Helmed by well seasoned Howard Redekopp, O My Heart is based mostly in American Folk Pop fused with Mid-Nineties alternative a la Matchbox Twenty meets Orbit. The sound branches manically from there, however, producing tracks that are either unique or indefinable because the album never retains a particular genre for long. The real constant of Mother Mother’s sound is the gorgeous if meticulously studied harmonies produced by originator Ryan Guldemond, sister Molly Guldemond, and Debra-Jean Creelman.

O My Heart opens appropriately with its title track, an introductory song heavy on the rhythm section and simpler lyrics than the rest of the record. The bands picks up its hyperbole on “Body”, which begins with staccato violins and vocals and effortlessly merges into a lullaby chorus. “Ghosting” and “Try to Change” boast acoustic plucking Iron And Wine would be jealous of, with the latter incorporating interesting vocal changes Regina Spektor would find promising. The main members of Mother Mother are not afraid of sharing lead vocal duties. This is strongly evident on album closer “Sleep Awake”, a track that, with its sweet pitchy female vocal track, recalls so many of the lullabye ending nineties altrock albums as much as a Decemberists album track.

The album is one of those rare jewels that saves its best stuff for the seond side. “Hayloft” is a standout track, and not only because it demands attention like a petulant toddler in its terrible twos. The instrumentalism is even tighter than the rest of the album’s already deeply pocketed sound, and the vocal work is some of the most exciting in recent history. “Wrecking Ball” combines old timey bluegrass with dance beats to the effect of creating a haunting three minute long hook. “Arms Tonight” is a high school sweet love song no summer record should be without, however it retains its cred with poetic comparisons of love to death and a solid off beat.

With each release, Mother Mother shows their growth potential paying dividends. It certainly does not hurt that they have left themselves so much evolutionary slack; not only can each album go in any direction, every song can. Look for Mother Mother to take off in the very near future, especially with guilty pleasure hooks like candy and television commercial friendly tracks (apparently that is how indie bands know they’ve made it nowadays, see: Iron and Wine, Throw Me the Statue, The Shins). In all, the record is a solid choice to finish out your summer with.

Score: 3/5

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