Good Will Come To You
Twenty-year-old Jean-Sebastien Audet has been a prolific songwriter since his teens. His first 4-track recorder unlocked a wellspring of musical ideas: the hip-hop-oriented project Zouk Fuck, the paisley pop of You Are Minez, the post-punk Faux Fur, to name a few. At first Un Blonde seemed to be another iteration of this creative outpouring, picking up where Faux Fur left off. But 2014 album Tenet and its companion, Habit Anything, stood above everything he’d done, abstracting a familiar, serrated, post-Women Calgarian sound and making it his own.
Each Un Blonde release has been increasingly harder to pin down, though the music’s been reliably centred on Audet’s guitar work. However, a relocation to Montreal and 2015’s nocturnal nose-dive into R&B, Water The Next Day, jettisoned guitar altogether for crooked synths and programmed beats. The deviation was unexpected but, considering Audet’s trajectory, not out of character. The departure saw Audet uniting his previously disparate sounds under the Un Blonde moniker.
That plurality of selves is at the heart of Good Will Come To You and is what makes it Audet’s most focused and fragile record yet. The many choral harmonies (all sung by him) evoke gospel music, simultaneously suggesting the power of communion with others and Audet’s own fractured identity. The phrase “Good Will Come To You” appears not as a title track, but as a kind of mantra throughout the record. Its repetition is reassuring, taking us through Audet’s questioning self-doubt at the beginning of the record to the closer Trust Your Judgement.
The phrase punctuates and frames messages of self-determination, self-care and the beauty found in harmony.
Top track: Staying In Line
Un Blonde plays the Monarch Tavern with She-Devils on July 22. See listing.