On the surface, it’s about a boy: an out-of-reach image of perfection. But this new song from Montreal‘s Mozart Sister, part of her first release since 2014’s Enjoy, is really more about the descending, slurpy synth gurgle that punctuates the choral harmonies and sparse percussion. It reads as a reflection on how there’s always hidden letdowns behind any veneer of perfection, but it’s also the kind of weird, creative and wonderful song we’ve come to expect from the solo artist.
Vesuvio Solo have released a video for the title track of their upcoming record, Don’t Leave Me In The Dark, and the band doesn’t disappoint. The Montreal-based outfit’s newest pop offering is as solid as anything they have released so far, bringing back the dreamy vibrato-laden synths, the easygoing grooves and the soft rock-meets-new wave aesthetics that made the best of their earlier singles so good. The lens flare-heavy visuals certainly add to the chilled-out vibe, and we have to give bonus points to that disco ball humanoid!
There’s something special about fall. The leaves start to turn, the humidity goes away, and the air is full of new beginnings. It also means that we’re back from vacation and settling into our Silent Shout offices, humming with excitement over all of the music we get to share with you. Welcome back!
This calming bit of dreamy pop from Best Fern, a Montreal-based project by Alexia Avina and Nick Schofield (from Saxsyndrum, among others), is a perfect way to ease into the season. Avina’s repeatedly sung mantras–“Are you well?”, “You know you can do anything you want to”–are a reminder to check in, take care and dream big for yourself. It’s all wrapped in a delicate melodic swirl and a baseline that gently bobs up and down as you breathe in and out, and we’re in love with it.
It’s from their debut EP, which you should absolutely check out.
Slight have been building their sound for years at home in Montreal, where the trio are founding collective members of underground venue The Plant, and we’re so pleased to make their re-acquaintance with this new single. “My Lantern” is built with spiralized organ and synth notes, short droned tones pushing against quickly moving asymmetric melodic ladders. The vocals nest quietly into the complex net of sounds, turned up to achieve a understated sort of maximalism. It’s an offbeat, satisfying adventure full of complex musical construction and smart production.
It’s going to be released as part of a compilation from new Portland label Golden Brown, a project by Thom Sunderland of Lefse Records (American home to Toronto’s Absolutely Free, whose fans will probably sign up for the Slight fan club). The collection of delightful sepia-toned singles comes out on June 17, but you can pre-order it now from Bandcamp.
The new Braids EP starts and ends as if Raphaelle Standell-Preston is standing right next to your ear: a quick intake of breath, a clearly discernible final exhale. It’s a deeply personal and strongly felt collection of four songs, all recorded around the same time as last year’s Deep in the Iris. And it’s among the trio’s best work yet.
It opens with the inward-looking, resilient “Companion,” with synthetic chords and, towards the end, simple piano melodies so delicate you can hear the keys depress. “Joni” swirls together a bouncy hook that springs up, repeating and expanding, with muted cymbal crashes to represent the adventure and challenge of long-terms relationships (personal, professional, musical) and the desire to build a home inside of yourself, separate from any external storms. “Trophies for Paradox” is full of sudden dynamic shifts, imperfect fast-paced clicks, soaring sweet backing voices.
But it’s all building up to “Sweet World,” a beautiful epic that takes seven minutes to reach its full height. “Everything is changing,” Standell-Preston sings, “and it feels so right this time.” It really, really does.