Additional personnel: Andrew Whiteman (guitar); Genevieve Walker, Jesse Zubot, Jade McNelis (violin); Joseph Elworthy (cello); Daniel Handler (accordion); Erik Hove (saxophone).

On this 2007 follow-up to its acclaimed SET YOURSELF ON FIRE, the Canadian indie-rock ensemble Stars wander further into pop territory. Along with Feist, the group is clearly one of the most accessible acts in the Broken Social Scene collective, a notion that it runs with on bright, dramatic tunes such as "The Night Starts Here," a lush, synth-pop number, and the sweeping, string-laden title track. While the band seems most at home with ornate, keyboard-driven arrangements (see the lightly funky "My Favourite Book," which showcases Millan's breathy voice), Stars also indulge in occasional guitar-heavy moments, as best evinced during the frenzied six-string solo at the end of "Window Bird." Although not as consistent as FIRE, IN OUR BEDROOM AFTER THE WAR is a boldly ambitious outing that will certainly please many of Stars' ardent fans.

In Our Bedroom After the War may prove that Torquil Campbell would be better off orchestrating Broadway show tunes instead of playing the part of an indie pop frontman. The titular song that ends Stars' fourth album is a heavily layered theatrical production laced with birds singing and bells ringing as Campbell's relationship culminates with a choir of voices and a massive symphonic crescendo. Campbell and crew are striving for a bigger-is-better formula, watering down the majority of their rock sensibilities with heavily layered chamber pop and this makes for a mixed bag. While some of Stars' best songs appear on this record, others are performed with such an overstated bravado that it renders them too sour to digest. "Personal" is a character-driven melodramatic ditty that chronicles a protagonist who places a newspaper ad and is stood up because she is too obese. Two schmaltzy piano ballads feature Campbell delivering his best imitation of Morrissey covering Elton John, in a manner of campy crooning that could easily be interpreted as pomposity. With the exception of those decadent stinkers, and a few mediocre numbers, Campbell and Amy Milan churn out some of their best work and harmonize soothingly throughout. One of their most instantly catchy singles "Take Me to the Riot" capitalizes on a snappy hook vaguely reminiscent of Ned's Atomic Dustbin's "Grey Cell Green," and sits well alongside the candy-covered Rhodes and orchestral flavored breakbeat of "My Favorite Book," which could fit on a greatest-hits record by the Cardigans. The themes of sweet, sweet lost heartbreak are still evident, and the enhanced sheen makes the material sound more like contemporary easy listening music than ever. Since the group is on the Arts & Crafts label (home to Broken Social Scene), they can still be described as indie, but they're just barely holding on to that credibility. While it wouldn't be surprising to hear Set Yourself on Fire while shopping at Urban Outfitters, this album seems ideal for The Gap. As a whole, the band sounds tighter than ever, and if they continue down this road, and keep inflating their production like a balloon, there's a danger that they could easily go pop. Until then, keep your head up, there's no need to reach into their back catalog just yet. [Also released with bonus tracks.] ~ Jason Lymangrover

DVD Features:

"Are We Here Now?" - Produced and directed by Anthony Seck