Lay down and listen up to Corridor’s mastery with Mimi

The Montreal based group Corridor returns with their fourth album, Mimi. A blend of uplifting electronic music and calm bass lines give the latest tracks by Corridor an uncanny half-dose psychedelic quality. There’s a slight surprise that begins this trip, but after that it’s just good vibes, a wicked comfortable seat to relax in, and strangely reassuring thoughts on death.

Corridor began work on Mimi shortly after the release of their previous album, Junior, which brought them a new level of success. Despite this, the band decided to move on from their regular guitar-centric style and introduce significant electronic elements in their next album. While it certainly marked Corridor’s growth over the years, this also caused them to lose much of the “rock” that separates indie-rock from other independent genres. Though definitively indie, Mimi feels like a sign of Corridor’s lateral change into other styles, rather than a continuation of their indie-rock career. That being said, their latest album still achieves a sublime listening experience and deserves to be lauded all the same. Corridor should be proud of their evolution as artists.

“Phase IV” begins the album as a statement of Corridor’s evolution. A bass guitar and simple drum line play as companions to a dreamy electronic arrangement. Dominic Berthiaume, the lead vocalist of Corridor, sings in a soft, conversational tone that sets the listener at ease. This peace is promptly ruined by a frightful screeching guitar; an interruption that reminds the audience to pay attention to the music and the artist’s intent behind it. Corridor has a lot to say, and they don’t want their audience missing it.

No song on this album captures the lackadaisical vibe like “Chenil.” It communicates a message of “take it easy” with a mix of mid-tempo low-volume guitars and synth melodies. If anything, “Chenil” could be from the point-of-view of the cat on the album’s cover; spending each day learning how to relax in new ways. There is a slight distortion or echo to nearly everything, which becomes more prominent the longer it plays; such is the sound of life as you fall asleep. The cat slips deeper and deeper into the couch cushions. They wait patiently for their owner to get home and fuss over them. A nap in the meantime seems like a great idea. The song slips away as they begin to dream.

A positive outlook on a heavy topic, “Mourir Demain” is unafraid to find happiness in finality. The title translates to “Die Tomorrow” and serves as the first lyrics in the song. However, before that, a triumphant arrangement of brass and guitar roar at the listener. Corridor celebrates a life well lived before its end. Then the fanfare fades away and is replaced by Berthiaume’s solemn voice being carried on a quiet drum and bass duo. No death is without sadness, regardless of how good a life they led. The listener is given a moment to mourn. Elements of the celebratory intro slowly populate the track. The brass arrangement rejoins as an understated compliment to the vocals. Suddenly, a thrilling guitar hijacks the narrative — Berthiaume’s voice rising in pitch to match it. The drums and bass excite themselves to keep up. More guitars join in the crescendo, bringing it to new heights. “Mourir Demain” ends as triumphantly as it began. This song is not meant for mourning, it is not meant for kneeling to an inevitable end, but to encourage a better life before that end comes. One of the final lines is “Et mourir au complet” meaning “And die completely.” Four profound words on death to live by.