After years of consistently creating some of Canada's most recognizable and memorable classic alternative rock, the latest chapter in the history of this prolific band is the release of their tenth studio recording Goodbye Flatland. It's a sonic reminder of why 54*40 is so deeply rooted in the fabric of our music scene and what makes the band so damn good. With any great rock group it always comes down to the sum of parts. While it's easy to say 54*40 defines this statement - it's the relentless power and rhythm of drummer Matt Johnson and bassist Brad Merritt, the crafty edge of Phil Comparelli's guitar work and the signature phrasing, timbre and lyrical muse of lead singer Neil Osborne that drives the point home. Collectively, all of these elements resonate within the 12 tracks of Goodbye Flatland. A thoughtful and supercharged collection of material that sizzles with the snap crackle and pop of post modern intensity, and something else. It's a certain kind of feeling that only a 54*40 album can deliver - very familiar to the group's legions of fans and a seductive introduction for new recruits. A glowing, razor sharp final mix by studio whiz Warne Livesey (The The, Midnight Oil, The Mathew Good Band) reveals the obviously inspired session co-produced by Osborne and engineer Howard Redekopp. A sonic exploration worthy of some serious headphone action without losing sight of the fact that at the core, 54*40 is a rock band - that, well...rocks! The first two singles Animal In Pain and Take Me Out provide proof on that count and the album, as a whole, once again, displays the group's top shelf songwriting skills and ever maturing pop craftsmanship.
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