Montreal has a weird way of birthing bands that don't quite fit into the boxes we build for them. You've got the grandiosity of Arcade Fire or the sheer intensity of Godspeed You! Black Emperor, but then there is Plants and Animals. They are a trio that basically defies the standard "indie rock" label by being too musically literate for garage rock and too sweaty and soulful for art-rock. Honestly, if you haven't sat down with Parc Avenue in a few years, you’re missing out on a masterclass in how to grow a sound without losing the soul.
Warren Spicer, Nicolas Basque, and Matthew Woodley didn't just start a band; they created a living, breathing texture.
What People Get Wrong About the Plants and Animals Sound
Most critics try to pin them down as "folk-rockers" because of the acoustic guitars, but that's a lazy take. It's wrong. If you listen to "Bye Bye Bye," you aren't hearing a folk song; you're hearing a rhythmic explosion that has more in common with African highlife or 70s prog-rock than it does with Bob Dylan. They use the studio like an instrument. That's the secret. They didn't just record songs; they built environments.
When Parc Avenue dropped in 2008, it was a literal breath of fresh air. This was the era of "Land of Talk" and "The Stills," and yet Plants and Animals felt like they were coming from a completely different planet—or at least a very different basement in the Mile End. They were shortlisted for the Polaris Music Prize, which in Canada is a huge deal. It’s the award that says, "Hey, you actually made something that matters artistically."
The Evolution from Post-Rock to Post-Everything
Before they were Plants and Animals, they were an instrumental outfit. You can still hear that DNA in their music today. They don't rush. They let a groove sit for four minutes before the vocals even feel like they need to show up. It’s a patient kind of songwriting that you just don't see much of anymore in the age of TikTok-length hooks.
Take their sophomore record, La La Land. It was darker. It was louder. It had these jagged, electric edges that made people who loved the "folky" stuff a bit nervous. But that’s the point. A band named Plants and Animals should be allowed to evolve, right? Growth is in the name. They moved from the lush, sprawling arrangements of their debut to something that felt more like a late-night drive through a neon-lit city.
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Why the Mile End Scene Mattered (and Still Does)
You can't talk about this band without talking about Montreal. Specifically, the Mile End neighborhood. Back in the mid-2000s, this was the epicenter of a specific kind of creative explosion. Rent was cheap. The coffee was strong. The studios, like The Hotel 2 Tango, were legendary. Plants and Animals were right in the thick of it.
They weren't just a band; they were part of a community. You’d see these guys collaborating with other local legends, shifting the boundaries of what "Canadian music" was supposed to sound like. It wasn't about being polite. It was about being loud and sincere at the same time.
The Nuance of Their Later Work
A lot of people stopped paying attention after the initial hype of the late 2000s, and that's a massive mistake. The End of That and Waltzed in from the Rumour are incredibly sophisticated records. By the time they got to The Jungle in 2020, they were playing with synthesizers and more electronic textures.
It felt claustrophobic in a good way. Like they were reflecting the world closing in.
The Jungle is probably their most rhythmic album. Matthew Woodley’s drumming on tracks like "House on Fire" is just... it's relentless. It’s not flashy, but it’s foundational. He doesn't play like a rock drummer; he plays like a heartbeat that’s had too much caffeine.
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The Technical Brilliance Nobody Mentions
If you’re a gear nerd, Plants and Animals is a goldmine. Warren Spicer’s guitar tone is legendary among Montreal musicians. It’s never just "plug and play." There’s a specific warmth to their recordings that comes from using analog tape and vintage consoles. They aren't Luddites, but they understand that digital perfection is often the enemy of a good vibe.
- They record a lot of stuff live off the floor.
- They embrace the "happy accidents"—those little squeaks of a guitar string or a drum hit that’s just a fraction of a second off.
- They layer vocals in a way that feels like a choir, even when it’s just them.
The song "Lightshow" is a perfect example of this. It starts with this wandering, almost aimless guitar line and builds into this shimmering wall of sound. It’s beautiful. It’s messy. It’s human.
How to Actually Listen to Plants and Animals
If you're new to them, don't just shuffle their "Top Tracks" on Spotify. You'll miss the narrative. You have to listen to the albums as whole pieces.
Start with Parc Avenue. It’s the gateway drug. Listen to "Faerie Queene" and let that 12-string guitar wash over you. It feels like summer in a city where the pavement is melting. Then, jump straight to The Jungle. See the distance they traveled. It’s like looking at two different photographs of the same person taken twenty years apart. The eyes are the same, but everything else has changed.
Why They Aren't More "Famous"
It’s a fair question. Why aren't they headlining Coachella? Honestly, it’s probably because they never sold out. They never made that one "radio hit" that compromised their sound. They stayed weird. They stayed Montreal. In a world where every band is trying to go viral, Plants and Animals stayed focused on the craft.
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They are a "musician's band." Ask your favorite indie artist who they listen to, and there's a good chance this trio comes up. They’ve influenced a whole generation of Canadian artists who realized they didn't have to choose between being complex and being catchy.
Actionable Steps for the Modern Listener
Music discovery is broken, but you can fix it by being intentional. Here is how to actually engage with a band like this:
- Go Analog: If you can find Parc Avenue on vinyl, buy it. The dynamic range on the digital files is fine, but the record was meant to be heard on a turntable. The low end hits differently.
- Watch the Live Sessions: Look up their "Take Away Show" with La Blogothèque. Seeing them play in a park or a cramped kitchen proves that they don't need studio magic to sound incredible. It's all in the fingers.
- Trace the Lineage: Look into the other projects the members are involved in. Warren Spicer has become a sought-after producer in his own right, working with artists like Un Blonde (now Yves Jarvis). Understanding who they work with helps you understand their sonic DNA.
- Deep Dive the Credits: Check out who engineered their records. You’ll see names like Howard Bilerman. This links you to the broader "Montreal Sound" history, which is a rabbit hole worth falling down.
Plants and Animals represent a time when indie rock was about exploration rather than brand management. They still do. Every time they put out a record, it feels like they’re checking in to tell us where they’ve been and what new sounds they’ve discovered. It’s not always easy listening, but it’s always rewarding.
Keep your ears open for those shifting rhythms. Don't expect a chorus to land exactly where you think it will. That's the beauty of it. That's the whole point of being a fan of a band that actually has something to say.
Next Steps for Deep Listening:
- Listen to "Faerie Queene" (from Parc Avenue) followed immediately by "The Jungle" (from The Jungle). Pay attention to how the use of space changes between 2008 and 2020.
- Research the "Mile End" music scene of 2004-2010. It provides the essential context for why this band sounds the way they do.
- Check out Warren Spicer’s production credits on AllMusic or Discogs. His ear for "warmth" has influenced more modern indie records than most people realize.