Canadians Torquil Campbell and Amy Millan are two people who are very much of the view that Love is War. Their music, and this became especially true after the release of second album "Set Yourself on Fire", is all about the ups and downs of love, fighting to keep a relationship going, and doomed romances. And for the most part, their music works brilliantly, because their mixture of pop and rock not only blend together compellingly, but the lyrics and words offer depth and passion on a subject which has been overdone by so many other bands. In 2007, the band released their fourth album to date, called "In Our Bedroom After The War", and in doing so created one of the best albums of the year.

The album keeps away rough some of the rough synthesiser work that characterised their previous work and instead goes for quieter and subtler sounds, as heard on the intense "Personal", a story about internet dating. Strange it may be, but it works well for being entirely whispered by the two protagonists, and the flickering guitar and occasional piano that stirs up adds drama to what is essentially a simple story, and creates poignancy. Poignant moments are quite often on the album - "Today Will Be Better, I Swear!" and "The Night Starts Here" both showcase the band's ability to build a song around simple but beautiful music. The former is especially tender, sung sweetly by Millan in a late-night setting. It's quiet and reflective, until the music swells and she chants "today/today/it's gonna be a better one!" The way the music suddenly ramps up is stunning, cutting through the reflective moments and creating a perfect note to trigger the end of the album. "The Night Starts Here", which begins the record, is even better, shimmering to begin with and then really shining as the vocals start. Millan kicks it off "the night starts here, the night starts here/ forget your name, forget your fear" before Campbell joins in, over a shiny-sounding musical backdrop which grows to accommodate some guitars, then some drums, and then an electric guitar which judders statically across the back of the music. The song doesn't go anywhere particularly, but as an introduction to the album, it's superb - and sounds amazing at night, when you walk down the street and all the lights are switched on.

I'm more a fan of Millan, I'll be honest - And she gets a bona-fide classic pop song in the form of "My Favourite Book". It's the most uplifting song of the past few years, a happy-go-lucky track that skips along brilliantly, playing to the sweetness of Millan's voice and playfully changing the entire tone of the album as it goes. Now, if you're an idiot like me, you'll find it quite funny that in the next song that follows on immediately after she starts off by saying "sweetness doesn't suit me", but "Midnight Coward" is another song that plays off Millan's natural charm. A pounding drum rushes the song along as a hectic pace, in what is one of the most immediate songs on the record. Campbell alternates verses with her, and they genuinely sound like a (more inventive, if I dare say it) version of the Delgados. Poppier certainly, but they share a similar approach to songmaking. "Take Me To The Riot" takes the title for strongest track though, in terms of sheer willpower. Campbell is in charge, playing the role of a drug-addict stumbling around the streets at night. Fun! He throws of a rugged charisma in this track though, with Millan backing him, and the dark guitars and single piano notes ramp up the music until each chorus, a flash of energy where Campbell yells out "Saturday night in neon lights, Sunday in the sky/pills enough to make me feel ill/cash enough to make me well - take me take me to the riot!" It's great entertainment, a brash song that also throws off several layers of subtlety, as well as having a fabby bass-line.