A potential mega hitter in the world of indie rock and roll, Vancouver based five-piece Mother Mother’s adulterated mash of superb song-writing, water testing different concepts and sass have kept every release thus far unique and eye brow raising. Their latest, Eureka, is essential listening, with pure personality burned into every lyric and virtually every number being a potential ‘most listened to’ in your playlist.
As with previous albums Touch Up and O My Heart, Eureka is stylistically different than its predecessors to the point of being unrecognizable. There will be inevitable ear-perking on the first few spoken words in track one Chasing it Down, whose odd introduction switches from brooding acoustic chords to rapid, solidly-chosen rhyming, a constant build up that goes back and forth on the tempos like some hipster dickhead who’s running late and has to stop running every few yards to hoist his trousers back up. But unlike any Camden poser, this is the genuinly original, with second song The Stand’s mischievous and playful toned writing: something you’ll end up putting on repeat in the tenfold.
This leads to perhaps Mother Mother’s most intriguing aspect. Ryan Guldemond should probably get the band’s particular sound, most characterized by the flirtatious (yet oddly callow) harmonized vocals of his sister Molly, and most recent band recruitee keyboardist Jasmin Parkin. The weird mix of smooth, high pitched female singing and Ryan’s own impressive range is utilized in different ways in nearly every number, never getting too old, the irony of this on display in song Original Spin, a superb mix of Spanish-style guitar and indie-pop party singing.
Maybe the deep-set oddity of how out of sync each song is with each other makes them feel mismatched, such as when one comes down to track five Born in a Flash, but the song in itself still works, its melancholy transcribed into the lyricism, with camera flash sound effects detailing the latter part, whilst the weird mood swing for the chorus further demonstrating the idea that this is a constantly evolving band, i.e. they’re evolving as you listen to them!
The whole package feels reminiscent of a compilation album containing multiple acts, except it’s impossibly the same artist. The instrumentation is beautifully moulded around this forever shifting composition, with the funky tone of Problems built up by the suitability of the drum and bass also seen in Far in Time, and bucking keyboard rhythms of Aspiring Fires layered with the rotated use of vocalists like a indie rock Canadian dessert truffle.
Trying to pinpoint the various influences and homage’s to the former would take a fair long time, with so many individual pieces hinting at stuff so far gone as the 1970’s, but don’t mistake that, it never imitates, and stands very much as a totally original collection of works. Whilst it is hard to choose an individual track to characterize the album, given the bottomless diversity of them all, you can’t go wrong with Getaway: a soothing melody that invokes the subject matter dead-on, but it’s undoubtedly Molly Guldemond who makes it so memorable, to the point where you’ll be hoping she’s a sight for the eyes as her voice is to the ears (spoiler: she is).
What a listener will take away far more than anything else, is the indescribable ingenuity within the lyricism; damn near every line is quotable and brimming with flair. As mentioned The Stand is a prime example, a bizarre fetish fuelled conversation which delves into flights of fantasy: “Talk about space’ ‘well, it’s a beautiful place’ ‘but it’s so damned cold!’ ‘Yeah, for the human race!’” Another good excerpt would come from Aspiring Fires’s chorus: “A little advice for aspiring fires again, put it out if you don’t get a little wild”.
I wouldn’t second guess myself in thinking Eureka has the potential to be a classic, a perfect example of ever-improving progression for a band that already set itself apart in almost every department, but unfortunately it feels as if it’s doomed to remain under the rug with everything else due to be unleashed onto the airwaves this year as part of the independent nature of the genre it clings to. Let’s hope then that it creeps onto radios, soundtracks and perhaps (and this is early thinking, sure) some top ten album lists in about eight months time, yeah?
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