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  • 1996 da kurulmuş "çok katmanlı" ancak yumuşacık bir müzik yapan montrealli grup.
    zarif bir orkestrasyonla pop un klasik melankolisini bir arada kullanıyorlar.
    parçalarda tumturaklı patlamalar ve tiyatral gerilimler mevcut.
    grubun kurucusu,bestecisi,söz yazarı murray lightburn ruhlu bir sese sahip ve karanlık bir romantik...
    the smiths sevenlerin hoşuna gidebilir.
    2000 de "end of a hollywood bedtime story" yi çıkaran grup 2004 tarihli "no cities left"'le ünlendiler.
    bu albümden "lost in the plot" radyolarda sıkça dönüyo.
  • dort bay, iki bayandan kurulu, bostonda keane in altgrubu olarak izleme sansini yakaladigim, kendilerini montrealli the dears olarak tanitan grup. zenci vokale zaten soyliycek laf yok, bazi parcalarda kullanilan bayan vokaller de cuk oturmus. o muhtesem parcayi bulunca editliycem bu entryi soz.
  • birçok insanin lost in the plot ile tanıdığı ancak lost in the plot'un cok guzel bir sarki olmasina ragmen digerlerinin yaninda sonuk kaldigi -anlayin artik- no cities left süperalbumunu cikarmis, expect the worst / 'cos she's a tourist ile müzik tarihinde gorup gorulebilecek en güzel sarki girişlerinden birine imza atmiş montrealli beşli.
  • artık info'suna bakınca montreal'den gelmesine şaşırmadığımız pek lezazetli gruplardan biri daha.

    (bkz: julie doiron)
    (bkz: damon albarn)
    (bkz: the decemberists)
    (bkz: mark eitzel)
    (bkz: the postal service)
    (bkz: the organ)
  • grubun kuruluşu ve gelişimi hakkında grup üyelerinin sözleri aşağıdaki gibidir. çok güzel müzik yaparlar. sadece kulağa değil, kalbe de hitap ederler. dinlerken bir yandan mutlu eder, diğer yandan biraz da olsa hüzünlenmenize neden olur. birçok duyguyu aynı anda içinde barındırır. sıcak çikolata gibi grup.

    "the dears if you want all the facts, then yes, the story of the dears did begin in montreal in 1995, spurred on by cigarettes, pints and too many nights of overanalyzing smiths records. but that was so very long ago. friends come and go, formative influences are outgrown like a hand-me-down iron-on t-shirt, idols must be killed.

    if you want the real story, then we must start in april 2000, when the one original dear, murray lightburn, hit the stage at lee’s palace in toronto flanked by a band of new recruits and welcomed us into his world - a place that, like his native montreal, is built on romance and timeless beauty but scarred with reminders of a golden age that is long gone. just as the band’s orchestral crescendos threatened to collapse the stage, lightburn dropped to his knees and screamed “there’s no such thing as love!” - a dead-serious declaration whose pathos was further intensified by the fact only 20 of us were there to hear it. the band had just released its debut album, end of a hollywood bedtime story, and while few were on hand that night to heed the message, it still reverberates to this day: it’s time to get real, to get to the heart of the matter by fearlessly addressing matters of the heart.

    the next time the dears played lee’s palace, in june 2001, the crowd of 20 had turned to fire-code-defying throng of 700, with hundreds more turned away at the door; in the interim, the dears had taken the gospel across canada, stealing hearts and blowing minds, and racking up enough drool-drenched critical notices to firmly enshrine hollywood as one of the most ambitious and acclaimed debuts in canadian indie lore. but even as the rest of the country began to take notice of the band’s cinematic pop symphonettes, the dears - featuring lightburn, keyboardist natalia yanchak, bassist martin pelland and drummer george donoso iii - were already on a different program. onstage, the orchestral elegance of hollywood had given way to raucous new material that exploded into anarchic feedback fury, while lightburn’s darkly romantic vision assumed increasingly apocalyptic intimations. the second dears album promised to be a truly seismic event that, if not the stuff of pop-radio countdowns, would at least chart on the richter scale.

    like any well-seasoned lovers, they teased us with two ep releases: 2001’s orchestral pop noir romantique, a perfect balance of pure-pop immediacy and sinister symphonics; and 2002’s protest, a harrowing mini-concept-album that rolled operatic hysteria, ominous post-punk rumbling and cosmic christmas music into a soundtrack to the end of the world. the only thing more unnerving than hearing lightburn solemnly intone that there was “no hope before destruction” was the knowledge that all this was merely the set-up for what was to come.

    some couldn’t stand the wait: they would lose their guitarist and cellist in 2002 (replaced by guitarist joseph donovan and keyboardist/flautist valerie jodoin-keaton). but then the dears have always survived and thrived by breaking apart and rebuilding. and it’s with that spirit you should approach the dears’ no cities left, the greatest and grandest work from a band for whom “epic” seems too a cheap descriptor, the ultimate culmination of the band’s unhinged onstage catharsis and studio sophistication. yes, it’s a record about darkness, but only as a precursor to brilliant flashes of light (see: the rousing jangle-pop of “don’t lose the faith,” the lush, string-swathed funk of “never destroy us,” the title track’s defiant symphonic send-off). and as if to reinforce the album’s central theme of hope in the face of horror, the record's coolly dramatic first single, “lost in the plot’ has been a staple on canadian rock radio since its release in the spring.

    the liner notes say “written, produced and directed by murray a. lightburn,” but this is not some soundtrack to an imaginary film. this is very real. in a modern world that’s blurred into an endless series of zeroes and ones, no cities left reminds you that your soul is not a dollar sign, that passion should never succumb to process. this music will not be embraced by the faint of heart, the hopelessly cynical or the emotionally insecure. but then, they're the ones who need it the most."
  • divine comedy ile aynı çizgide olduğunu düşündüğüm grup
  • grubun ilk donem calismalari rahatlikla blur ile karistirilabilir. hatta benim gibi doksanli yillardaki***** blur soundunu ozleyen biriyseniz 2001 cıkıslı nor the dahlias - the dears 1995 - 1998'i mutlaka dinlemelisiniz.
  • ayrica az once kliplerini izlerken farkettim bu muhtesem grup valérie jodoin-keaton [klavye/flut] adinda bir guzellik barindirmaktaymis.
  • 14. uluslararası istanbul caz festivalinin konuklarındandır kendileri.