Louise Burns is one of the names of Canadian indie scene. She has been active for a long time, and she is only thirty. Her debut Mellow Drama was nominated for Polaris Music Prize in 2011, and the follow-up The Midnight Mass secured her increased popularity, maybe because it was produced by Colin Steward (The Hive) and Susan Rose Wagner (The Raveonettes). Before her solo career took off, she was a member of the band Lilix.
With the third album Young Mopes, Louise continued in the same tone with power pop being more prominent than on the other two. Playing various instruments, from guitar to ukulele, is also conspicuous on this record. The sound is more intense and polished, suggesting that Louise knows precisely what she wants now – balancing between indie pop and power pop with melody sections and emphasized guitar. Her vocal is still sensual and bubbly, never reaching a strong expression. We could say that Louise falls somewhere between Karen O and Emily Haines – she is neither energetic nor subtle. Elegance is more important than power for this vocalist.
Still, it is clear that she wanted to attract younger generation with Young Mopes, flirting with 80s and dreamy sound simultaneously. On the trace of Cocteau Twins, the album is thematically oriented towards excessive lunacy and dreams.
Opening track Who’s the Madman is a melodic and playful number in the manner of the previous album. And so it goes, you spend your life spinning out of control, and so it goes, you spend your life chasing after a ghost is a chorus that manifests the intention of this release. Louise connects her personal experience with the wide perspective that could be recognized by anyone. To answer the question who the madman is, the answer could be both no one and everyone.
Moonlight Shadow resembles Fantasies by Metric and showcases how Louise is a true product of Canadian indie scene. This tracks is the cutest, as its not profiled in style, and it brings subtle bass and seductive interpretation.
Other song worth mentioning is Hysteria where she speaks about political situation without being too angsty. By playing with references, symbols and paradigms, Louis creates a special discourse that allows her to avoid castigation.
The rest of the record is equally interesting, so go get it and let me know what you think.
