Sloan “Right Or Wrong” “Someone I Can Be True With”

Some folks have had their hands on it for a while–people north of the 49th parallel or so, those willing to pay those exorbitant Canadian import prices–but this Tuesday my fellow ‘Muricans and I can finally wrap our grimy hands around the new record from Canadian popsters Sloan, Never Hear the End of It.

The roomie hooked me up with a preview a couple months back, and I’m gonna use the term “return to form,” because I’ve been a little disappointed by the band’s last couple joints–the Sloan enterprise veered too much toward well-groomed schmaltz, and I thought we were losing the dudes with the B–tles on their brain, KISS stickers on their gear and a gleam in their eye.

Never Hear the End of It has been filtered through party shuffle listening, but really I like it so far about as much as any of their prime 90s output, holding aside masterpiece Navy Blues. So here’s a couple examples why, back-to-back tracks from the 30-song record’s first third(!).

“Right Or Wrong” is sort of a state of the Sloan address set to a maraca-shakin’ upbeat groove. It’s a pretty forthright statement from a band that’s been playing stadium-oriented rock to a cult following for creeping up on two decades.

There’s an appreciation for the bitter irony–”Ten years ahead of our time/or about one year behind” indeed–and maybe a tinge of bitterness–”sooner or later we’ll be singing for free.” Admittedly, the career complaint jam is a risky endeavor. I mean, these are lucky, talented guys, right? So what I dig is the statement of purpose, the sense that the dudes are weary but they’re gonna keep rolling that boulder up the hill and breaking our hearts in harmony.

In places, End of It feels like Sloan’s (old school) Guided by Voices record. In between yr typical three- or four-minute pop song, there are neat little miniatures like “Someone I Can Be True With.” It’s a peppy little love song that bows out just as it gets rambly and repetitive. I especially appreciate the grumpy/campy pop culture references. Since the song’s about that total love that thrives in the cocoon of comfort, it makes sense to fill it up with the stuff of everyday life.

Then again, the latter half of the song sounds like my typical weekend with the little lady, if you substitute “Road House“ or “CSI: Miami” for “Gremlins 2.” (But then it wouldn’t rhyme, I guess.)

Never Hear the End of It at Newbury Comics. (and at iTunes.)