Recorded in Eastman, Quebec during the cold month that was January 2015, Dreamy Boys, the new album by the duo of brothers that comprise Gosselin, is completely devoid of the frigidity that usually defines northern Canadian winters. The six-track album which was recorded, mixed and mastered by Samuel and Vincent over the course of seven days. Released in February, as they make clear through a relatively unexpected spoken word voice-over in the final song “Outro,” their unpretentious DIY attitude (they even thank you for listening) bleeds into a perfectly indie-experimental sound.
The album kicks off with relaxed and spacey track called “Surfin’” that, for me, recalls some sort of weird, hypnotic clash between Thurston Moore’s Sonic Youth days, and the softer, more melodic side of the Melvins. About two and a half minutes in, the brothers abruptly shift your audible soundscape into fifty-one seconds of seemingly unstructured and over-dubbed, electro-surf rock white noise, which for whatever reason is enjoyable in its utter randomness. The two continue to evoke an ethereal tone thoroughly in keeping with the album title with the third track “Jeune Homme,” a slightly slower (and French) cover of fellow Canadian Mac Demarco’s “Blue Boy”. While the origins of the homage remain unclear, the two succinctly capture the careless mastery that defines Demarco’s song writing while managing to add their own flighty touch to it.
The fourth track, “Floff,” a somber yet beautiful instrumental, delves further into the powerful song writing ability that lies behind the two brothers, and is perhaps only a brief glimpse hidden in the temporally-limited canvas that is the album. “Time is Passing By” continues what they started in the first track, and is carried by both the drawling lyrics one might expect from a bored, philosophically bent escapist and a cow bell.
Taken together, Dreamy Boys is quite a minimalistic album. However, as with most punk music, this should not be conflated with a lack of creativity. For me, it is exactly this minimal randomness that makes indie records such as these brilliant in their own right. With the exception of the sound effects and the acoustic guitar (both of which play key roles), Dreamy Boys was recorded evenly between the two brothers, and it leaves you seriously wandering what they could do with a full length record. If this one is any indication, and they were to expand on the array of sounds explored here, Gosselin could follow this up by putting out four or five completely unrecognizable, yet equally great albums that cover everything from post-rock to surf-rock.
Written by Jordan Hodgins