Expanded to a four-piece since debut The Cage Was Unlocked All Along, Zoey Van Goey’s launch Propeller Versus Wings with the atypically serious Mountain On Fire. It’s an unsettling opening; self-consciously ‘mature’ when Zoey Van Goey strengths have previously lain elsewhere. While not an entirely convincing facelift, other renovations are significantly more exciting. Robot Tyrannosaur is a noisy, punky bundle in the Bear Suit mould, undeniably twee, but unbelievably fun.
Other areas remain consistent: one of their best assets has always been the vocal contrast between Kim Moore (light, high, English) and Matt Brennan (smooth, deep, Canadian) – both pleasant individually, but bringing out the best in one other when combined (here, most splendidly, on The Cake and Eating It). In this way they echo early Camera Obscura and the sorely-missed Delgados, while also helping ZVG stamp their own name on Scottish indie-pop with equally persistent ink.Out 7th February
La Sera - La Sera (***)
Some bands instigate scenes by inspiring others to emulate them; others simply go forth and multiply. The Vivian Girls seem to be inadvertently following the second route: Ali Koehler left to backup Best Coast; Frankie Rose assembled her Outs via a stint in the Dum Dum Girls; Cassie’s raising The Babies; while Katy Goodman (aka Kickball Katy) emerged last year under the guise of All Saints Day. Now Katy launches side-project number two, and if the bands just name-checked float your boat, La Sera should provide further buoyancy. This self-titled offering ticks off all the expected adjectives: dreamy, wistful and, er, Philspectory, but casual fans of the style may struggle to find grip-holds with which to anchor this debut’s pretty sounds. It might lack the playful personality that helped crown Bethany Cosentino last year’s ‘Queen of This Sort of Thing’, but deserves comparable adulation thanks to two-minute marvels like single Never Come Around.
Out 14th February
Too Beautiful to Work’s dizzying title track sets out an impressive stall. “No one could follow” incants Jessie Stein over repetitive organ riffs. “She looked back to see there’s no one, nobody, not much to speak of”, lyrics that could be interpreted as a statement of confidence in her band’s musical trail-blazing. The Montreal quartet make unusual music with unusual instruments (as well as vocals, Stein handles zither duties), which in those quarters is fast becoming the status quo.
As the effervescent opener segues into the moody, trembling Worth Mentioning, they affirm their range: assisted by local heroes Owen Pallett and Arcade Fire violinist Sarah Neufield, album highlights include Canary’s chilly and sparse balladry, the murky mechanics of Spherical Mattress's reverb swamp, and the wonky dramatics of Gold Canada. Their hometown’s cultural capital has been high for some time; the Luyas gift the city one more thing to shout about.Out 21st February
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