I, and many others (typically of the nerdy persuasion), have found inherent difficulties in recommending this amazing band we've had continuously looping through our playlists—a “band” by the name of Final Fantasy. Over and over again: “No, not the soundtrack from the video game series—something even grander!” To us, FF is no longer about strategy and statistics; the solo project of one of the most skillful artists we've had the pleasure to coexist with, Owen Pallett. Since the moniker's inception in 2004, Pallett has been disregarded, dismissed, and displaced by many an outside listener.... Until now, where he's decided to once and for all differentiate himself from the series, turning to his own name, and leaving the former to Square Enix. This is ultimately the best move for Pallett, though the decision has left a bitter taste for some who discovered his music thanks to its association with the game. But for those who did, even more will find him now without the misleading moniker. Final Fantasy may be dead, but the idea behind it—the whimsical and dramatic arrangements developed over hours upon hours of constant meddling—holds true. Cue the victory fanfare.

Owen Pallett is a composer, violinist, and a master of everything musical: from scoring films, to conducting orchestras, to writing entire operas. Birthed grasping a violin, he composed his first piece at age 13. Such a highly practiced, creative, and award-winning musician seems over-qualified to be a leader of a little-known pop band, right? Besides his solo project, Pallett has formulated orchestral and string arrangements for many groups. He's toured, recorded, and written for bands from the likes of Arcade Fire, Beirut, Grizzly Bear, Gentleman Reg, The Last Shadow Puppets, Stars, and Fucked Up—an over-achiever, indeed. It seems, however, that Owen Pallett is more suited to be the man in the third row: not near enough to draw attention to himself, nor far enough away to be unheard.

Shortly after releasing his sophomore album, He Poos Clouds, Pallett began spreading word of his next piece, which turned out to be quite the tease. To fill the void, he released substantial EPs: Spectrum,14th Century and Plays To Please, while he kept promising Heartland was due soon. Years passed and still no record. His collaborations with other artists were clearly cutting into his own work. But finally, with his loyal violin, looping pedal, and a vast group of colleagues, Owen Pallett releases his long overdue album.

Heartland is a sci-fi concept album. Once you regain your bearing from that screeching halt, attempt to keep an open mind here (I know it's difficult). Pallett states, "The songs themselves form a narrative concerning a farmer named Lewis and the fictional world of Spectrum. The songs are one-sided dialogues with Lewis, a young, ultra-violent farmer, speaking to his creator." Without knowing his music, that may be an automatic “next” for you. To be honest, this is a good album for newcomers. It may not mirror his first two releases, but according to its creator, "the songs were designed to be as dense with polyphony as the Final Fantasy live shows can become.” Basically, what we have is a captivating narrative with orchestral and electronic twists, besides those embedded in the text. We end up with something equaling the unquestionable charm of Andrew Bird and the awkward cuteness of Annie Clark, combined with the whimsical story-weaving abilities of Joanna Newsom. And the entrancing orchestral compositions are comparable to no other than the man himself. Owen Pallett may have left us for a bit, but now he’s back and it feels like he never missed a beat.

Sensitive to the touch after years of anticipation, it's almost dread-inducing to finally listen to this record. From the first single, “Lewis Takes Action,” it was apparent that Heartland was destined for a new direction. Pallet’s layering of dramatic vocals and swirling violin with a multitude of other sounds until they form something dense and whimsical is familiar. But here a new electronic element appears, which gives the album a more youthful feel. Logically, the pieces are no longer fabricated and assembled by a one-man-orchestra — this time around the Musician's League of Canadian Heavyweights (not a real organization) aids his battle to achieve orchestral brilliance.

Heartland springs to life with “Midnight Directives,” opening the roughly 45 minute journey of orchestral-pop greatness. Pallett contributes his trademark vocal-and-violin combo, along with electric bass and a few instruments I've never heard of. Notably, Jeremy Garza of Arcade Fire rolls in with driving snare, battling back and forth between plucked strings and rapid synth, altercation in a good way, like a gang pillow fight. No doubt a great opener and a reassuring force that this album is something new. “Keep the Dog Quiet” calms down to a toe-tapping pace. Pallett transforms his ghostly vocals from the previous track to an apathetic whisper. The tune slowly builds momentum, with random spouts of gusto that flashback to bouts from Fantasia (Dance, brooms!). “Mount Valentine” shoots in with an intense 49 seconds of grinding orchestrations, somehow still evoking feelings of empathy and drama present throughout the record. Best so far, “Red Sun No. 5” enters with a pleasant, but thick fog of sound. The fluttering orchestrations chase after one another: flying up, then down, and to a sudden stop; each element self-aware, making sure not to out-shine the others.

As the record spins, each moment is progressively better than the last. It's a pleasant surprise, differentiating from the typical: bangers up front, filler, strong finish pattern. The longest piece thus far, “The Great Elsewhere” fully showcases Heartland's infusion of classical and electronic, creating here a sort of 20,000 Leagues feeling with programmed percussion, coded with electronic flourishes and echoing pings. The pace quickly swells, picking up tempo and sounds, along with Pallett’s addicting croon. Most definitely “The Great Elsewhere” has an IDM twinge, taking you on an adventure of sorts—possibly an RPG. “Oh Heartland, Up Yours!” is as close as we get to a title track. It starts off slow, but it quickly relieves any potential concern; even the dismissive onlookers will begin to sway their on their footsies. “Lewis Takes Off His Shirt” is a warm, quirky cavort, as dramatic as your mother's beloved soap opera (the good one). Whimsy, here art thou! “Flare Gun” is robust and inches from your face. A full orchestra playfully loops about, inducing a dream score that floats seamlessly into the next tune. And it still keeps getting better?

Finally reaching the last portion, you realize the past half hour flew by in one fell swoop of solipsism-crashing compositions. Now, “E Is for Estranged” awakens you from your own production of a perfect reality. A lovely piano tune is adorned with Pallett’s soothing voice, as simple as we've seen on Heartland. A lonely violin whines in the background causing you to question if this is a cheery song after all. Halfway through, a gang of strings bounce in to join the lonesome. “Tryst with Mephistopheles” enters with a upbeat, reassuring feel that even though the finish is near, there is no evidence of anything dissolving. Whimsical orchestrations swirl about beautifully, but with an almost poppy, accessible aspect. Lastly, “What Do You Think Will Happen Now?” showcases Owen Pallett himself, in all of his glory. Imagine a small, dark room, only Pallett and a piano, his sung and spoken words bouncing off of the closed-in walls overlapping one another. Heartland comes quietly, slowly to an end with Pallett appropriately voicing, “I am a good man, I am yours.”

There are so many perplexing configurations to Owen Pallett as a musician and a person. What's obvious is that Heartland is a bold leap into the future, showing he's not looking to become a classic anytime soon. Hopefully, he will acquire a larger fan base and some much deserved respect. But even if tossed in the trash, Owen Pallett will continue to compose spectacular arrangements—fine with always being a bridesmaid, never the bride.

Track List:
1. Midnight Directives (3:36)
2. Keep the Dog Quiet (3:10)
3. Mount Alpentine (0:49)
4. Red Sun No. 5 (3:41)
5. Lewis Takes Action (2:54)
6. The Great Elsewhere (5:50)
7. Oh Heartland, Up Yours! (4:07)
8. Lewis Takes Off His Shirt (5:08)
9. Flare Gun (2:21)
10. E Is for Estranged (5:25)
11. Tryst with Mephistopheles (6:53)
12. What Do You Think Will Happen Now? (2:38)