ALBUM REVIEW: With ‘Believer,’ Sister Ray Blends Pensiveness and Buoyancy

With their latest set, Believer, Ella Coyes assumes a more aerial view than on their 2022 debut, Communion, frequently putting distance between themself and their subject matter. John Nellen’s production MO complements Coyes’ narrative style and this new, detached perspective, infusing the tracks with buoyancy, while never diluting Coyes’ pensive leanings.

Although the Edmonton-born, Métis singer-songwriter can thrive in stripped-down or full-band environments, the guitar-bass-drums line-up does seem to boost or texturize Sister Ray’s voice and lyrics effectively, prompting Coyes to sing more loosely, almost rakishly. The opening title song is a basic, yet effective folk-rock mix with added horns. Coyes’ voice is relaxed as they unfurl a world-weary, and perhaps tongue-in-cheek, take on relational dynamics and the way in which the internet breeds conspiracy-thinking.

“I’m gonna part the ocean with one big blow of breath / I will make you indispensable,” Coyes sings on “Animal Thing,” reveling in an upbeat cadence, alluring melody, and casual poeticism reminiscent of Hurray for the Riff Raff’s Alynda Segarra. “Magic” sustains the semi-positive vibes, featuring crunchier guitars. Coyes expresses their bent for high romance while acknowledging that relational success also requires simple, everyday actions, such as being considerate and practicing unselfishness.

“Wings” is built around a busy percussion part and bright guitar. “If I had wings to use / I would use them pretty soon,” Coyes sings, juggling humor and crisis-orientation. “All Mine” is a sludgier take, the guitars muddy and droning. “How many things must be true at the same time / for the window to be open to shine in that beam of light / straight from an alien into my human mind,” they ask, veering into a 2 a.m. stoner/sci-fi musing.

“Unfolding” shows Coyes shifting into a guitar-and-vocal track closer to their work on Communion. Even without the fuller backing, however, Coyes’ voice is more multifaceted, at once wistful and hopeful, their timbre reminiscent of peak Edie Brickell. “Building” is notably minimal and atmospheric, Coyes frequently issuing a cappella lines. The piece stands in contrast to the more layered songs.

Closer “Diamonds” is a clubby, piano-accompanied piece. Coyes’ stripped-down sonics, narrative obliquities, and vocal movements bring to mind Sarah Mary Chadwick’s Take Me Out to a Bar / What Am I Gatsby? “You want abundance / you’ve always had a bunch of it,” Coyes sings, offering a portrait of someone who is blessed yet ungenerous, more worried about losing what they have than sharing or helping others.

With Believer, Coyes adopts an expanded outlook, occurring as more attuned to the paradoxes of life. They’re still well aware of the ugliness that pervades this world but can also behold the beauty that redeems it, can feel the heaviness of grief but also the lightness that comes with embracing new possibilities. Coyes’ vision is evolving, their craft continuing to blossom.

Sister Ray’s Believer is due out April 4, 2025 via Royal Mountain.