Shapes And Sizes, Shapes And Sizes

by Harper Bridgers
04/01/2008

Shapes and Sizes' self-titled 2006 debut on Asthmatic Kitty Records is a work of contrast. The band, hailing from Montreal, Canada, holds organization as a precious fruit in all of their pockets, which is quite apparent on this record.

Since three of its four members write for the band, the sound proves to travel from spectrum to spectrum as creative juices are left to flow.

Rory Seydel, Caila Thompson, Nathan Gage, and Jon Crellin all incorporate rigid organization in their lives, from a seasonally ordered closet to a refrigerator that keeps its fruits and veggies separate, according to the band's website.

This record contains indie-pop sounds that are made over in their own style with their own quirks, ranging from straight-up pop songs to out-there experimentation and even some alt-country in the mix.

The 10 songs chosen for this record seem to exemplify the quartet's eclectic style, never really landing on one consistent niche. This album functions the way a great album should – everything standing for itself. The keen instrumentation allows every sound to stand alone while working with all the others, interlacing to form beauty. Every noise present works to fulfill a point, a certain purpose.

Ukelele, flugelhorn, pedal and lap steel, viola, and tenor sax claim spots on the album, an essential array of instruments key to proper experimenting through contrasting sounds. This is evident in songs like “Northern Lights.” What begins with simple ukelele and vocals later morphs into a tune that could have been released as a 60's Motown hit.

“I Am Cold,” the third track on the record, is a great example of minimalist instrumentation: just enough, but not too much. With a bassy tap on the down beat and an atmospheric-swirling keyboard, Caila Thompson projects a chilling melody that rises like smoke out of the speakers into your room, only matched by the incredible harmony work all over the record. Later accompanied by the presence of male vocals and a marching drum pattern, the song slowly builds up before subtly dropping out again and again.

Shapes and Sizes characterizes this album in the first song, “Island's Gone Bad.” Beginning with a simple guitar riff accompanied by ukelele and claps at the end of each measure, male vocals enter with the presence of viola. The drums kick in and the band seems to be in full swing, until the sounds cease at about two-and-a-half minutes.

Oh, the next song is starting? Not too fast.

“Island's Gone Bad” continues as a poppy drum beat commences and Caila's ever-present melody jumps into the ears. Sporadic guitar flings itself over the track appropriately, as the tenor sax wails a passionate wail.

Gradually more instruments and sounds enter the scene and before you know it, the songs takes the last turn into only the three vocalists chasing each other with a simple rant that tapers off for the last fifteen seconds, ending a true work of art, yet beginning a masterful album by the foursome Shapes and Sizes.

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