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
Interview Classical/classique
Guillaume Côté’s A Midsummer Night’s Dreams: the choreographer talks about his intimate relationship with music
By Frédéric Cardin
Concert review classique/Classical
SQMC/Chapelle Historique du Bon Pasteur: Discovering Quebec’s contemporary music
By Pietro Freiburger
Interview
Akousma| Felix Deufel introduces us to the uncharted sonic richness of the Arctic
By Michel Rondeau
Interview Classical/classique/Electronic
Akousma | Les Artefacts sonores de Roxanne Turcotte
By Alexandre Villemaire
Interview Electronic/expérimental / contemporain
Akousma | The Audréanne Filion and Myriam Bleau Duo: Where Reality and the Virtual Merge
By Michel Rondeau
Interview Electronic/expérimental / contemporain
Akousma | Exzald S, la violence du calme
By Alain Brunet
Concert review Caribbean
Mois du Créole 2026 | Richy Jay: Keeping Konpa and Zouk Alive in Montreal
By Juliana Cortes
Interview arts numériques/Classical/classique/Électronique
Akousma | Melanie Zhou: Shaping Sound, Expressing Emotion
By Alexandre Villemaire
Interview arts numériques/Classical/classique/Électronique
Akousma | Alex Brisson et l’exploration musicale du feedback
By Alexandre Villemaire
Concert review Classical/classique
Caprice at the 9th Floor: a pleasant meeting between Baroque and Carnatic music
By Frédéric Cardin
Concert review Classical/classique
Arion: Cinderella has fun and unleashes her magic
By Frédéric Cardin
Interview Caribbean/Piano
Mois du Créole 2026 | David Bontemps: Between the Piano and Dessalines’ Legacy
By Sandra Gasana
Concert review Classical/classique
Azrieli Prize 2026: The Four Pillars of the Temple
By Frédéric Cardin
Interview Classical/classique
Ensemble Caprice at the 9th: Dialogue with Carnatic India
By Frédéric Cardin
Interview Classical/classique
A resurrected and vocally spectacular Cinderella at Bourgie Hall
By Frédéric Cardin
Interview Caribbean























