#dot dash

While Savary has shifted his viewpoint to one of existential introspection, he’s also solidified his sound and enmeshed it within a full band of accompanists. What once was a quirky, naïve jangle is now a robust, melody-forward amalgam of guitars, bass, drums and keyboards ornamented by trumpet, sax and samples. Five additional vocalists add heft to Savary’s nasal bark, creating gender fluid vocal harmonies that float within the fleshy song structures. Benoit Gerard’s production maintains the low fidelity feeling of past Leopardo efforts, so even though there’s a lot going on in these songs they don’t feel cluttered at all. He deploys the various sonic elements in layers, drawing our focus in many different directions to create a sense of spaciousness.

Leopardo has always been a platform for showcasing Savary’s love for The Velvet Underground, and Side A / Side B really cements this notion, combining chugging guitar chords with tom-heavy rhythms and a liberal use of drone. Whether it be a recording of gusty wind, a drawn-out saxophone bleat, or a synth chord ringing to eternity, the drone is always present. The drone elements become more apparent as the album unfurls, rising to the forefront in the final three songs. It’s also at this point that the quirky and naïve nature of the music gives way to a more poignant vibe, highlighted in the penultimate track “Bank Bank Bank.” Here, the songwriter is a former banker questioning his decision to leave that world behind with its profits and “kilos of oxytocin.”

Savary closes Side A / Side B with a love song, but he leaves it ambiguous as to whether his affection is for another person or for the landscape of his home country. The gentle jangle of his guitar and the soft organ accompaniment don’t give away any secrets, but that’s okay. He’s found hope amidst the struggles of modern life.The source can remain ambiguous, what matters is the happiness itself.