Sloan’s Patrick Pentland on the art of democratic songwriting, channeling Ace Frehley through a 5150 and why he prefers a wah that looks like a car to a Cry Baby

Patrick Pentland of Sloan
(Image credit: Sloan/YouTube)

Steady, the title of Canadian rock veterans Sloan’s recently released 13th album, nods to the inherent stability a group accumulates over 30 years of activity. Then again, when it comes to the songs the Toronto-by-way-of-Halifax quartet have crafted since the early ‘90s, it’s fair to say that kind of steadiness hasn’t limited the band’s ability to explore whatever they please.

From the ear-bleeding shoegaze of their 1992 debut album Smeared, to the Beatles-like about-face of follow-up release Twice Removed, to Angus Young-inspired riffage, pastel-pink twee, and even touches of speed-forward hardcore, Sloan have kept their spectrum wide.

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Gregory Adams

Gregory Adams is a Vancouver-based arts reporter. From metal legends to emerging pop icons to the best of the basement circuit, he’s interviewed musicians across countless genres for nearly two decades, most recently with Guitar World, Bass Player, Revolver, and more – as well as through his independent newsletter, Gut Feeling. This all still blows his mind. He’s a guitar player, generally bouncing hardcore riffs off his ’52 Tele reissue and a dinged-up SG.