The Fakeout, the Tease and the Breather

When Canasta throws around the term "long-awaited" to describe their upcoming album, The Fakeout, the Tease and the Breather, they aren't just whistling Dixie. Considering the band has been a staple - perhaps even the unspoken centerpiece - of Chicago's orchestral pop contingent this millennium, it's hard to believe that this is just their second full-length. But Canasta doesn't profess to be any sort of lightning rod for the muses. As un-sexy as it sounds, the members are probably better described as pop craftsmen/women. Their composition process may take time, but it elicits serious pride in the end result. Boasting a six-person line-up, Canasta has always augmented the standard rock set-up with piano, keyboard, violin and trombone. But despite an ever-changing roster that has included fifteen members (!), founders Matt Priest and Elizabeth Lindau continue to keep the orchestrations meticulous, the lyrics thoughtful, the melodies unforgettable and the sound uniquely "Chicagoan." The Fakeout, the Tease and the Breather is a record that earns its lengthy gestation period and demonstrates a big step forward in songwriting. This album's louder moments are darker, denser and more dramatic than those found on past recordings, with harder-hitting drums, boomier bass and a swarm of buzzing synths. But conversely, its prettier moments are sparser and more heartbreaking, with vocals bordering on a whisper and the audible creaking and squeaking of piano pedals, guitar frets and violin strings. And along the way, the record flirts with elements new to the band, borrowing from the likes of disco, shoegaze, spaghetti western, gospel and blue-eyed soul. But in their hands, it never spirals out of control; it's unquestionably still a pop record at heart.