The Toronto-based rock quartet is perhaps the most truly democratic group in the annals of pop, with Jay Ferguson, Chris Murphy, Patrick Pentland, and Andrew Scott all contributing original compositions to each record, equal partners with equal say over every aspect of their work. Where in the past creative lines have been blurred to create the multi-faceted Sloan sound, “Commonwealth” sees the four bandmates disassociating ever so slightly to create an old-school double album sequenced with each member staking out a single side as their own artistic dominion.

Designated by the four playing card suits, the essentially solo sides allow for all four members’ work to at last be heard through the prism of individual identity. Ferguson’s opening “Diamond” side showcases his remarkable knack for symphonic pop, Pentland’s “Shamrock” offers a substantial helping of pedal-hoppin’ psych The Toronto-based rock quartet is perhaps the most truly democratic group in the annals of pop, with Jay Ferguson, Chris Murphy, Patrick Pentland, and Andrew Scott all contributing original compositions to each record, equal partners with equal say over every aspect of their work. Where in the past creative lines have been blurred to create the multi-faceted Sloan sound, “Commonwealth” sees the four bandmates disassociating ever so slightly to create an old-school double album sequenced with each member staking out a single side as their own artistic dominion.

Designated by the four playing card suits, the essentially solo sides allow for all four members’ work to at last be heard through the prism of individual identity. Ferguson’s opening “Diamond” side showcases his remarkable knack for symphonic pop, Pentland’s “Shamrock” offers a substantial helping of pedal-hoppin’ psych rock, and Murphy’s “Heart” is fit to burst with wit, jangle, and eclectic energy. As if the four-sided concept weren’t challenge enough, “Commonwealth” finishes with “Forty Eight Portraits,” an ingenious 18-minute pop suite that fills the entirety of Scott’s closing “Spade” side. Ultimately, what makes “Commonwealth” so special — and so distinctly Sloan — is how the fragmented approach in fact only serves to underscore the veteran band’s extraordinary strengths, showcasing the particular ingredients without ever losing sight of the sum of their parts. , and Murphy’s “Heart” is fit to burst with wit, jangle, and eclectic energy. As if the four-sided concept weren’t challenge enough, “Commonwealth” finishes with “Forty Eight Portraits,” an ingenious 18-minute pop suite that fills the entirety of Scott’s closing “Spade” side. Ultimately, what makes “Commonwealth” so special — and so distinctly Sloan — is how the fragmented approach in fact only serves to underscore the veteran band’s extraordinary strengths, showcasing the particular ingredients without ever losing sight of the sum of their parts.