Following their extremely low-key 2016 EP, Montreal based art-rock duo She-Devils have been caught in a whirlwind of touring and self-promotion. Opening up for fellow weirdos such as Majical Cloudz and Lydia Ainsworth, they quickly built up a cult like following and a reputation for intimate, if not trippy live performances and trance-like grooves. After signing to indie giants Secretly Canadian, whose rosters includes anybody from the War On Drugs, Yoko Ono, Jens Lekman, Whitney, and Anohni, She-Devils have settled gracefully in a nest between cult heroes, indie giants, and avant-garde specialists.

On their self titled debut the duo have ditched their vinyl crackling predecessor for richer studio quality and lengthier jams. It's a hell of a transition, too - not only is the overall quality more convincing, but She-Devils have brought forth a much spookier, spaced out set of sounds than their previous efforts. Starting with 'Come', the album begins on a much poppier tone, quickly immersing you in spacious, psychedelic rhythms that are carefully complimented by singer Audrey Ann Boucher's enticing vocals. However, She-Devils released the original version on their self-titled EP, and a remix that followed, so the addition of a third version of 'Come' isn't enough to justify putting it on this fairly hyped up release - as the opener, no less.

Wasteful additions aside, the duo does do an incredible job of infusing doo-wop bass riffs with the romanticism of 60's yé-yé. It's their ability to incorporate so many distinct sounds that draws you in, rather than their actual songwriting abilities. At times, their lyrics seem to be a bit lacklustre, if not generic, but it's multi-instrumentalist Kyle Jukka's unique musicianship that seems to pull the songs together - something remarkable for a two-piece outfit.

In addition to their music being reminiscent of a petri dish of past artists and styles, the strongest comparison to a band lies comfortably in 'Blooming', where Boucher's bellows directly channel the Cranberries vocalist Dolores O'Riordan. As the track progresses, it grows more hectic, and finally finishes with a perfectly orchestrated closing, as the bass line grows heavy and the acoustic strums cool it down.

However, where most art-rockers can get away with it, She-Devils' lack of substance sticks out as the album progresses, as each track acts as a distant cousin of the last, catching She-Devils in a bit of a creative rut. In no way, shape, or form is this necessarily a bad thing, it just adds to the repetitive tone of the album.

In spite of the fact that their substance-less approach is quite obvious through out the album, the closing track 'Buffalo' shines a light on a freakier side of She-Devils, embarking on a much richer, wholesome journey through the minds and emotions of Boucher and Jukka. Although She-Devils falls short of the high expectations it had built up prior to the release, all in all it is a solid album, one packed with loads of potential and major signs of forthcoming genius from the Montreal duo.