The Automatik

“We were trying to not be as precious about our previous conception of what Sloan was all about. It used to be about four guys equally represented, but this time, it wasn’t so much about expressing yourself as trying to put together a fun rock record.”
- Singer/guitarist Patrick Pentland on Sloan’s latest album

Let’s get the Pretty Together conversation out of the way first.

Sloan’s last album divided their fans into two, often bitterly divided, factions: those who loved its experimental direction and computer-assisted recording process, and those who just wanted another impeccably crafted album of Beatles and AC/DC-influenced Sloanisms. Like any experiment, some of it works (“In the Movies,” “Who You Talkin’ To?” and “It’s In Your Eyes”), and some of it doesn’t (“The Life of a Working Girl”). And then there’s “Pick it Up and Dial It,” possibly the most frequently discussed, dissected, and dissed Sloan song of all time.

Having proudly mined the ’60s and ’70s for the last few years, Sloan seems like they’re approaching The Big ’80s with Action Pact, a trend that started on Pretty Together’s “The Other Man” (described by one fan as Bryan Adams’ “Run to You” with different lyrics). It makes sense, though: they’re not club teens first hearing about Duran Duran and Gary Numan via the trendy Electroclash scene; they actually lived through the decade. Besides, I like how Sloan pay homage to early ’80s Rick Springfield and Cheap Trick.

All rock critique cliches aside, Action Pact truly does pick up where Between the Bridges left off. It’s got the Pentland trademark emotive rockers like “Live On” and “Hollow Head,” cheeky self-deprecation from Murphy on “Ready for You,” the requisite Pentland/Murphy rock-off “Gimme That,” and gorgeous, driving melodies from Jay Ferguson. So where the hell’s Andrew Scott?

Sloan’s goal of putting together a fun rock record is all well and good, but for me at least, the joy of Sloan has always been the edgy dynamic between the vastly different musical personalities in the band and the way such often disparate elements merge to create some breathtakingly original sounds. Well, that, and watching to see what goofy antics The Murph will come up with next. I understand that Andrew’s recent induction into fatherhood was a big factor in his lack of song input, even though “Who Loves Life More” is about the most Andrew-ish thing on the album. Still, I am leery of a homogenized Sloan, packed with action or not.

The album does continue some of the things I liked about Pretty Together: “Reach Out” takes the New Order quirks of “It’s In Your Eyes” and pushes them to the max, resulting in a stunning wall of sound. “The Rest of My Life” and “Ready For You” are clever and catchy and definitely Classic Murph; the puns are present, but they’re tinged with more heartfelt sincerity this time around.

Yet, a few missteps are glaringly obvious. I almost feel sorry for Jay’s lovely “Fade Away” being nearly ruined by the flat-out noodling towards the end. “Nothing Lasts Forever Anymore” evokes such vivid flashbacks of Toto, The Little River Band, and Boz Scaggs, that I am frequently embarrassed upon hearing it. The line “Don’t you know the time is right?” seems as if it should surely be followed by something about “making love tonight.” And what the hell is going on with the Peter Frampton wah-wah guitar solo? I’m also a bit concerned about Murphy’s discussion of his bedtime schedule in “Who Loves Life More?” Of course, I don’t have the lyrics in front of me. By the time the official release comes out in two weeks, I might feel differently. [I do.—Ed.]

I genuinely like Action Pact, and it’s not because Sloan haven’t released an album in two years. I’ve been listening to it constantly and when I find the songs stuck in my head, I can’t wait to listen to them for real. I think their new direction, experimentation, fun rock record, or whatever you want to call it is finally coalescing, missteps aside. Even Radiohead’s Kid A sounds quaint and unformed next to the grandeur of Hail to the Thief. Besides, Sloan aren’t The Ramones and they can’t keep making the same album for twenty years. I just hope Chris, Patrick, Jay, and Andrew don’t change their last names to “Sloan” and start wearing matching outfits anytime soon. Having four individual, talented, and unique voices in one band is rare and special, and I’m not giving it up without a fight.

Action Pact: US Version with two bonus tracks, “Will You Ever Love Me Again?” and “Step On It, Jean”

Mmm, bonus tracks. Two of the most wonderful words in the English language. Especially when Sloan is involved.

The two extra songs on the U.S. version of Action Pact more than live up to my expectations. “Will You Ever Love Me Again?” may be one of the greatest Chris Murphy songs in the Sloan catalog. Yep, it’s that good. Don’t let the fact that Chris has put his puns in the back of the closet and taken out the heart-sleeved shirt fool you. This song owns. It’s not just the incredibly tasty Cheap Trick guitar riff. It’s also the marvelous, ass-shaking bass line, and that bit towards the end that gives me flashbacks of listening to FM radio in the late 70s (how did they do that?).

Chris is sporting his “B-side voice” and it’s better than ever, particularly when he’s practically begging. In fact, it continues the level of honesty that we’ve gotten glimpses of recently (“Nothing Lasts Forever Anymore,” “The Rest of My Life,”), but brings a new and intriguing rawness to that recent trend. Will you love me please?/I’ve had it with your sympathies, Chris pleads, and it’s almost too painful to listen to. Except for the ass-shaking rockitude referred to earlier. And don’t get me started on the line about the unruly bangs.

As for Jay’s wonderful “Step On It, Jean,” I’m duly impressed. The vocals are sublime—I love it when Jay belts it out—and at times, the harmonies recall early Os Mutantes. There’s funky bass and crunchy, catchy guitar and some remarkable drumming that sounds unlike anything I’ve heard in a Sloan song before. My only complaint is that at two minutes and twelve seconds, I want more.