10 Songs, 34 Minutes

EDITORS’ NOTES

Canadian singer/songwriter Hannah Georgas goes into full-on '80s-pop mode for her light and airy self-tilted second album. Where her debut album, This Is Good, kept some rough indie rock edges, Hannah Georgas smooths them for a dreamlike veneer, in part helped along by producer Graham Walsh (of the band Holy F***). The album's first single, "Robotic," chimes with a sense of New Order in the breathy optimism of its über-catchy synth line. "Enemies" explodes into Technicolor. "Ode to Mom" feels like a note from the far end of the galaxy landing in her mother's ear. Each song has been transformed from a simple idea into a grand experience, with ideas that previously would've been left plain being pumped up with the recording-studio magic. It takes a young girl's dreams and adds a touch of glamour, with sparkling highlights that mask the loneliness lurking at the heart of the Florence + The Machine–like "Elephant" and the overcompensating partying of "Shortie."

EDITORS’ NOTES

Canadian singer/songwriter Hannah Georgas goes into full-on '80s-pop mode for her light and airy self-tilted second album. Where her debut album, This Is Good, kept some rough indie rock edges, Hannah Georgas smooths them for a dreamlike veneer, in part helped along by producer Graham Walsh (of the band Holy F***). The album's first single, "Robotic," chimes with a sense of New Order in the breathy optimism of its über-catchy synth line. "Enemies" explodes into Technicolor. "Ode to Mom" feels like a note from the far end of the galaxy landing in her mother's ear. Each song has been transformed from a simple idea into a grand experience, with ideas that previously would've been left plain being pumped up with the recording-studio magic. It takes a young girl's dreams and adds a touch of glamour, with sparkling highlights that mask the loneliness lurking at the heart of the Florence + The Machine–like "Elephant" and the overcompensating partying of "Shortie."

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