Blonde
Coeur de pirate
Grosse Boîte

It begins, as most pop albums do, with a choir.

Blonde, the sophomore album from Montreal’s Coeur de pirate, begins with quite the surprise in the track “Lève les voiles” (“Set Sail”).

For those familiar with Coeur de pirate, Béatrice Martin’s stage name, a choir would probably be the last thing they’d expect to hear on the 22-year-old’s second release. While “Lève les voiles” may not be “pop,” the song immediately shows Martin’s growth as a musician and a person over the past three years.

Setting the stage for the album with lyrics about setting sail onto new ways, living under the ever-present power of time and change, “Lève les voiles” leads, ironically, into the ‘60s inspired “Adieu.”

Instantly transported back in time by the music, the lyrics don’t necessarily follow suit. Rather than dwelling on heartbreak accompanied by minor chords, as her contemporaries might, the tattooed songstress approaches the idea of a break-up with great strength and a quiet determination. Driven by an infectious bassline and highly clappable rhythms, the music lends to a strong first half of the album.

The positive nature of a lot of the music does a great deal to disguise the struggles of change in a person, a relationship or even a physical distance. For listeners who don’t speak French, the lyrics about the need to be desired in the track “Golden Baby” are entirely lost in the upbeat tempo and catchy snaps of the song. Not to mention the fact that, if even for just two words of the song, any English-speaking listener can sing along happily.

With ‘60s-inspired rhythms and lyricism reminiscent of Grease’s “Beauty School Dropout,” it’s no surprise that Martin’s instrumentation would take a similar direction. With an infusion of strings on “Danse et danse,” courtesy of Quatuor Molinari and Colin Stetson’s saxophone on “Ava,” the instrumentation adds to the ‘60s vibe prevalent throughout most of the album — combined with shimmering guitar chords, simple but driving bass, and certainly not least, Martin on piano as well as organ.

One standout track is “Les amours dévouées,” which would feel right at home as the opening to a 007 movie.

While the lyrics may not exactly be a great “pick-me-up,” Martin’s second album demonstrates her ability to deliver a retro sound with a modern twist — a great accomplishment for someone so young.

Hopefully this will appeal to those who lost their heart to Coeur de pirate.