bone-deep lyrics, some warm alt-country riffs and deceptively simple arrangements. "Montreal" puts us on a stool next to the melancholy drunk dude at a bar, and then follows him through as he sobers up and wizens to the truth: maybe he's better off, as indicated by the upbeat ditty that follows, "Okay, Alright, I'm Alive." The following track, "Never Again," fills out its chorus with soul and fuzzed out guitars, and builds up slowly and methodically. The bittersweet notes echo on "Overjoyed," another slow burn number with Jurvanen cooing "you release me" over and over again. Ifwas about slowly falling out of love,paints a vivid and occasionally devastating picture of what can happen next: full on heartbreak, hurt and the heavy burden of moving on.(Maple)There's a break-up albumit through to the end, constantly getting lost in a cloud of emotions. It's something we all innately relate to and, in turn, feel that aching pinch in the chest as we listen. Not only does Edwards tear through emotions on, she also breaks through sonically. This is the most musically adventurous we've heard her, partially thanks to the production elements instilled by Justin Vernon (Bon Iver). No longer staying within the confines of her narrow country-rock roots, Edwards has learned to embrace bigger sounds and a bigger band, and the embellishments shine throughout the album. From one of the darkest moments in a person's life, Edwards was able to pull through with one of the year's brightest moments with– a highlight for both Canadian singer-songwriters and for