Corridor – Mimi Review

What does Corridor sound like?

Quirky French-Canadian rockers embrace their slower, jangly side.

The review of ‘Mimi’ by Corridor

Nearly five years after the fantastic and jaunty ‘Junior’, Montreal-based Corridor returns older, wiser and embracing a slower side to creativity. ‘Mimi’ is the polar opposite of ‘Junior’. This album is less about writing big hits and more about bathing in ideas from across the indie rock spectrum. It is a grower, not a shower but it conforms to the idea that Corridor simply cannot be pigeonholed into a subgenre. In expanding their ideas, they’ve expanded their sound even further.

Opening track ‘Phase IV’ I assume is a comment on this being Corridor’s fourth album. It encapsulates their new sound. Expansive, cinematic, layered and full-bodied. Guitars seep in and drape off-kilter synths and sounds like a tapestry of ideas. Little motifs and riffs point towards bigger concepts and Corridor embraces their psychedelic side. Jangly percussion, airy vocals and a lack of rush eases you into this new style and it works wonders. ‘Mon Argent’ doubles down on the hippy vibes with a bed of electronica and 60s guitars leading the way with a sunny theme. It has a certain whimsy to it that hits the spot, which is apt considering the song is about making a living as a musician.

Whilst cinematic scope does envelope the album, Corridor still brings in driving riffs. ‘Jump Cut’ is the best example of this. Blazing guitars, drum solos and a psychedelic retro synth that shimmers like David Hasselhoff’s Knight Rider lead the way. The way tons of different sound samples are used like a cartoon underscoring the rock is sonically interesting too. Corridor always sprinkles interesting sound design in their music and this track showcases that skill. ‘Camera’ takes a dirty synth-noir edge with raspy brass synths underscoring a sinister track about social media. The slinky guitars and blissed-out distant vocals crawl around the brassy bass warning foghorn that dominates the track. It’s clear the band has a complex relationship with self-promotion and views it with warning signs. The fact the outro features a guitar solo siren isn’t lost on me.

‘Chenil’ is a breezy French pop rock piece that skips gayly with a breezy smile. It pairs excellently with ‘Porte Ouverte’ which brings the vibraphone mystique and French rock glamour. Sitting somewhere between faded colour 70s vintage art film soundtrack and Austin Powers character theme, the song is bright and colourful. Throughout the album, I appreciate how often the band revels in instrumental sections allowing different musicians to shine. Here the tuned percussion and electric piano glisten over a bed of jangly sepia guitars for a blissed-out second half. Beautiful and hypnotic, I could listen to it on repeat to dream.

Flicking between acoustic rock and big thrashing electric moments via ethereal country twangs is ‘Mourir Demain’. There is more than a hint of Beatles drama here and the military band percussion alongside the soothing yet rousing vocals call that out. It’s as close as the album comes to an anthem and feels triumphant by the end. The album then closes with ‘Pullicule’. This hazy jangle pop number indulges in 70s psychedelic tropes. Shimmering synths and harp glissandos pour out over hypnotic guitars and dreamy vocals. A lot of the song uses the same chord like it’s trying to hypnotise you before a vinyl spitting final hurrah and send off with a big instrumental chorus bids you farewell.

‘Mimi’ won’t grab you with immediate singles but it lingers long after it has finished with its mood. The densely layered recordings are seeped in electronic effects and carefully crafted performances. The unrushed nature of the music brings a floaty dreamlike quality to the songs – even when Corridor rock out fully. This beautiful album will take a few listens to truly appreciate, so give it a chance and you’ll be in Vaseline smeared jangle rock heaven.

Recommended track: Jump Cut

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