14 Songs, 43 Minutes

EDITORS’ NOTES

When Laurence Nerbonne made her solo debut with 2016’s XO, she left the sound of her old rock band, Hôtel Morphée, far behind, instead embracing sky-high hooks, slick production, and her irrepressible pep. The Montreal singer pulls off a similar metamorphosis on the follow-up, FEU—a darker, sassier pop record with plenty of hip-hop bounce. "Fausses idoles” ("false idols") sets a defiant tone as Nerbonne puts haters and imitators on blast with a boasting, staggered rap flow and an entrancing trap beat. In the catchy come-on "Semblant," she invites an ex-lover to pretend they're still together, just for one night. But it’s tunes like “#MeToo” that reveal the depths of her songwriting—its dreamy electronics do one thing, while the lyrics, which take misogynists to task with a rather explicit refrain, do quite another.

EDITORS’ NOTES

When Laurence Nerbonne made her solo debut with 2016’s XO, she left the sound of her old rock band, Hôtel Morphée, far behind, instead embracing sky-high hooks, slick production, and her irrepressible pep. The Montreal singer pulls off a similar metamorphosis on the follow-up, FEU—a darker, sassier pop record with plenty of hip-hop bounce. "Fausses idoles” ("false idols") sets a defiant tone as Nerbonne puts haters and imitators on blast with a boasting, staggered rap flow and an entrancing trap beat. In the catchy come-on "Semblant," she invites an ex-lover to pretend they're still together, just for one night. But it’s tunes like “#MeToo” that reveal the depths of her songwriting—its dreamy electronics do one thing, while the lyrics, which take misogynists to task with a rather explicit refrain, do quite another.

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