Montreal-based group The Franklin Electric made its mark in Quebec and elsewhere in the world, starting in 2014. The tune “This is How I Let You Down” is largely responsible for their success. The impression was given that it illustrated the genetic code of the band, namely melodic electro-folk-rock with a strong dose of Coldplay’s emoting. A bit saccharine, sometimes. Then came Blue Ceilings (2017), a very pop production with little that stood out. Finally, a very positive evolution in the band’s work was marked by the arrival of two mini-albums. First was In Your Head (August 2019), with songs less amplified and more purified. The follow-up In Your Heart is in the same vein. Singer Jon Matte’s sensual, dramatic and solemn voice – somewhere between that of Patrick Watson and Devon Portielje from Half Moon Run – is driven by smooth, rhythmic melodies that charm from the very first listen. The song “Anything For Love”, which opens the record, is particularly masterful. Bass and drums give body to the romantic anthem. Moreover, the highs and lows of the heart are (still) the creative incubators for this six-track EP. It’s beautiful, but the band never colours outside of the lines. One thing’s for sure, In Your Heart, like In Your Head, is capably crafted, the band’s best offering to date. The guys are likely to hit a lot of stages thanks to this new material, which should reach both their fans and perhaps some more reticent music lovers.
Latest 360 Content
Concert review Electronic
SAT X Making Time | Aurora Halal, dark, pulsating, sensual vibe with mystery and emotion.
By Julius Cesaratto
Interview Africa
VoixMonde on the 9th: meeting with the traditions of Rwanda with Deo Munyakazi
By Frédéric Cardin
Interview Jazz
Flux 2026 | Bob Stewart, the most senior jazz tuba player performing this week in MTL
By Michel Rondeau
Interview Classical/classique/Experimental / Contemporary/expérimental / contemporain
Flux 2026 | Liberté-Anne presents Frotae vol. 2
By Frédéric Cardin
Interview Pop/Classical/classique/expérimental / contemporain/Experimental / Contemporary
Flux 2026 | No Hay Banda invites Erika Angell and pays tribute to Suoni per il popolo
By Frédéric Cardin
Interview classique
Nicolas Ellis, Elizabeth St-Gelais, and the Orchestre de l’Agora at Bourgie: Under the watchful eye of the Moon, angels pass by
By Frédéric Cardin
Concert review Classical/classique
QMP 2026 | Épatants quatuors de George Lewis par Bozzini
By Frédéric Cardin
Interview Electronic
SAT/ Making Time |Aurora Halal’s One-hour Hardware Live Set Upcoming
By Julius Cesaratto
Interview Jazz/Experimental / Contemporary/expérimental / contemporain/Rock
Flux 2026 | 1st week-end according to Peter Burton
By Alain Brunet
Interview classique/Classical
Between Shostakovich and improvisation, Gabriela Montero speaks of freedom
By Alexandre Villemaire
Concert review Rock/Classical/classique/Jazz/free-rock/Experimental / Contemporary/expérimental / contemporain
QMP 2026 | Ackermann and D’Orion : the Complementarity of Extremes
By Frédéric Cardin
Concert review Classical/classique/Traditional
MÁM from Teaċ Daṁsa: The Ireland of All Dreams
By Frédéric Cardin
Album review Rock/Classical/classique/expérimental / contemporain/Experimental / Contemporary 2026
Erick D’Orion – Mes fantômes
By Frédéric Cardin
Concert review Electronic
Piknic Electronik | Egyptian Lover has the catalogue and the credentials, but…
By Julius Cesaratto
Interview expérimental / contemporain
Codes d’Accès | Battements: Geneviève Ackerman presents “Rimes défaites par le Sphinx”
By Alain Brunet
Interview afro-tech/Brazilian/Électro/Electronic/Pop
SAT / Making Time | Olof Dreijer Beyond The Knife… The Drums !
By Alain Brunet
Interview expérimental / contemporain/Classical/classique
Bozzini Quartet plays the quartets of an icon of avant-garde jazz: George Lewis
By Frédéric Cardin
Interview classique























