Tag: Hush The Mirrors Were Right

Video by William Ruben Helms

New Video: Hush Shares Lysergic “Funhouse”

Montréal-based trio Hush — Paige Barlow (vocals) and multi-instrumentalists Miles Dupire-Gagnon and Gabriel Lambert — are part of a new wave of Montréal-based acts actively reshaping psych pop. Each member of the band is an accomplished member of the local scene with the band featuring members of Hippie Hourrah, Elephant Stone, Anemone, and The Besnard Lakes. 

Citing an eclectic array of influences that includes Broadcast, The Velvet Underground, Melody’s Echo Chamber, Steve Lacy, Cocteau Twins and Ariel Pink, the Montréal-based psych pop trio create a sound that’s simultaneously nostalgic and forward-looking. Their music lives in the blurred light of perception — half memory, half hallucination — and is an invitation to lose yourself inside of their hall of mirrors-like dream world. 

The Montréal-based trio’s highly-anticipated full-length debut, Phasing is slated for a May 22, 2026 release through Simone Records. The album will include the previously released “The Mirrors Were Right,” the album’s opening and title track, “Phasing” and the final pre-release single, “Funhouse.”

“Funhouse” is a lush, shape-shifting tune with elements of dream pop, house music, trip-house and komische musik that’s mesmerizing, cinematic — and perfect for a deeply contemplative, neon-tinged, late night drive. The result is a song that features , hook-driven grooves with lysergic textures that seem to dissolve in front of your eyes and reassemble elsewhere while Paige Barlow’s ethereal vocal seems to coquettishly dance around and within the song’s groove.

Recorded largely live with various elements re-amplified through a Leslie speaker to create a swirling, three-dimensional feel, “Funhouse” sees the trio balancing mathematical precision with a spaced-out, almost blissy vibe.

Lyrically, the song probes the faith placed in systems meant to explain the world — romance, religion, identity — long after their answers begin to thin. As Barlow puts it, it’s a “theatrically messy interpretation of romance – a sequel of love learned.”

“It’s about the confidence people place in systems that promise meaning,” she adds. “They can start to feel like answers from a Magic 8-Ball—you shake it, wait for clarity, and sometimes the answer is just: try again later.”

Directed and filmed by the band’s Barlow, the accompanying video features looped lyrics projected onto footage of irises, further emphasizing the song’s and the album’s overall themes of perception and distortion.

Video by William Ruben Helms

New Video: Hush Returns with Shimmering and Woozy “Phasing”

Montréal-based trio Hush — Paige Barlow (vocals) and multi-instrumentalists Miles Dupire-Gagnon and Gabriel Lambert — are part of a new wave of Montréal-based acts actively reshaping psych pop. And each member is an accomplished member of the local scene, with the band featuring members of Hippie Houraah, Elephant Stone, Anemone, and The Besnard Lakes.

Citing an eclectic array of influences that includes Broadcast, The Velvet Underground, Melody’s Echo Chamber, Steve Lacy, Cocteau Twins and Ariel Pink, the Montréal-based psych pop trio create a sound that’s simultaneously nostalgic and forward-looking. Their music lives in the blurred light of perception — half memory, half hallucination — and is an invitation to lose yourself inside of their hall of mirrors-like dream world. 

Late last year, I wrote about the Canadian trio’s debut single, the Bibi Club-like “The Mirrors Were Right,” which also serves as the first single from their full-length debut, slated for a 2026 release through Simone Records. Their debut album’s second and latest single, album opener “Phasing” is a shimmering and ethereal blend of 60s psych pop, trip-hop and dream pop with Barlow’s radiant delivery darting and dancing around the dreamy accompanying arrangement and production.

The song thematically explores the uneasy ebb, shift and flow of feeling and perception, at points questioning the reciprocity and durability of our relationships with a seemingly lived-in quality.

Conceived by the band’s Paige Barlow and Aabid Youssef further emphasizes the song’s woozy and mind-bending blur: We see blurry images of local scenes projected both behind and in front of the band. The band also blurs in and out throughout.

Video by William Ruben Helms

New Video: Montréal’s Hush Shares Lush and Prismatic “The Mirrors Were Right”

Montréal-based trio Hush — Paige Barlow (vocals) and multi-instrumentalists Miles Dupire-Gagnon and Gabriel Lambert — are part of a new wave of Montréal-based acts actively reshaping psych pop.

Citing an eclectic array of influences that includes Broadcast, The Velvet Underground, Melody’s Echo Chamber, Steve Lacy, Cocteau Twins and Ariel Pink, the Montréal-based psych pop trio create a sound that’s simultaneously nostalgic and forward-looking. Their music lives in the blurred light of perception — half memory, half hallucination — and is an invitation to lose yourself inside of their hall of mirrors-like dream world.

The trio’s debut single “The Mirrors Were Right” also serves as the first single from their full-length debut, slated for a 2026 release through Simone Records. Sonically, “The Mirrors Were Right” is a prismatic tune featuring shimmering guitars, dusty and warped analog drum patterns and bursts glistening, kosmiche music-like synths as a lush and dreamy bed for Barlow’s ethereal vocal. The song is one-part half-remembered fever dream and one-part existential reflection while seeming to subtly channel Bibi Club and others.

The song’s lyrics came to Barlow as she reflected on long past, but long-lasting periods of dissociation and on flashes of clarity that cut through them now. “The mirrors are right” when reflections feel distorted; “luckily alive” with head above water, somewhere between the surface and the clouds.

“For the clip, we wanted to portray a fractured sense of self. The distorted inner witness. Evolving identities over time. Imagined through a cubist and surrealist lens: worlds sensed, not witnessed,” the band says of the accompanying video. “Images drift and reform, mirroring the song’s unfolding. A meditation on multiplicity. The self made plural.”