Mozart’s Sister – the solo project of Montreal’s Caila Thompson-Hannant she started back in early 2011 – delights in making glittering, celebratory pop with an underlying strain of brittle, claustrophobic energy. By marrying the accessible with the decidedly off-kilter, she displays a similar vigor and charisma to female contemporaries Grimes and tUnE-yArDs, both of whom too learned their trade among the same fertile hometown scene as her.
Since attracting a ton of buzz for her entrancing live shows and for first album Being, Mozart’s Sister (aka Caila Thompson-Hannant) has been head-down in her bedroom writing her follow up Fields of Love. For anyone who’s been following her work – and for new listeners – Fields of Love is Mozart’s Sister expressing macrocosmic ideas about life with panache and abundant hooks.
Inspired by Discovery-era Daft Punk, Post-era Bjork, and Betty Davis, Caila produced, recorded and wrote the album using a cheap sound card and Ableton software, approaching it with a do-it-all-by- my-self ideology.
Fields of Love is fundamentally a pop record. But if you’re looking to catalog her music more than that, you’re going to have a hard time; Caila describes Fields of Love as an intentionally fractured album. “It was far reaching. Things didn’t always connect, but that was part of the whole idea,” she says. Which is representative of the best music, and maybe the best of life: looking for order in chaos, not always finding it, and living with whatever happens next.
“She’s an apt student of tech and vocal tricks, swooping from sotto voce to a diva-like belt at a single hook’s notice.” – Pitchfork
“The result is joyous electropop with depth - dance beats, '80s-ish synths and Caila's soulful, voluminous vocals fanning out into gorgeous harmonies.” – NME
“Being is a delicate counterbalance of serotonin-soaked synth-pop and emotional overexposure.” – The Line of Best Fit
“While she’s not only shared stages with Grimes and tUnE-yArDs, the Canadian producer Mozart’s Sister also shares those two artist’s outlandish approach to writing music, with Enjoy being crammed with R&B sass and neon-bass depth charges.” – Q Magazine
“Mozart’s Sister’s Being can be summed up as a an accomplished synth pop album with lyrical substance” – Live and Die in Music
“Her mixture of '90s throwback dance music and trip hop, diva vocals and all, are in line with the current DIY aesthetic permeating a lot of pop music, yet still very much her own.” – Exclaim!
“Thompson-Hannant’s songs are funny, referential, surprising, and revealing. She busily twists knobs and uses her unusual style and bodily animation for stage presence like some others, but unlike them, she creates music that opens up and wants to connect.” – Tiny Mix Tapes
“A finely crafted exploration of fuzzy electro beats and hooky songs brewed up with all the trappings of vintage '80s synth pop and early-'90s radio R&B” – All Music Guide
“Her voice is out of this world, hitting high notes that most pop songstresses would dream of.” – The 405
“Showcasing excitable, in-your-face pop with genuine dynamism” – DIYmag
“She forges an electro-pop brew that draws from a slew of different artists but still manages to have its own distinctive voice, and that voice has a clear and vibrant pop tenacity.” – Nooga
“Being finds a balance between the grim lyrics and the pop beats to deliver a relatable album that you can’t stop dancing to.” – In Your Speakers
“It's joyous and sombre in equal measure, giving the record a well-rounded sound that doesn't like to stay put on any chosen direction.” – Mystic Sons
￼￼￼￼￼￼￼￼￼￼￼￼“Speaking to both the revelry and sadness of modern urban life, Being is a strikingly effective balancing act that respects, celebrates and mourns the intricacies of both sides of the contemporary whole.” – Unrecorded