01. Long Live The Fallen World 4:56
02. Oh Sister 3:41
03. Destroyer 4:31
04. Pathos 2:22
05. Light Years 5:45
06. Disposable Times 4:25
07. Dreams 4:30
08. Queen Drum 3:51
09. Smoke And Mirror Show 4:47
10. Firestruck 5:12
Since 2005 (the year the group formed) Young Galaxy have worked hard to build a name for themselves and now, after three years and with the release of Invisible Republic looming, we finally get to witness their début effort in upholding their respected Canadian roots.After all that suspenseful build-up, it's fortuitous that this album is something of a success.
Intro track and leading song from the new album Long Live The Fallen World is a electronic-indie hit just waiting to happen, only being held back by its slightly ominous vocals. The melody is ready for radio in every way possible but it's ten times more grounded than any other examples you would find in the mainstream music charts.
Dreamy, wandering guitars pick their way in and out, gliding on a constant stream of sound, punctuated by the oddly-built chorus and matching vocal melody. Mid-album track Light Years drifts along placidly, rubbing sleep from its eyes and yawning contentedly as drum and cymbal shatter quietly in the background, painting tranquil dream-indie in-front of your very eyes. It trickles wonderfully into successive track Disposable Time which also shows heaps of promise from its very first listen.
It's less 'epic' and hazy than its lead-in but shows a more arresting side to their strangely attractive pop. The rhythm is jittery and atmospheric, smothering repetitive guitar chords with electronic noise and reserved percussion. "In disposable times" repeats main female vocalist Catherine McCandless again and again through the chorus, psychedelic strings hypnotising all the while.
Whilst the majority of the material is fine instrumentally, a gripe does surface when the vocals are handed over to main male vocalist Stephen Ramsay. He's by no means terrible - in places, his melancholic timbre suits the atmospherics behind - all too often though, he interrupts their style and fails to integrate properly with their instrumental intent. On Dreams he taints the otherwise acceptable and melodious nature with grating nonchalance and no real mood. He takes their high jump and places a brick wall in front of them, a sad occurrence for a band of such promise.
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