Exclaim!:
Dan Mangan’s debut record pegged him as a talented member of the sensitive singer-songwriter species. Not that there’s anything wrong with that, but on his sophomore album, the Vancouver artist forgoes the angst in favour of a more upbeat approach. It’s a solid progression and gosh darn it, it’s a lot more fun. After the devastatingly perfect chorus of “Robots” knocks you flat on your ass, Mangan mocks you gently in “The Indie Queens are Waiting” and then makes you dance to the sound of your surrender in “Sold.” A few songs are reminiscent of the bittersweet melancholy of 2007’s Postcards and Daydreaming but more often, Mangan’s tone is playful as he dissects humanity’s quirks; his own most definitely included. With its occasionally dim view of the future, the album is foreboding, at times. But soaring horn- and string-heavy arrangements, as well as Mangan’s voice (at once fleecy warm and sandpaper rough), keep things congenial, even when the outlook is gloomy. With backup from some of Canada’s finest roots musicians — Veda Hille, Justin Rutledge and Mark Berube, to name a few — and a nod from NME as one of Canada’s most promising artists, Mangan’s career is clearly on the rise. Hop on board and enjoy the ride.

The Province:
After the incredibly strong Roboteering EP, some asked if this gravel-piped storyteller could better gems such as “Robots” or “The Indie Queens are Waiting.” Yes, and then some. Those songs and the upbeat “Sold” from the EP all grace this dozen gemmed disc. So do future fan faves such as the musing ballad “Pine For Cedars” or the gorgeously rendered shuffle “You Silly Git.” From his unusual and razor-sharp phrasing to the sage poetry in his everyday-life observations, he’s in the ranks of geniuses such as Greg Brown, Nick Drake or Badly Drawn Boy.
Grade: A

Sound Proof Magazine:
(4.5/5 Stars) SOUNDS LIKE: Nice songwriting, nice arrangements, a very nice album.

WHY/WHY NOT: Vancouver’s Dan Mangan makes it easy to review his latest release. Indeed, it is nice, very nice. Mangan is a little bit country, a little bit rock ‘n’ roll and completely impressive for stitching the two styles together so seamlessly. His voice sounds like that of an older, gruffer country musician, but his youthful and lively songwriting pulls at the shirtsleeves of his inner Woody Guthrie. With lyrics like “Robots need love too”, listeners wouldn’t expect the cheeky content to sail through waves of dynamic choral balladeering and colourful instrumentation, but Mangan doesn’t only pull it off, he makes it soar. This is one lovely effort, and certainly worth a listen.

Metro (Halifax, Montreal, Toronto, Ottawa, Edmonton, Calgary and Vancouver):
Vancouver’s Dan Mangan has quietly been building a name for himself since releasing his debut in 2007, but expect the chatter to increase in volume with this new release. If you like The Weakerthans or early Hawskley Workman, you’ll love this record. It’s all well crafted singer-songwriter stuff with impressive range. Mangan is able to move from the incredibly infectious sing-a-long Robots to the sensitive John K. Samson-ish The Indie Queens are Waiting with ease. If anything, he sounds a little too much like some of his influences but with such strong material, no one will care.

NOW Magazine:
(NNNN)
Dan Mangan’s new full-length is unquestionably honest. Hell, he even sings about not stealing. The album doesn’t reach for lofty philosophical revelations, but instead focuses on the simple realities of Mangan’s surroundings, joys and woes.

The gruff-voiced singer/songwriter employs over 20 musicians on guitar, horns, strings, bells, pianos and foot stomps, but they never overwhelm his tales of travel weariness, robotic queuing, people-watching in breakfast diners and bus shelters.

His reflections are personal (the liner notes include vital contextual doors to each track) but also speak to a universal daily grind. While most of us keep moving along, Mangan distills these banalities into earnest indie folk and invites us into his chorus.

Top track: The Indie Queens Are Waiting

Discorder:
Dan Mangan is a heck of a talented guy. His poignant few frills approach to songwriting is refreshing and the songs he produces sit so comfortably. They are easy to sing along to and have a habit of winding their way into the consciousness and staying there. This feeling continues on his sophomore release, Nice, Nice, Very Nice and doesn’t stop until long after the music is over. There is something so very real about the way he spins his observational tales through use of his signature graveled voice, simple wordplay and unpretentious song structure. Take for example the ridiculously catchy foot tapper and album opener, “Road Regrets,” a song about being on the road for long stretches and finding peace and humour in it. “Robots,” easily the best song on the album, is a fun little tale of a five day stint spent without cell phone service.

Accompanying the lyrics for each song is a sentence or two that acts as an explanation or meditation—a nice little bonus to visualize as you lose yourself in the thickness of his voice and pretty guitar chords. With some of his strongest work to date and an already large fan-base, Nice, Nice, Very Nice could very well be the album that solidifies Mangan as the standout artist he is.

I(heart)Music:
IN A NUTSHELL
Just as the Roboteering EP hinted that it might be, Nice, Nice, Very Nice truly is something to behold.

THE STORY
As I said a few months ago, I wasn’t initially a fan of Dan Mangan. Even though I was sent his debut, Postcards and Daydreaming, at least three times from three different sources, I never found any reason to get into it. As far as I was concerned, he was just your typical, unassuming, unremarkable folk-rocker.

The Roboteering EP was the first reason to believe that Nice, Nice, Very Nice might signify a massive leap forward in terms of recorded ability. Of the EP’s five tracks, four were incredible, with one (”Robots”) possibly being the best song I’ve heard all year. A few lingering doubts remained, however, since the fifth track, “Tragic Turn of Events/Move Pen Move”, had an unfortunately douche-y, Shawn Mullins-y vibe to it.

Thankfully, Nice, Nice blows those remaining doubts right out of the water. In fact, not only does it do that, it also makes a pretty convincing argument for why Dan Mangan might be poised for a massive breakthrough. After all, the songs on here are incredibly good, and at times are even great — even if you choose to ignore the three songs from Roboteering that make a return appearance here. After all, “Tina’s Glorious Comeback” is amazingly catchy (even if you lack any kind of background in the Vancouver music scene”), while songs like “Et Les Mots Croisés” and “Set The Sails” amply demonstrate Mangan’s ability to write gorgeously sparse songs.

Of course, it’s probably those three repeat tracks from Roboteering that elevate Nice, Nice from simply “very good” up to “absolutely indispensable”. “The Indie Queens Are Waiting” is heartbreakingly lovely. “Sold” is impossible to resist thanks to the way it careens along with joyously reckless abandon. And, of course, “Robots” may just be the best song I’ve heard all year, particularly for the last minute or so, as Mangan and friends sing one of the all-time greatest choruses ever, “Robots need love too, they want to be loved by you”.

The obvious thing to say here is something along the lines of “Robots be damned, you’re going to love Dan Mangan by the end of Nice, Nice, Very Nice.” And that’d be totally accurate. But it seems trite to reward such a great album with something so cheesy, particularly when you account for how much Mangan himself has grown from clichéed guy with a guitar to full-fledged awesome singer-songwriter. I can’t think of any better way to close out this review, however, so just do yourself a favour and get this album, because it’s so phenomenal that it’s impossible to resist.

Hear Ya:
Dan Mangan’s sophomore release, Nice, Nice, Very Nice wins the Most Pleasant Surprise Of 2009 Award at HearYa. I hadn’t heard of this Canadian songwriter prior to the mailman delivering the album and it’s been stuck in my head for weeks.

While you may be thinking verses of a Cracker song, saying to yourself “The world needs another folk singer like I need a hole in my head,” please stop yourself. Dan Mangan proves to be more than a singer-songwriter with an acoustic guitar. He’s a masterful lyricist that enlists a broad spectrum of instrumentation to create an album worthy of the Kurt Vonnegut poem that is its namesake.

While my made up award may not give much credence, Dan Mangan also recently took home the Verge XM Artist Of The Year Award. His music brings to bear the absurdity of life with songs about robots, coffee sweats and Tina Turner comebacks wrapped in a sound that combines Mark Lanegan’s graveled vocals with Josh Ritter’s good humor and pop sensibility.

Dan Mangan deserves much more buzz than has been built thus far. His music is custom built for people that like sad words enveloped in happy songs and for those that don’t take themselves too seriously. There’s two songs and a video below that serve as a good appetizer for what Nice, Nice, Very Nice is all about.

Rootstime.Be:
(Because, at Dan Mangan Music, we don’t discriminate languages..)
Dan Mangan is een Canadese singer-songwriter die in 2007 aandacht wist te trekken met een heel mooie plaat, “Postcards And Daydreaming”. Een plaat vol naakte en ontroerende popliedjes met het randje melancholie. Begin dit jaar verscheen “Roboteering” een EP met een vijftal nummers en we hebben maar even moeten wachten want inmiddels ligt zijn nieuwste album “Nice, Nice, Very Nice” in de winkel.

Een ieder die “Postcards And Daydreaming” de afgelopen jaren heeft gekoesterd, zal waarschijnlijk even moeten wennen aan “Nice, Nice, Very Nice”. De nieuwe plaat van Dan Mangan is geproduceerd door de van Elliott Brood bekende John Critchley, die eerder ook de geprezen prachtplaat “Perpetual Motion Machine” (1993) van de band 13 Engines voorzag van een opvallende productie, hetgeen meteen hun doorbraak betekende, en nu ook bij Dan Mangan staat te gebeuren.

Waar de vorige plaat uiterst sober was, is “Nice, Nice, Very Nice” voorzien van de nodige productionele tierelantijntjes, variërend van blazers, strijkers tot vervreemdende percussie en allerhande vreemde geluidjes. Versiering die op het eerste gehoor ten koste gaat van de intimiteit van de vorige plaat van de Canadees, maar na enige gewenning valt alles op zijn plaats. Net als op die vorige plaat beschikt Mangan over het vermogen om je met zijn melancholische popliedjes diep te raken. Een gave die nauw samenhangt met zijn bijzonder aangename stemgeluid, al valt ook op de kwaliteit van de songs niets af te dingen.

Ondanks het feit dat de productie dit keer wat uitbundiger is dan we van Dan Mangan gewend zijn, waardoor de Canadees iets opschuift in de richting van Paolo Nutini en Damien Rice, blijft “Nice, Nice, Very Nice” een betrekkelijk sobere en bijzonder sombere plaat. Een plaat die misschien niet direct het herfstgevoel in je wakker maakt, maar net als zijn voorganger maar heel moeilijk uit de cd-speler te krijgen is.

Een deel van de songs is betrekkelijk lichtvoetig, maar songs als “The Indie Queens Are Waiting”, “Robots” en vooral “Basket” snijden je dwars door de ziel. Waar veel muzikanten onderuit zouden gaan bij het zo frequent schakelen tussen nogal uiteenlopende stijlen, klinkt “Nice, Nice, Very Nice” verrassend consistent. Zo laat “The Indie Queens Are Waiting” een breekbare en zeer verleidelijke stem horen. De song kabbelt rustig voort en de inbreng van Veda Hille’s stem maakt het een breekbare song waar er een mooi evenwicht is tussen haar stem en die van Dan Mangan. De meeste nummers zijn relaxt, intelligent en hebben veelal een prachtige opbouw, waarbij blazers en viool veelvuldig te horen zijn. Naast Veda Hille kreeg hij ook steun van andere Canadese artiesten, waaronder Justin Rutledge, Mark Berube en leden van Elliott Brood, Said The Whale, Hidden Cameras, Major Maker en Small Sins.

Samen zorgen ze voor een wat voller geluid, dat in het geval van Dan Mangan overigens een zeer relatief begrip is, want de gemiddelde luisteraar zal de aankleding van de songs op “Nice, Nice, Very Nice” nog altijd typeren als uiterst sober. De instrumentatie, die naast de gitaren ook bijdragen van veel andere instrumenten bevat, staat weer volledig in dienst van de bezwerende stem van Dan Mangan. Een stem waar je even moet aan wennen, maar als hij je eenmaal raakt is het ook direct tot op het bot. Omdat ook de kwaliteit van de songs op deze plaat weer niets te wensen over laat, handhaaft Dan Mangan zich met zijn tweede plaat met speels gemak tussen de smaakmakers binnen de huidige generatie singer-songwriters. De Canadees heeft in zijn thuisbasis Vancouver al een stevige aanhang en ook in de rest van Canada vindt hij zijn weg, en daar zal het zeker niet bij blijven.

30 Music:
Canada-based musician Dan Mangan is observant. Really. Things happen to everyone, but few can actively understand what they’re seeing and transcribe these experiences and feelings into words as well as he can. Accordingly, Dan Mangan can be said to be articulate. He’s very good with his words. What’s more, this gathered fuel for his songwriting becomes a means not only to lyrical prowess, but also to fitting, moving instrumentation. So then it’s reasonable to conclude Dan Mangan must also be musically talented. Does this sound promising so far?

Right, then don’t deprive yourself, especially if Mangan’s first full-length, Postcards and Daydreaming, doesn’t ring a proverbial bell. Material like his sophomore release, Nice, Nice, Very Nice, doesn’t surface too often. Read on, evaluate, and then go appreciate.

But what should you appreciate, you wonder? Well, start with his songwriting. Mangan’s lyrics are honest and thoughtful, deeply appealing in their introspective take on the subtleties of life. He caters skilfully both to the concrete and the abstract, concisely conveying his meanings by first painting a striking image of his surroundings, then following it by presenting an emotional or social situation. If this sounds tedious or formulaic, rest assured that Mangan has an ease about his music-making that maintains a certain naturalness to his tracks.

And chances are this is in large part due to his abnormally elastic vocal phrasing. An unexpected pause here, a drawn out word there, an octave lower over there, and suddenly the songs seem to live and breathe as much as their singer. The technique is so reminiscent of something Adam Duritz would do; you’re likely to wonder if Mangan made a habit of attending Counting Crows concerts in his youth.

This effect shines in “The Indie Queens Are Waiting,” a delicate vocal duet between Mangan and a female vocalist that uses call-and-response vocals to illustrate the stumbles and doubts of a troubled relationship. The two voices bounce and play off one another with varying frequencies, at times falling in sync to show how the two characters often have similar opinions on the issue.

The rare downside to this is that the lyrics strike an occasional bump, where the word choice is awkward and the whole song is briefly thrown off for it. As noticeable as these moments can be, they’re few and far between. And even when they do occur, the album’s rich blend of guitar, strings, piano, and drums persevere with that sweet, inviting musical progression that smoothes everything over.

And regardless, Nice, Nice, Very Nice is so unbelievably catchy that you’d have to forgive it for its few flaws anyway. The music is addicting, and Mangan’s voice is pleasantly full-bodied with tasteful bits of vocal “gravel” tearing through here and there. Plus, the songs share a common theme of learning (or failing) to interact and understand the people you coexist with, and no one can ignore personal relevance there.

But perhaps that’s why Mangan chose to name his album Nice, Nice, Very Nice. It’s a reference to a poem by the late Kurt Vonnegut that concerns how people of so many varieties in this world are part of “the same machine.” And it take some practice to be able to live alongside some of these people.

Chromewaves:
Saying I was a bit award-ed out following last week’s Polaris Prize gala would be something of an understatement, so the ceremonies for the Verge XM Awards the following night were largely ignored around these parts. But that doesn’t mean the results weren’t of interest – okay, Alexisonfire winning album of the year was of zero interest, but the declaration of Vancouver’s Dan Mangan as artist of the year certainly drew a double-take. This response had nothing to do with Mangan or his work, simply the fact that it’s a pretty heady honour to bestow on someone who’d only released his new album Nice, Nice, Very Nice a little over a month prior, though that was preceded by the Roboteering EP in the Spring. The whys and wherefores of that do interest me, but we’ll set that aside for now and just consider the record.

And it’s a good one. On the surface, it’s a tuneful collection of roots-rock/pop, hummably melodic and understatedly orchestrated, but what’s most compelling is the narrator that Mangan inhabits in his songs. Though his likeable rasp implies a certain forthrightness of character, that he’s the sort of guy who tells is straight and like it is, lyrically he’s much slipperier. Sardonic observer of the world around him one moment, absurdist storyteller the next, but I suppose when done right the two really aren’t all that different. You’re never sure if Mangan is telling tall tales or pouring his broken heart out because he does both with a twinkle in his eye; the unreliable narrator, the court jester, or just the guy perched on a barstool, it doesn’t really matter – there’s as much cosmic truth as fiction in these songs and either is where you find it. And if you’re just looking for some great songs, they’re here too. Artist of the Year still strikes me as a bit premature, but if Mangan is still finding himself up for awards in a year’s time or so, it wouldn’t surprise me a bit.

Mangan kicks off a cross-country tour this week and will be in Toronto in a couple weeks on October 16 for an in-store at Criminal Records on October 16 at 6PM and a gig proper at the Rivoli that night. Then it’s off to the UK and Europe. Okay, maybe he’s having a really good year after all.

The Coast:
Vancouver native Dan Mangan’s vocals on this LP will charm the pants off any summer road-tripper, via beautifully sung folk pop melodies, sometimes about coffee, sometimes about love. Mangan’s smart, soul-bearing album kicks off with “Road Regrets,” a song he wrote in 2007 while driving from El Paso to Austin, drinking gas-station coffee and regretting it all the way. Second track “Robots” is a sincerely sung silly tune that proves “robots need love too.” Mangan wrote the Nice, Nice, Very Nice tunes between 2005 and 2008, and it shows; this is a thoughtful release that will grow on you, listen after listen, all summer long.

Herohill:
It’s easy to forget that Vancouver native Dan Mangan has been touring most of the last four years on the strength of a single EP and LP. That’s because, no matter how much I enjoyed Postcards and Dreaming, it always seemed to be just the tip of the iceberg when it came to Dan’s potential. When you’d be lucky enough to see him live, he’d introduce a new tune or a new arrangement to an old classic, and undoubtedly those in attendance would leave discussing the next Mangan record and how the well traveled songwriter would finally have the catalog to convert the masses.

When the Roboteering EP (review) came out earlier this year, Mangan offered the perfect amuse bouche to start us salivating. Packaging three of the records most catchy tunes - Robots (which might just be the song of the year), the insecurity that dominates The Indie Queens are Waiting (a ballad about trying to fit in) and the whimsical, ramshackle style of Sold - he got everyone excited about Nice, Nice, Very Nice. Throw in the fact the lead single, Road Regrets, is a road trip anthem that crescendos for the opening four minutes of the record and you can see why Dan had people talking.

But Nice, Nice, Very Nice is more that catchy sing-alongs and ear pleasing guitar. Exposing a soul partially broken down by the relentless touring and the loneliness of the road, you are struck by the maturity and heart of the young singer. Fair Verona resists the urge to run, and lets Mangan play with bolder arrangements (horns, picked strings). The song about his girlfriend - You Silly Git - almost feels like an Ohbijou cover and shows a man happy for what he has instead of fixating on what could be. The heavy heart of Pine for Cedars is another heavy dose of melancholic beauty that reveals Dan’s soul to anyone willing to listen and lets us all know that another day away from all you love might not be the dream life we often assume musicians live.

But at the end of the day, it’s the honesty of Nice, Nice, Very Nice that wins you over. You can’t help but think Dan writes what he knows and plays music with and for his friends. Any Vancouver music lover will appreciate Tina’s Glorious Comeback (“playing at the Railway with another emo band”), but for me it’s how well Dan incorporates the musical relationships he’s formed over the years into these songs. Whether it’s the support of Veda Hille, the vocal interplay and dexterity he and Mark Berube demonstrate on Some People or just the willing contributions from some of Canada’s biggest names in the indie scene (Said the Whale, Justin Rutledge, Mother Mother and Elliott Brood), everyone seemed happy to help Dan get his vision recorded and out to the public.

Unfortunately for Dan, the heartache of touring is one he’ll have to get used to quickly. The Vancouver native admits he does, “like the road, but I’d be better at home”, but once Nice, Nice Very Nice is embraced by the masses, Dan will be even busier boarding planes and filing into vans, sound checking, playing shows and missing the comforts of home. Considering this is a man I once saw win over a hockey crowd simply by singing the National anthem, it’s hard to believe that this new collection of stellar songs won’t help him leave each tour stop with countless new fans in his corner.

Chipped Hip:
Dan Mangan - Nice, Nice, Very Nice
Earlier this year, Dan Mangan released Roboteering EP, which previewed of material from his latest album. These new songs, and especially the single “Robots,” were a massive leap forward for the Vancouver singer-songwriter: the lyrics were catchy (”Robots need love too”), the melodies were hummable, and arrangements were beefed up with keys, banjos, group vocals and even a triumphant horn section.

On the full-length album—Nice, Nice, Very Nice, which comes out this week—most of the first half is similarly ornate. Opener “Road Regrets” describes the pitfalls of life on the road, its densely layered acoustic guitars accompanied by chiming electric leads and thundering drum rolls. “Fair Vernona” is even grander, beginning with a hypnotic drum-and-bass groove and backedmasked guitars before swelling to a glorious climax of rising horns and sweeping strings.

The second half of the album is less flashy, mainly comprised of sparse ballads that emphasize Dan’s nimble fingerpicking and gruff, soothing voice. These songs are no less memorable than the high-production numbers, evoking the intimacy of Dan’s one-man live shows. “Basket” is a stunning ballad about growing old—a well covered topic, but the spine-tingling strings and Dan’s ragged growl make it sound like a revelation. “Won’t you take my cane and hold my hand / You’re holding onto all I have / Just a basket full of memories,” he sings during the song’s heart-stopping climax. It’s a staggering moment, one which ought to give a further boost to Dan’s already expanding fanbase.

Vue Weekly:
(4.5/5)
Dan Mangan’s latest record, Nice, Nice, Very Nice, has a way of sneaking up and rearing its head with very little warning of what’s to come. The first song, “Road Regrets,” starts up with some breezy sounds blowing in, only to be overtaken by a confident acoustic guitar, strumming its way towards the highway as Mangan gets the journey rolling.

Mangan’s voice has gained some weight in the years since Postcards and Daydreaming, his full-length debut. Not that his vocal chords were anything to be ashamed of in his earlier days, but he’s become just a bit more graveled today, and it suits him and his words well, allowing for a delivery that is lived-in and worn around the edges in just the right ways. There’s a confidence in the singer’s voice as he leads his collaborators through a landscape that is sometimes welcoming, othertimes dodgy, but always unified.

And as the album carries on, it’s remarkable how Mangan’s songs travel across a spectrum of sounds all the while forming a cohesive identity that is very much the sum of the parts. There are no extreme turns here, but slight stylistic shifts abound—within the first four songs there’s the near-sea-shanty swelling of “Robots,” the slow, sweeping rise of “The Indie Queens Are Waiting” and the country-gone-city bass thump of “Sold,” while later on there’s the saloon-rambling starts and stops of “Some People” and the plaintive contemplation of “Pine for Cedars.”

Through it all, Nice, Nice, Very Nice is grounded by the lo-fi sounds that hide somewhere beneath the instruments, emerging in glimpses but seemingly always near, from the singalong on “Robots” to the frenetic clapping that wraps up “Sold” to the foot stomps on “Tina’s Glorious Comeback.” The various sounds root the album in a workman-like esthetic, giving it the feel of a homemade construction, something built with love and effort instead of dollars and polish.

At the same time, though, the role of the lyrics should not be discounted; Mangan has a way of reeling off lines that are deceptive in their complexity. A song like “Robots,” with it’s chorus of “Robots need love too / They want to be loved by you,” reveals much more than just an interest in technological encroachments on modern life: on the surface it seems that the song may be a tale off battling it out against those intrusions for time that once seemed to be for the wasting—and maybe it is, to a point—but deeper down are thoughts of discovery, as Mangan discovers that technology has snuck up and wrestled his time away without his even knowing it until the match was over.

Ultimately, it’s that ability to write lyrics that beg for some consideration of their meanings, combined with the ability to deliver those words in a way that is compelling and which raises the emotions to the forefront of the songs—”Basket” does just that, with Mangan railing against the unjust wears and tears of aging, his voice rising and cracking to the point of breaking as he envisions the struggle to not lose the abilities that one has so long depended upon—that makes Nice, Nice, Very Nice so captivating a listen.

CHARTattack:
(4.5 / 5 C’s)
Dan Mangan sees the world differently. As if this wasn’t evident enough on 2007’s Postcards And Daydreaming and this year’s teaser Roboteering EP, he shines a new light on his melancholic observations from traveling and growing up in Vancouver with 12 new tracks of genuine beauty. Nice, Nice Very Nice captures the best of Mangan’s indie folk, from his satirical wit in the poppy “Sold” to the unconventional source of inspiration (bus shelters) in “Tina’s Glorious Comeback.” Pretty guitars, pianos and violins are complimented by an army of indie guests including Justin Rutledge, Veda Hille, Mark Berube and members of Elliott Brood, Said The Whale, Mother Mother, Major Maker and Small Sins. The beauty of this is Mangan doesn’t need the indie cred for this record to shine. While the guests are subtle enhancers, Mangan’s talent speaks for itself. His writing is alluring and pure, and includes well-thought out lines packaged with soothing vocals. The sound is seamless thanks to producer John Critchley (Elliott Brood, Holy Fuck, Hidden Cameras) and the songs are tight. He’s an observer in the sense you’d want to join him on a patio for a drink just to see the city through his eyes for an afternoon. Until then, Nice, Nice, Very Nice effectively lets you pretend for just over 40 mesmerizing minutes.

Baby Sue:
It’s been a while since Dan Mangan’s fans have heard a new album from him. Postcards and Daydreaming, his last album, was well received and sparked all kinds of praise and interest from a variety of impressive sources. Three and a half years later…and Dan returns with the oddly-titled Nice, Nice, Very Nice. This album is difficult to sum up in a few words. The best overall comparison we can come up with…is to say that Mangan’s songs sometimes sound something like early John Vanderslice mixed with some of Leonard Cohen’s later recordings…but not really. Don’t think this guy is a copycat artist because he doesn’t seem to be trying to imitate anyone in particular. His music has a somewhat classic, timeless quality that is interesting and solidly entertaining. The songs feature mainly traditional instruments and the vocal melodies wander all over the place. But while this isn’t instantly catchy pop…Dan’s music is by no means difficult to absorb. Twelve solid tracks here including “Road Regrets,” Robots,” “Fair Verona” (a particularly beautiful track), and “Set the Sails.” Oh and by the way…this guy has an incredible voice. Recommended. (Rating: 5+++)

Youthink:
Underdog indie boy “Set the Sails” his second time around.

Husky-voiced, singer-songwriter, Dan Mangan reveals his growth as musician with his sophomore album, Nice, Nice, Very Nice. There is a certain crunch to Mangan’s distinctive sound – bordering indie-pop and folk – which delivers raw layers of vocals and guitar. No silly gimmicks needed; just pure, honest music. And it is more than enough to convince us that he possesses the very thing lacking in many modern artists: heart. The rootsy melodies can seem slightly repetitive, yet the album’s ingeniously veiled satire unfolds ideas about human nature wise beyond Mangan’s mere twenty-five years. When all is said and done, the album fully lives up to its name.

Viola’s fave track: Robots

The Sheaf:
TANNARA YELLAND - Arts Writer

Dan Mangan’s second LP Nice, Nice, Very Nice gets its name from a Kurt Vonnegut poem.

The choice is a fitting one because while he may not yet be as talented as Vonnegut, who was arguably one of the past century’s greatest satirists, Mangan’s music often details the absurdity inherent in human life as Vonnegut did.

His first full-length album was criticized by some for being too much of the earnest singer-songwriter school, replete with unnecessary and possibly self-indulgent introspection. While this could be true of Postcards and Daydreaming, the new album Nice moves beyond that to establish Mangan as an artist who can examine both himself and the world around him without losing the important ability to keep a grin on his face afterward.

The lyrics occasionally skew maudlin, as on the track “Et Les Mots Croisés,” but Mangan moves back to examine issues larger than him. He is also funny and silly as often as he is serious and sad.

The music is fitting for Mangan’s songwriting style — he sings with a backdrop of acoustic guitar as well as subtle strings and horns that often take centre stage. His use of background instruments is adroit, with consistently powerful crescendos and sudden decrescendos that often produce shivers in the listener.

“Basket,” a song written about Mangan’s grandfather, is uncannily good at depicting a life gone by too quickly, especially for a 26-year-old who obviously has not experienced that. With only one or two lines to indicate that any time at all has passed, Mangan moves from singing about being young to the line “We are old,” which ushers in two verses of unhappy examination of the narrator’s old age.

Not getting bogged down in explaining the passage of time not only allows Mangan to look deeper into the man’s feelings about his old age, but also makes the transition more poignant. By the time he gets to the line “I used to be so young, how did I get so old?” I am either singing along, feeling like crying or both.

Hour / Ottawa Xpress
( * * * * ) “There’s a rasp in Dan Mangan’s voice. It surfaces when he reaches for certain notes. And though music teachers world over would be getting the cane ready, folks who like their music fresh, off the cuff sounding, will dig it. Who needs gloss when you have heart? Mangan’s quest is a hard one: to slip in alongside the many singer songwriters mining Canadian soil, and leave something of distinction for us to ponder. And by crikey, methinks he’s done it. The endearing vocal, stripped down guitar plucking, some horns when a song needs to swell; it all comes together in a dozen memorable tunes that sound as good as they appear on paper. Plus there’s a robot song. Hoorah!”

Obscure Sound:
An artist who sports a scruffy beard, sings about “indie queens” and kings, and names their album after a Kurt Vonnegut quote is bound to create a memorable first impression. It may sound like the definitive stereotype for all these independent artists I write about, so smug with their tastes and beliefs that their own art sometimes ends up reeking of old influences and re-hashed ideas. The problem is, these flaws tend to appear with time and not in instantaneous fashion. I sometimes go back and listen to groups I wrote about two or three years ago. Some I admired for their songcraft, others for their style or innovation. But there was never a case in which a new artist achieved perfection, even if they came painstakingly close to it. Seeing a likable band that is new today in the future could either be devastating or triumphant. One of the most rewarding things about writing for this site is seeing how bands I featured in the past grow, remain the same, or disintegrate all together after their first or second release. The growers are receptive to change in both a minor and dramatic sense, while the stabilizers appear content with consistency in artistic development, financial income, and the fluctuation of their fan base. Both can falter at any moment, but the risks are obviously higher for those not fearful of change. For them, their biggest enemy is the two-sided realm of criticism.

When artists pursue a certain lyrical or musical style that is unconventional, there opens an opportunity for outspoken criticism to prevent an artist from evolving into a transitional songwriter, rather than one who is satisfied with placidity and not artistic stimulation. Dan Mangan has always been a talented and genuine storyteller, and to coexist in an industry where visuals and exploitation reign in the mainstream must be difficult. The pressure must mount, but Mangan has always remained unfazed. On top of that, the 26-year-old sings about topics that are both emotionally sensitive and culturally contemporary, ranging from the loss of cell phone service in “Robots” to the loss of a loved one in the excellent “Fair Verona”. He criticizes certain components of society, like the tendency of tasteless elitists to push their tastes upon others in “The Indie Queens Are Waiting”, but applauds others, like the wisdom that love can offer in “You Silly Girl” or that old stories can offer in “Basket”. Through it all he maintains the utmost focus and relevance to his own sound, his raggedly enthralling voice being complemented beautifully by a range of twinkling keys, hushed acoustic guitars, lush pianos, and accompanying harmonicas.

Mangan’s lyrical delivery is influenced by one of his favorite writers, the late Kurt Vonnegut. Like Vonnegut, he relays life’s most utmost complexities into a literary form that is simple to grasp. It hardly takes the elusiveness out of the product though, actually adding more to its enigma because of the clever analogies or playful visuals. Mangan’s sophomore album, Nice, Nice, Very Nice, borrows a line from Vonnegut’s Cat’s Cradle for its title. “Oh, a sleeping drunkard up in Central Park, and a lion-hunter in the jungle dark,” the quote goes. “And a Chinese dentist, and a British queen – all fit together in the same machine.” It is an apt reference and allusion, especially in Mangan’s case. “Nice, nice, very nice,” it concludes, “So many different people in the same device.” As Vonnegut channeled the unified mechanisms of society into a simple analogy, Mangan moves to our modern world in combining his unique melodic ability with a lyrical delivery that showcases his adoration for literary devices. He tackles cell phone reception and the harsh complexities of reality, all on one album that is diverse enough both lyrically and melodically to resonate with most social demographics that are willing to listen.

Nice, Nice, Very Nice is yet another fantastic folk release from Canada, proving Mangan to be a songwriter with durability and prevalent ability. Despite it being the antithesis of commercial success, his ambitious lyrical approach and tendency to avoid generic pitfalls shows that he will certainly be one to look out for in the coming decade. “Robots” sports a very nice acoustical arrangement and passionate vocal display under snazzy brass accompaniments and active percussion. “And I spent half of my life in the customer service line,” Mangan sings, “flaws in the design, a sign of the times.” Society’s obsession with technological automation has been touched upon before, but this is a clever and worthwhile song nonetheless thanks to its refreshing approach. Those looking for a deeper and more artistically invigorating song should turn to “Fair Verona”, one of my favorites on the album. Listening to both “Robots” and “Fair Verona” should provide listeners with a good representation of Mangan, as his strength as a diversified songwriter is one that should certainly be valued.

With occasional bleeps of synth and sporadic chimes of electric guitar serving as the only consistent instrumentation over the steady rhythm section, this song is built for Mangan’s voice and storytelling ability to take over. The music sways accordingly to the romanticized tale, one of how the phrase “carpe diem” needs to be valued more in relationships. Brass is the first to become a truly established instrument, only to fade again before lush strings take over their place. Each occurs during a solemn and strikingly appropriate moment for their entry, with Mangan introducing fun alterations of the verses and chorus along the way. “Pine for Cedars” and “Set the Sails” close out the album with a transcendental tone, alluding to nature as the most harmless source of moral salvation. The amount of content on the album cannot be defined by length, as Mangan packs a punch from beginning to end by exposing the world’s intricacies in the only way we can understand them. He delivers them in the simplest and most apt way possible.

Backstage Vancouver:
(5/5 Stars)
Those who are familiar with Dan Mangan know that his eagerly awaited sophomore album will be something magical. Dan’s performance at the Vancouver Folk Music Festival, which earned him several “Favourite” awards on Backstage Vancouver, gave us a sneak preview of the album; Nice, Nice, Very Nice is nothing short of life-changing.

Dan easily falls under the category of folk music. With his acoustic guitar and remarkable songwriting ability, he is a rising star. His youth belies his gravely voice, but the introspective melancholy of Nice, Nice, Very Nice is tragically beautiful. Not every song is depressing, but the culmination of Dan’s talent, vocals, lyrics, and acoustic guitar is sure to break your heart.

The album opens with “Road Regrets,” then traipses through the three songs that were originally on his Roboteering EP: “Robots” is his definitive work, the one that is mandatory for live performances, and gang vocals that include local celebrities Lana Gay, Hannah Georgas, and Said The Whale; “The Indie Queens Are Waiting” is a touchingly sweet song accompanied by Veda Hille, who also accompanied Dan Mangan on stage at the VFMF; and “Sold” is Mangan’s musical commentary on modern culture.

The rest of the album feature new songs that are indescribably good. One of my favourite tracks, “Fair Verona,” is loosely based on Romeo & Juliet. It is a touching love song that accompanies a long story, one that I hope to glean in an upcoming interview with the man himself. “Tina’s Glorious Comeback” is a Vancouver-specific song about the systematic replacement of our old wooden bus stop shelters.

Dan Mangan’s music features escalating crescendos whose effects are downright epic. This is most notably heard in “Fair Verona,” but also in his crowning glory, “Baskets.” It is a song he wrote for his grandfather about the rather terrifying, but inevitable reality of losing your memories – the thoughts that make you who you are. I must admit that listening to the song in private makes me break down in tears.

Surprisingly, Dan chose to incorporate three of the five songs from his preliminary masterpiece, Roboteering EP. They are classic Dan Mangan songs, but don’t think that he’s changing his sound already. Nice, Nice, Very Nice is a long anticipated sequel to the EP, and is only supplemented by Dan Mangan’s previous work.

So “bus down to the local record store, buy something to make [me] like [you] more”; that is, Dan Mangan’s brilliant new album.

The Line Of Best Fit:
It’s the Mangan with a plan (Oh Dear - Ed)! Rather the talk of the town at the minute, Dan Mangan’s career has comprised his debut album Postcards and Daydreaming, the lovely EP Roboteering, plenty of touring and travel, and the obvious high watermark that is being interviewed by TLOBF’s Ro Cemm. Hearing someone follow an EP with an album is always a tense and intriguing prospect. On the EP, most artists will have covered a few stylistic bases – which of them will they focus upon on the album? Which songs will reappear? How different will the new songs be to what we’ve heard before? It’s a curious form of expectation, and that kind of expectation weighs down on Mr Mangan as he offers to us Nice, Nice, Very Nice.

Following along with that idea, we can look back on Roboteering and see what directions Mangan is and was capable of going in. ‘Robots’ itself is slow to unfurl but nevertheless a wonderfully cathartic pop song in its singalong conclusion, while conversely ‘A Tragic Turn of Events’ was an almost Dylan-esque stream-of-consciousness meditation on death that ran to well over eight minutes. From a cursory scan of Nice’s tracklisting, you might suspect that because ‘Robots’ reappears here but ‘…Turn of Events’ does not, that Mangan has stuck to the more accessible side of things for his new full-length. Indeed, opener ‘Road Regrets’ appears to confirm that, with its escapist theme and flaming guitars, but I’d argue that even that is misdirection. Whilst there are accessible, populist moments here, Nice, Nice, Very Nice is a deeply mature and introspective album which is very slow to display its emotional core and thus, its appeal.

The bulk of the songs here have restrained, subtle arrangements to frame their stories. Acoustic guitar strummed with restraint, flashes of tambourine, and extremely sensitively deployed string arrangements are all in evidence. Combined with Mangan’s husky voice and themes of getting away from it all, homecomings and growing old, this is a reflective, philosophical, almost world-weary album at times. Songs like ‘Pine For Cedars’ in particular have an amazingly palpable yearning feeling to them, a mode which Mangan is particularly at home with. Songs from Roboteering like ‘Robots’ and ‘Sold’ may still constitute some of the high points on the album, especially for those who won’t have heard them before, but alongside ‘Road Regrets’ the album has its own great exclusives, for want of a better word.

Chief among these is ‘Basket’. Sung from the perspective of an old, lonely man, it uses a jigsaw puzzle as a wonderful analogy for life, and has one of Mangan’s very best singing performances yet. Brilliantly, the song pauses occasionally as if losing its train of thought, punctuating what is possibly the album’s prettiest melody. The lyrics are exemplary, adding an edge of tragedy but also peace to that yearning we’ve already heard. If you really listen to this song wholly, giving it all your attention, and hear it loud, you may well struggle not to cry – honestly. It may well be the best song about getting old since ‘When I’m Sixty-Four’.

There’s no doubt about it, Nice, Nice, Very Nice is heavy going. It’s not hugely long (under 45 minutes) but its songs are largely quite slowly paced and it can be a bit of a trial to listen to the whole thing – in fact, I sometimes think it sounds better shuffled than in the right order. Mangan has some potentially divisive habits – pausing in his singing for example – but anyone who’s already been won over by him will not be put off by this album, which indeed could and should win him even more admirers. Mature, slow to unravel, and broad in scope, this is a fine, fine, very fine record indeed.

Hour / XPress”
Van City musician Dan Mangan satisfies fans of well-written, well-thought-out music with his second record Nice, Nice, Very Nice. The young singer/songwriter leaves his more folksy beginnings in the closet on this one, concentrating on the larger fishbowl of pop music, although the twang and roots don’t hide away in fear. Oozing earnestness like it’s nobody’s business - how very Canadian - Mangan’s disc is filled with an impressive array of guests/friends: Veda Hille, Justin Rutledge and Mark Berube, as well as members of Elliott Brood and Mother Mother. All in all, a nice, eclectic bag of tricks.

Grayowl Point:
Thanks to Dan Mangan’s publicist for providing me with this album.

Nice, Nice, Very Nice is probably one of the most aptly titled albums I’ve seen in a while. It is a perfect description of not only Vancouver folk singer Dan Mangan, but the album itself.

I have already blogged about Mangan on a few occasions, usually when I am discussing niceness or heartwarming subject matter. His name and kindness seem to be synonymous now.

Which brings me to an actual review of this album. Simply put, it is wonderful. Dan Mangan has a great tone of voice, and his songs flow from mellow to upbeat effortlessly, sometimes changing tempos halfway through songs such as “Some People.”

I have to say that his album made me feel a large range of emotions. As the album draws to a close, I could feel a wave of sadness, as the more mellow songs’ tones implied. In the more upbeat “Sold” I was tapping along to the beat and feeling happy.

And of course, I could not forget for a second the song I have mentioned at least twice on this very blog- “Robots.” This song is so irresistably charming, and I must have heard it at least ten times now. During my second listen of the album, as I listened to “Robots” I could actually feel tears welling in my eyes. Rarely, rarely, do songs ever bring tears to my eyes, good god.

This folk album makes great use of the classic acoustic guitar, which makes up the majority of the sound, but other less common elements also set a great mood: hand claps. They make the already upbeat “Sold” even more happy and upbeat. And I swear to god, at the beginning of the song “Tina’s Glorious Comeback” I think he even makes use of the very thick straws in slushies to make the song’s opening mystical “whoosh” sound.

There is also a good amount of talent that plays guest on the album, such as members of Said the Whale as well as Elliott Brood. The most notable guest appearance is on the charming and subdued “The Indie Queens are Waiting” when Mangan sings alongside fellow Vancouver singer-songwriter Veda Hille.

What else is left to say? In listening to the album twice I could not find anything wrong with it. Is it possible to give an album more than four? Not only is every aspect of the sound and lyrics perfect, but never has an album made me feel so many emotions over the course of less than an hour. Perhaps this is the power of folk music that I have never been able to appreciate until now.

I will now issue and open challenge- if anyone cannot feel their heart melt at least a little while listening to “Robots” then they have no heart. This album was released on August 11 of this year- most folk enthusiasts probably already own this. I just wish that this album could be heard by everyone in the world; if it were there would probably be a large increase in love right across the planet.

Top tracks: “Robots”, “Sold”, “The Indie Queens are Waiting” (but honestly, every song on this album is fantastic on its own)

4 Hoots (out of 4) + *swoop*

The Fulcrum
(Letter Grade: A) This second release from B.C. native Dan Mangan is an album you can dive right into. Mangan delivers powerful vocals, flawed only because they risk overshadowing the incredible guitar playing and honest, heartfelt lyrics. Folksy tunes “Road Regrets” and “The Indie Queens are Waiting” are well crafted and meaningful, whereas “Robots”, with lyrics like “Robots need love too / They want to be loved by you”, showcases Mangan’s fun side. The songs are rich in well-placed backup vocals, while the piano, strings, and drum combinations lay a simple groundwork, allowing for the guitar to really come alive. Nice, Nice, Very Nice will capture you from the very first track.

Exclaim! Year In Review 2009 Wood Wires and Whiskey #5

The songs that make up Vancouverite Dan Mangan’s second LP Nice, Nice, Very Nice simply feel huge. The secret is Mangan’s impassioned enthusiasm, as songs like “Road Regrets” nearly persuade you to drive across country, make new friends and dance madly on foreign beaches. Despite Mangan’s best attempts to sound mysterious, Nice, Nice, Very Nice is a simple album; you comprehend precisely what songs like “Fair Verona” are about even if you’ve never uttered a word of English in your life.Daniel Sylvester

Music Cookies
9.3/10

Dan Mangan is 26 year old, Vancouver, Canada based singer-songwriter. Think about classical singer-songwriter stuff, but this time with an ‘edgy’, poppy folk touch with some rock influence too. Though his last album ‘Nice, Nice, Very Nice’, takes this principle to the next level. He has previously released the album ‘Postcards and Daydreaming’.

Let’s continue to the review. The first word that pops up in my mind about this album is ‘intelligent’. In all aspects, this album is intelligent. The compositions, the lyrics, the vocals, they’re all just well thought out. He never seems to fall for the typical singer-songwriter clichés, mainly because his lyrics are so bright.

Lyrically, this is one of my favourite albums. Mangan writes pretty literal texts, they’re filled with honest and observation. And the observations are good, really good. He also uses some great metaphors now and then, better than Ben Folds in his best years(and some of Folds’ are REALLY good). Filled with emotion and honest, the texts never become a cliché like song. There’s always a raw edge, some unexpected words, a great metaphor or some silent that keeps you listening. So a huge compliment to his skill of lyric writing.

Also, if you look at the compositions, the first thing in my mind is ‘intelligent’. They’re diverse, but the songs still remain an album. They might sound pretty easy at a first listen, but after a while, you might notice that these are some pretty decent tunes too. Great melody lines, various instruments, backing vocals, duets, it’s all on this album. Silent spots at the places where they should be and filling a song with instruments where it should be. Some of these songs are nearly perfection, like you would hear on an Andrew Bird record. For example, ‘You Silly Git’ would have fitted perfectly on the latest Bird album (with different lyrics of course). Though, the rest of the stuff probably wouldn’t fit at all. ‘Robots’ is one of the best pop songs I’ve ever heard. It’s catchy, it’s a great composition, it keeps repeating in your head, it got everything to become a massive hit. I have to say that a lot of his songs keep repeating in you head, without getting annoying at all. ‘Basket’ is one of those songs that rips your soul into a billion tiny pieces and makes you cry on a first listen (or at least me). While ‘Some People’ makes you want to dance.

Another remarkable thing about Dan Mangan is his voice. It just keeps my attention all the time, it never gets boring. It’s a rich, full sounding voice, with a little raw edge.

Compared to his first album ‘Postcards and Daydreaming’, he did really grow, in all aspects. Looking at the composition, lyrics and vocals, it’s a really strong album. Mangan got potential to become one of the new, big singer-songwriters in this world. Especially if he continues the path he’s following now. I don’t know if he can grow much more, but if he could, I think I might have found some competition for Andrew Bird for my spot of favourite musician. His songs are easy to understand, no difficulties or strange compositions. They’re basic and intelligent. And that makes this album a wonderful album, and one of the better ones made this year, and definitely the best in the (indie/folk/pop-) genre.

At Constant Speed

Dan Mangan is nice. And you know what they say about nice guys. But if Verge has anything to say about it, Dan will be a household name very soon.

His new album Nice, Nice, Very Nice has been a slow burner. At first his plaintive and very literal lyrics put me off, Dan’s delivery straight as an arrow. But I’m getting used to it and getting into it. I’ve come to appreciate the unflinching honesty and self-histories. The directness. I think we need more honesty in music right now.

There’s no pretense or bullshit. Just a man, writing songs about the world he experiences. This has been done a thousand times before, but these songs hold up, and the production holds up, and everything feels like a sign of good things to come. I’m on my 4th time through the album, and find that I smile more and more with each listen.

The pulse of Road Regrets serves as a great invocation. Robots lets down, but is quickly made up for with The Indie Queens Are Waiting – a duet with Veda Hille. Veda’s bird-like voice contrasts Dan’s rustic intimacy perfectly. Sold picks up where Road Regrets left off, frantic hand claps and all. Fair Verona and Et Les Mots Croises highlight the middle of this album, with their effectual and ever-personal passages. Set The Sails aches with the high hopes and sordid failures of Vancouver, personified and reflective.

Nice, Nice, Very Nice harkens back to the idealistic days of mid 90’s Canadian folk. And it announces the arrival of a talented new troubadour onto our national scene.

For Folk’s Sake:
Dan Mangan is a folk-rock musician with a soft touch and vocals less strained and ragged than Mark Lanegan’s. His latest album, Nice, Nice, Very Nice, is, indeed, a pleasant ode to songwriting and traditional craftsmanship. Piano, horns, claps, female guest vocals and inhaled silences accompany vocals and acoustic guitars, creating a lovely breeze over what otherwise could have been a much too typical folk album.

‘Robots’ is a pop teaser wrapped in caramel, ‘The Indie Queens are Waiting’ is a gentle but hip love song with laid-back lyrics, ‘Sold’ is a magnificent neighbour to country/bluegrass style with catchy and dandy-dancy tunes, while ‘Fair Verona’ implies a grandiosity of legendary figures with its pounding drumbeat.

On the other hand ‘You Silly Git’ are clever experimentations with background violins á la Andrew Bird and ‘Some People’ is a delightful cabaret-like wind-filled upbeat track with a higher pitch vocal that breaks with the tone of the rest of the album. The introspective moods stem from ‘Et Les Mots Croisés’ and the final somber ‘Set the Sails’, two meditative quiet pieces of beauty.

Nice, Nice, Very Nice, Mr Dan Mangan.

3am Revelations:
To say it’s been a stellar year for Vancouver’s Dan Mangan would be putting it lightly. The release of his latest album, Nice, Nice, Very Nice has earned him loads of awards and acclaim, including the XM Verge Award for Artist of the Year and winning big at the R3 Bucky awards for both Best Vocals and the top prize, Best Song for his song Robots. Probably best pegged as an indie-folk-singer-songwriter, Mangan never falls back on the clichés of those genres that would make his music all too easy… and generic. He soars above with his acoustic guitar, his voice that sounds well past his 26-years and intelligent song writing & sense of humour to prove that all the acclaim that he has received this year has been well earned.

“Road Regrets” kicks off the album and pretty much sets the tone, lulling you in before “Robots” fully grabs you. A brilliant & amazingly catchy tune, I defy anyone with a soul not to join in the sing along at the end (especially at live shows). “The Indie Queens Are Waiting”, featuring Veda Hille, is a touching number which proves he’s not afraid to wear his heart on his sleeve & reveal insecurities. I can’t be the only one who can relate to lyrics like “Bus down to the local record store / to buy something to make you like me more” (which, incidentally, is one of my favourite lines of the year). “Sold” is a looser, more high energy & upbeat song before things get epic with “Fair Verona”. Loosely based off Romeo & Juliet (as the title suggests), it is absolutely heartfelt and full of so much raw emotion that when the song climaxes into a sweeping, majestic end it almost leaves you drained. The awesomely titled “You Silly Git” is another sweet song which features some fantastic strings. “Tina’s Glorious Comeback” will be an instant favourite of anyone who knows Vancouver or the culture and “Et Les Mots Croisés” is another nice, strings-y song, which leads into “Some People”, a song brimming with energy. “Pine For Cedars” is another melancholic beauty, but this one has a couple pun-filled lines that are, again, quite Vancouver specific which shows even when baring his soul, Mangan is not without a sense of humour and whimsy. The shining point of the album is definitely “Basket”, a heart-wrenching song that will bring a tear to the eye of even the most jaded hipster; however it’s not without its optimism. Finally, it comes to a close with “Set The Sails”, a near perfect way to end the album, bringing everything down with some light piano and strings.

There is an interesting symmetry to the album, at least with the opening and closing tracks. “Set The Sails” is as perfect a closer as “Road Regrets” is an opener and “Basket” is as heartbreaking as “Robots” is joyous. This just goes to show the range of Mangan’s songwriting and his lack of fear when letting his emotions out. With as much hype that now surrounds Mangan, it would be easy to write him off as over hyped or unworthy of all the attention, but both the album and his live show more than proves Dan Mangan lives up to the acclaim with the superb and intelligent songwriting. It is safe to say, Nice, Nice, Very Nice is one of my favourite albums of the year.

(Also, I am somewhat proud of making it through the review without making the obvious [and overused] “Nice, Nice, Very Nice” pun!)