The Besnard Lakes are a Montreal-based orchestral pop collective whose creative direction is grounded in the leadership of husband-and-wife duo Jace Lasek and Olga Goreas. Although this description sounds eerily similar to that of the Arcade Fire and The Dears (fellow matrimonially bound Canadian collectives), Besnard Lakes succeed in differentiating themselves from their fellow countrymen. On their second effort, The Besnard Lakes Are the Dark Horse, the band carefully layers gorgeous Beach Boys-styled harmonies on top of psychedelic guitar riffs and string orchestras.

      Formed in 2001, the Besnard Lakes slowly began to build up their reputation in Montreal’s competitive music scene, thanks in part to Lasek’s reputation as a producer for better known indie-Canadian acts such as the Islands and Wolf Parade. While laying out the groundwork for their first album, Volume 1, stereotypical arguments over the band’s musical direction occurred, with Lasek and Goreas suddenly finding themselves abandoned by their fellow band members. Recouping their losses, the Besnard Lakes signed to Indiana’s own Jagjaguwar label in November of 2006, gearing up for the release of Are the Dark Horse this past February.

      The Besnard Lakes open Are the Dark Horse with the slow-building “Disaster,” with Lasek gently crooning in falsetto to a suspect woman, “Generals have fought for scars like you” … at least, that’s what I think he croons. Many of the Besnard Lakes’ lyrics are difficult to comprehend over the thick reverb, but the lack of lyrical comprehension does not affect the overall quality of the material. As “Disaster” reaches mid-point, the Brian Wilson influence upon Lasek’s vocals becomes even more prominent, especially in combination with the surf-like tremolo provided by the lead guitarist. “Disaster” abruptly shifts moods, as assertive guitar chords and a pulsating rhythm from the violinists (including GSYBE’s Sophie Trudeau) are incorporated.

      Most of Are the Dark Horse’s songs are similar to “Disaster” in composition: Lasek quietly sings over a simple guitar line; his wife’s harmonizing vocals are added; and, eventually, the song explodes into a dark, stirring anthem (thanks to the addition of rousing guitar solos and the mini-orchestra’s assistance). Surprisingly this repetition in song structure never becomes tiresome. The Besnard Lakes hit their peak with the album’s most ambitious track, “Devastation.” Again, the lyrics are not exactly crystal clear (web research describes “Devastation’s” lyrics as “anti-war” in nature). I imagine that the average listener will not be bothered by the lyrical content, being more preoccupied with the song’s chaotic guitar work and with the chore of repeatedly belting out “Devastation!” along with the Besnard Lakes chorus.

      The Besnard Lakes don't sustain Are the Dark Horse’s initial momentum throughout the album’s entirety, ending with a trio of shorter songs that are more straightforward in structure and intention. Both “Ride the Rails” and “On Bedford and Grand” lightly utilize shoegazer distortion, while album closer “Cedric’s War” bears semblance to the 60s sunshine pop music of the Mamas and the Papas and the Velvet Underground (Loaded-era VU, that is).

      The Besnard Lakes are not ashamed to draw inspiration from many influential music pioneers; Lasek’s production contributions to more recent Canuck musical landmarks has afforded him the expertise to successfully mix a variety of styles on The Besnard Lakes Are the Dark Horse, a unique contender for the year’s best album.

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