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Perversely enjoyable dark drama springs from Rankin’s phonetic twists, quick-sung rhymes and irreverent syllable-play. “So morose for me, seeing ghosts of me, writing oaths to me,” the self-described introvert sings on the Cocteau-pop stunner ‘Dreams Tonite,’ the song from which the album’s name is derived. “In fluorescent light, antisocialites watch a wilting flower.”\u003c\/p\u003e\n\u003cp\u003eTo write\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAntisocialites\u003c\/i\u003e, Rankin traveled to Toronto Island -- working in an abandoned classroom by day and sleeping a few feet from shore at night -- to avoid a stifling heat wave in the city. “I carried a small PA on the ferry in a wheelbarrow,” she recalls. “Every morning I would listen to my favorite records on the beach, then I’d write melodies and record demos in the classroom.” After tracking with keyboardist Kerri MacLellan and bassist Brian Murphy at Kingsize in LA, Rankin and guitarist Alec O’Hanley continued recording and mixing in their Toronto basement. 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There are 14 songs on \u003ci\u003eBlue Rev\u003c\/i\u003e, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of \u003ci\u003eBlue Rev\u003c\/i\u003e stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. 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Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe results are beyond question: \u003ci\u003eBlue Rev\u003c\/i\u003e has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. \u003ci\u003eAntisocialites\u003c\/i\u003e wrestled with the woes of the now, especially the anxieties of inching toward adulthood. 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