Canadian Invasion, an indie-rock outfit hailing from South Jersey, will be releasing their second full length, Songs for the Atco Ghost, this coming December. The disc explores the mundane thrills of gsuburban life with a tongue-in-cheek mentality and social commentary about who really inhabits middle-class America.

 

The sound they’ve created on this record is a mix between Wilco and Galaxie 500, with a little bit of Death Cab for Cutie’s timing sensibilities thrown in for good measure. Crisp and clear production keeps the album running from start to finish, creating the image of a cool November day with half the leaves on the ground and an overcast sky falling off into the horizon. But the standout elements of the album include their soft, rolling sound, and pop references while never venturing into that over-exposed world. Lyrically, the album draws comparisons to the attitude and expressions of Fountains of Wayne.

 

Following up on their 2003 EP, Blame The Robots, the distinction between the releases becomes clear during the initial listen. Gone are the hard-driving riffs from “Graduation Night,” and in their stead are smooth, jazz-like guitar lines varying with perfect accents between humble and booming. Off of the EP, “Birmingham” and “495” could easily have found themselves at home on Songs for the Atco Ghost, bringing to mind the ever-changing and reshaping sounds of the Beatles over their career. Canadian Invasion creates this transition seamlessly.

 

There are differences between the two works from a macrocosmic viewpoint. Guitarist Andy Paull says, “The thing I like about the album is that I felt like our first record was about just making a record. I felt with this one we are out to make a record that is a record.” The album feels complete, with a resounding sense of being a full piece of work rather than just a glimpse into the potential of a band.  Often an LP will come out with a number of good tracks and the rest is just filler, but not so with Canadian Invasion. The album is tied together with consistency from beginning to end. Claims Paull, “It wasn’t like we set out to have a concept album, but listening back to it, it is totally about growing up in South Jersey and being bored and the stupid shit you do when you’re bored. What I like about it is it really is a time capsule of that time, and it makes sense because rock n roll usually is about adolescent, perverted, unromantic parody of that life.”

 

Now that Canadian Invasion is moving away from the driving rock of their early days, Paull discusses their latest inspirations. “Wilco is a huge influence. I can’t understate that. Between the last record and this, I must have listened to the last two Wilco records like a thousand times. And watched the Wilco movie like 400 times. I think their songwriting process is something we tried to model.  One of the cool things they said in the movie was that they went into the studio with songs they felt were good no matter how they did them and then they found the best way to present them.” After trying various versions of songs, Canadian Invasion found the right style for the individual tunes.

 

There is also a bit of jazz influence on the band today. Three players on the album have jazz backgrounds, and the presence of their sound is undeniable. Though the band wrestled with this change, they have come to embrace it as well. Bassist Jim Foley says, “I think the spirits of jazz and rock are completely different. They say jazz is not for the listener and more for the musician. I think rock is probably the opposite. More for what’s happening at the moment and for the people in the crowd at a rock show.” Paull feels that can be a boon, saying, “It is great when you can get a jazz guy” for the band.

 

Standouts on the album include “Ephedrine,” with its references to the band’s own personal paradise. Lead vocalist Matt Wanamaker chimes, “and I might treat you better / better alone / I've spent too long in Shangri-La / Motel Carolina calls but I / I work nights." Wanamaker wonders if the pleasures of adventure are worth the sacrifices made elsewhere in one’s life, posing a question we have all wondered. The track also contains an enchanting keyboard loop elegantly placed throughout the tune, never drawing the listener away from the song, but never fully disappearing into the background. Paull mentions “Ephedrine,” saying, “I think the song has touchstones. We were thinking a lot about Wilco. A lot of the instrumentation is acoustic, but with synth lines in the middle of that.” This harmonious blend creates a pleasant sound for the listener.

 

Other quality tracks are “Swim Club” and “Gemini Drinking Island.” The former has a hummable refrain regarding people too involved in the world of their addictions. Although the subject could be serious, there’s a bit of mockery in the lyrics as well. Are these people models in society or fools and outcasts? “Gemini Drinking Island” has an endearing yet painful reminder of the troubles in a relationship, with Wanamaker wearing his heart on his sleeve.

 

Like many bands, Canadian Invasion has had its share of lineup changes – particularly their drummer. Similar to the woes of the Red Hot Chili Peppers over the years with their guitarist, Paull feels this is part of the band’s journey and development just as it has been for the Chili Peppers. “John Frusciante makes the Chili Peppers in a lot of ways. They are one kind of band with him and one kind of band without him,” Paull says. “I think we had a couple drummers like that. One guy was an incredible drummer – he was like Keith Moon reincarnated. But at the same time he was limited. If we didn’t want to be The Who then we couldn’t do anything else.” The current lineup features solid percussion work and what the band hopes to be more consistent than in years past. The work they put together on Songs for the Atco Ghost offers great potential for the future of the band.