Mozart’s Sister – Being Review

Mozart’s Sister is Caila Thompson-Hannant from Canada and is a former member of Indie band: Shapes and Sizes, but as a solo artist she has gained credit and popularity from sharing stages with fellow Canadians such as Grimes. The album’s creation was purely a solitary process or a ‘Do it all by my fucking self’ process and was crafted using a sound card and Ableton software from her bedroom, to produce a loosely pop based album in Being that takes influence from Post-era Bjork and Discovery-era Daft Punk. That might seem a little ambitious given the tools she had at her disposal…

The lead track is entitled ‘Enjoy’ and is a dark electronically charged pop track. The wisps of percussion and base synth sound fall beneath Calia’s engaging and crisp, recorded vocal along with the dripping and whirring synth elements over the top of it all. The modulated whirrs oscillate around the song’s foundations with a haunted tinge to them and always leaves that undercurrent with it, in reflection of the song’s lyrics. The song continues to fluctuate and alter it’s sound around these base structures and even altering with them with piano chords and vocal overhauls of the percussion. An advanced pop song that keeps you on your toes throughout. ‘A Move’ opens with such fluctuations albeit in a more considered and pondered fashion with subtle riffs and soft organ-like chords that are set against the baritone vocal which is almost Lana Del Rey like, but without the heady dramatics and instead with a steady pulsation.
‘Bow A Kiss’ is a sharp dance track with cascading guitars and rumbling bass sounds and synths fills and shimmers a top of it and so allows Caila’s vocals to unleash their range and power in order to soar over the heavy and stocky sounds that make up the track and allow the lyrically dimension to remain an integral part of the track. Heavily distorted synths open up ‘Do It To Myself (Run Run)’ with dark and shadowy lyrics, delivered in a dark and shady fashion before the song’s rhythms and melodies kick in and give the song rapidity and urgency, which in turn opens up the vocals and offers up more light to the song’s feel. A slick transition of sound and feel. ‘Don’t Leave it to me’ is an indelible hook to it with the chiming, retro synths and sample beats that gradually take in the vocal sweeps and the rich, distorted electronica. It rises and falls with Caila’s vocals to echo and chime their way through the track. It’s an example of the whole album. It is deliberately disjointed from track to track and this becomes the common theme of it. Each track is direct in the particular conviction it has chosen for that particular track and the vocals are equal to the task in each to match the meandering nature of each track and the album as a whole.
Mozart’s Sister – Being = 8.5/10
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