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Montreal's Mozart's Sister, aka Caila Thompson-Hannant, first caught my eye when she opened for fellow Canadian band Trust this past spring. Her striking vocals and peculiar synth-pop intrigued me--there was a sort of odd, offbeat quality about her where I couldn't tell whether I was perturbed by her sound or whether I was hooked. A few months later, after getting the chance to speak with her about her solo project and listen to her debut, I realized that it was the latter.

After being in bands like Shapes & Sizes, Miracle Fortress and Think About Life, Thompson-Hannant went solo as Mozart's Sister and released two EPs; one independently in 2011 and another through Merok Records in 2013. Being was a product of her continued experimentation, which is surprising considering that it sounds almost too confident to be a debut LP. In fact, it seems like Thompson-Hannant has already figured out how to do what most of us struggle to come to terms with: accepting the good and the bad.

The album opener 'Good Thing, Bad Thing' is at once catchy, with pulsing synths and soft vocals. She seems to brush off the past as she sings, "You can't get a good thing without a bad thing." But despite an upbeat sound and vows of positivity, the synths and layered vocals distract from more meaningful lyrics. That's not to say, however, that the vocals take a backseat, like so many electronic bands with airy, unintelligible lyrics. Rather, Thompson-Hannant's vocal range and diversity are what distinguish her from other synth-pop bands.

But it's the ideas behind her vocals that make Thompson-Hannant feel more like a producer than a singer, as she is able to make her powerful voice a part of the production rather than the main attraction. The track 'Lone Wolf' is a good example in that its funky sound contradicts deeper, lonelier lines like, "life moves on without the show, so I will move on alone." The track, like much of the album, feels earnest and pensive without being brooding. Even on darker, bass-heavy tracks like the album's first single 'Enjoy', in which Thompson-Hannant sings that she's sick of losing herself in thought, she reconciles the good and bad by implying that she simply doesn't care.

One of the album's highlights is middle track 'Bow A Kiss', a song that has stuck with me ever since Mozart's Sister led with it during her live set. A dreamy vocal loop is offset by hard-hitting, urban beats, as Thompson-Hannant's voice sweeps from edgy and cool to smooth and diva-like.

Being is a bit fragmented, and purposefully so. Thompson-Hannant gave us the key to her diary, and while it may be a bit disorganized, so too are our own thoughts. No one is perfect, and rather than Being taking us on a journey with a clear meaning, we simply feel a little bit more accepting of our own imperfections. And somehow, I feel like that's the point of Mozart's Sister's debut, to be okay with just "being."

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