Canada’s got a knack for giving us indie groups, and Broken Social Scene (BSS) is one of the most paramount. The group consists of members of other groups (Metric, Stars, The New Pornographers) and indie icons Jason Collett and Feist. You Forgot It in People and the self-titled follow-up album are iconic records of the past decade. BSS write meticulous pop cuts that are both snide and utterly sincere.

Kevin Drew, founder and propeller of the group, created a very rustic and dry sound on the earlier records; his production is the leading instrument. Every chord struck, every word that hits the mic, and every cymbal crash is mixed to razor-sharp perfection, but on Forgiveness Rock Record, he favours a more sandpapered sound that doesn’t quite make it polished; instead, the album sounds conjunctive. Just listen to ’Chase Scene,’ where they hook us with an aggrandising volume. ’I think I'm ready to go/ I think I'm ready to fight/ for the seed of my life,’ assures the outfit with a hurl.

The group has had its ups and downs during their lifespan, and after most of the members sought solo careers of their own, it was hard to reassemble for a new release, hence the five years it took them to release Forgiveness, and hence the name. In the synthesizer-laden ’All to All,’ the female lead delivered by Lisa Lobsinger literally choruses a call of forgiveness, but that doesn’t mean the rest of the album will play like an hour-long couple’s therapy session. 'Texaco Bitches' comes quickly to perk up the album, and guess what; it’s about the oil crisis.

As is the case with their earlier albums, 'Meet Me in the Basement' is another instrumental in the band’s string of climactic themes for imaginary film. 'Art House Director' is another meticulous song about the validity of art trying to have it both ways; integrity and accessibility. It’s a premise that BSS built their career around. 'Sweetest Kill' captures a moment where all seems lost in vain, but then comes the song ’Water in Hell‘ as a rebuttal. 'The shuck and Jive/ the shuck and jive is over/ It's the year 2010,' the song reminds us.

In his book The Rock Snob's Dictionary, author David Kamp addresses a type of album called ’hard but rewarding‘– think Radiohead’s Kid A. Kamp undermines such albums and credits their acclaim to their exclusivity. BSS’s output can be lumped in that category, although it would be misleading.The band’s gruffness is not a gimmick, it takes a while for it to click but once it does, it unlocks the door to some of the best indie out today.