Do you remember your dreams? Montreal's The Luyas recreate those exact moments when you're falling asleep, thoughts disassociating, wandering or going round and round, into a restless night. Second album Too Beautiful To Work is a weird and gorgeous record, a fleet of lush, oddball noises floating under Jessie Stein's charmed, Hope Sandoval-talking-in-her-sleep vocals. Attempt to locate any conventional verse/chorus structure and you'll mostly be grasping at fog - these songs are more like mood pieces or twinkling splurges of artwork. After a few listens, the little hooks start peeking out.

Course, being from Montreal, stray members of the art rock community crop up. Sarah Neufeld of Arcade Fire plays violin that creeps in at the edges, meeting the underwater brass sounds that Owen Pallett has also arranged. It's an extra layer of mystery that adds cinematic depth to a song like 'Cold Canada', with its strange looped bloops and grumbling organ assailed by sudden looming strings. 'Moodslayer' may have one of the album's stronger vocal hooks, which repeats airily through the song while an ace, perma-changing dress shop of sounds rushs by in the background, but still ends on what sounds like a faraway french horn practice session.

Two fantastic songs define the album. The opening, title track throws out stuttering drums and bleeps, constantly threatening to build up enough momentum for a killer chorus that never comes. Stein's vocal melody is at 90 degrees to the actual music; the whole thing chatters brilliantly like Deerhoof down a rabbit hole. At the other end of the spectrum is 'Canary', a spooked centrepiece that sounds like a dead body singing from the bottom of a lake, sparse strings firing briefly. "I dream..." runs the refrain, "...of drowning." Mad shivers.

With all the abstract pop thrills and wandering non sequiturs on offer, it's kind of strange to hear a basic strummed guitar on the last track. That falls flat; best to rewind one and luxuriate in 'I Need Mirrors', three minutes of warm keyboard prods and childlike melody that suddenly, and apropos of nothing, ends on "It's funny in a way / Like working in a bank." Then you wake up, dazed and grinning.

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