The Dears mark incendiary return with Times Infinity Volume One

dearsThe Dears always felt like the weird cousin of the ’00s Canadian indie scene, trying to cover the darker elements of every other Montreal band, then paint them blacker still. I had an uneasy relationship with 2003’s No Cities Left back then, most fans’ introduction to the band. “Lost in the Plot” showcased a latent fury, while “22: The Death of All the Romance” felt like a revelation, one of those glorious moments when every element of a band conspires to coalesce, to nail that high note they’d been keening for. Even the title, laying down what would prove to be a lifelong preoccupation with the marriage of death and romance, seemed like a summation of their work. From beneath a patchwork of influences, there arose a singular voice that dared to sound quite unlike anyone else.

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