Do Make Say Think ‎– & Yet & Yet

Constellation ‎– CST020-2
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This recording took place in Justin's home on Queen Street and at Manta DSP in Toronto.

Issued in a cardboard folder.

Barcode and Other Identifiers

  • Barcode (Sticker): 666561002022
  • Matrix / Runout (Variant 1): 2E6B1<1040>319785CST020
  • Mould SID Code (Variant 1): IFPI8115
  • Matrix / Runout (Variant 2): 39VE1<1040>319785CST020 DUPLICATION.CA
  • Mastering SID Code (Variant 2): IFPI L483
  • Mould SID Code (Variant 2): IFPI8113

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December 13, 2010
it's funny how the indie rock revisionists work, how they need to make sure that they've kept up with trends, past and current.

when this record first came out, it got panned. it was too electronic, aimless, derivative. it was such a shame. those do make guys had so much potential after their second record; after this thing, well, it looks like their career must be over. they took a veer towards the unexpected, and, in indie rock, you can't do that and survive. you have to do what the 'zines tell you to do. everybody knows that. it was RIP DMST, you ain't the hip cats no more.

then, somehow, this band called broken social scene appeared out of nowhere and won a bunch of awards, and all of a sudden pitchfork and other reviews started changing to reflect the new reality - that do make say think are the critically acclaimed side project, the abstract artistic outlet. we can't be nailing them anymore. they're everybody's favourite band. the only problem was that nobody bothered to listen to the records, and everybody kept comparing them to their antithesis.

now, for a guy like me that's been buying their records for years and has seen them play a dozen times in front of 8 people, it just comes off as hilarious. the general consensus amongst do make fans is that each album got better and better up until the broken social scene fiasco, which caught mostly everybody by surprise, and which we all viewed so very cautiously as we suspected it meant the end of this excellent act.

we all knew that this band was going to be legendary, we could feel the energy at the shows, even though there wasn't a lot of people there; we could look around the record store and grasp that this was the best music that existed at the time. but, maybe very few of us saw success come this quickly. maybe most of us figured we'd still get to see them play tiny bars until they broke up, or at the very least sold out.

but, something has changed now - this band has major media exposure, they have that buzz around them, and they've become an act that anyone seriously interested in creative music will eventually stumble across. furthermore, as post rock has ceased to be a new music and has entered into the vocabulary of music fans everywhere, as the movement has stabilized into a market, a historical evaluation of the timeframe needs to be initiated.

i was there, and these guys were key. as such, the grading of the record needs to reflect this. all kinds of people - young and old - are going to be looking into this band now and twenty years from now, and they are going to be looking at their first five records. despite the fact that it got panned initially, i can conscientiously state that this is their best record, as far as i'm concerned. yes, i did claim this was the case at the time as well.

what happened at the time was typical in the underground rock scene - a groundbreaking record is released, and it flies over everybody's heads. would it have eventually been recognized as what it is? yes. the broken social scene fiasco just accelerated the recognition.

this record is incredibly lush, it's a record you can get completely lost in, lost in the feeling of floating through ether, of becoming the medium, of being converted directly into the energy itself. what gets us there? in this case, it's the production. every nanosecond of this record exists, there is not a moment of empty space, and it exists through such a thick haze of reverb, so many overtones and countermelodies and harmonies, so many harmonics, that the chillout atmosphere of the music relaxes you as much as the unconscious strenuous mental activity of computing such a spectrum will naturally.

guitars and basses weave seamlessly as extensions of each other, sharing riffs; reverb drenched guitars and analog keyboards are sometimes hard to tell apart, as are the dual drummers that never for a moment sound disconnected - they seem to share a consciousness, to exist as a single entity with four arms and four legs - crescendoing not into volcanoes, not into earthquakes, but into flowers blooming, into clouds parting, into sunrises over lakes in august....

so, somebody, some day, if not some yesterday, is going to say "i've heard a lot about this band, do make say think, from the late 90's and early 00's, and the whole post rock scene that happened then. i'd like to check them out. what's their best record?".

i vote for this one.