Duo’s fourth plays like ‘Electronica 101’


It’s been five years since Ontario electro-pop duo Junior Boys dropped the ridiculously infectious single “In The Morning” as a free download on iTunes, but what do Jeremy Greenspan and Matt Didemus have to show for the time? One full-length (2009’s Begone Dull Care), a few remix-heavy EPs and the harder-to-quantify experience that comes with half a decade of flirting with the edges of the electronic community.

Jumping-off point · The latest from Canada-based electro-pop duo Junior Boys offers an accessible hour of electronica to genre newcomers. - Photo courtesy of Domino Recording Co.

This week the pair released something markedly more tangible: a fourth studio album, It’s All True. The record’s nine succinct, delightful tracks weave together all the best lessons of Greenspan’s 12-year recording career into an hour of accessible dance music that allows Junior Boys to approach a broader and more diverse dance-pop audience.

In only 50 minutes, Junior Boys offer a narrative that starts simply and ascends to a soaring conclusion. Several songs are catchy club tunes (“Second Chance” and “Kick the Can”), while others offer surprising lyrical cleverness (“The Reservoir” and “ep”).

The record’s first two tracks, “Itchy Fingers” and “Playtime,” are unremarkable. Although the unapologetically synthetic instrumentals are just intriguing enough to carry the tracks, they’re far better suited to an ambient party playlist than electronic dance set. The album finally begins to impress on its third track, “You’ll Improve Me.” In five seconds, the song asserts itself as a verifiable head-bobber, and by the one-minute mark it evolves enough to maintain the listener’s undivided attentions.

Junior Boys complement this stellar introduction with three solid songs, the mellow “A Truly Happy Ending,” melancholy “The Reservoir” and perfectly constructed “Second Chance” (likely the album’s best). “Ending” combines delightful ambience with unexpectedly sad lyrics. It and “Reservoir,” the arty, airy follow-up, will make few club appearances this fall. Though thoughtful and intriguing, they’re perhaps a little heavy for their delight-filled background noise.

Then comes “Second Chance,” a five-minute exercise in perfectly executed dance sound. Its instrumental line is the least obtrusive of any of the record’s offerings up to that point, complementing It’s All True’s most complex and soaring vocals.

The final three songs build on this solid middle section. “Kick the Can” is similarly synthetic but difficult to follow, telling its five-minute tale in beeps and short sonic lines that begin to stir a rave’s intensity into the relaxation the listener expects. After a few minutes’ heaviness, however, “Can” reverts to Junior Boys’ characteristic chill. It fades into “ep,” the penultimate track, which features the album’s best sing-a-long possibilities.

Finally, It’s All True concludes with the nine-minute epic “Banana Ripple.” Junior Boys truly saved their best work for last: “Ripple” is positively infectious, showcasing both the band’s best writing and sound construction. Complex and crafty, this song reflects the intricate studio efforts of musicians who like experimentation.

This album is, occasionally, too involved. It twists often enough to threaten jarring, but the melodies are smooth enough to unite each distinct chapter. More importantly, each song is inventive and enjoyable enough to play independently. On It’s All True, Junior Boys offer the energy of that first free single that captivated casual listeners and mix it delightfully with five more years of technical prowess.

If you don’t really want it / Just try some, the hook of “Banana Ripple” challenges — and that is precisely Junior Boys’ invitation to unsure electronic listeners. It’s All True is a perfect introduction for new fans and a playful addition for seasoned ones. In their fourth full-length album from twelve years of recording, the Junior Boys have found a gleeful artistic niche that is simultaneously pop-friendly and entirely danceable.