux of The Trews; yes, they're a little more refined, but they're also more enjoyable, intelligent and mature. It's an album made for fans while being mindful of the fact that the fans have grown up with them. And, most importantly, it's an album full of songs that were written not for what they could achieve, but what they could become. What that end result is is up to the listener, but it adds up to a minor triumph for this one.

April 22, 2014 • Home/Entertainment One

Highlights Permanent Love • 65 Roses • In the Morning