Louise Burns is only 31 years old, but the Vancouver native is already in her third decade as a musician. At the age of 11 she co-founded the Cranbrook, BC-based pop-rock outfit Lillix while she was still in elementary school. In 2001, the band signed to Madonna’s label Maverick Records, which made stars out of Candlebox, Alanis Morissette, and Deftones. They met the Queen of Pop, got her seal of approval, and then changed their name to Lillix and moved to Los Angeles to make an album. Unfortunately for Lillix, another Canadian star was born first and the next year Avril Lavigne changed the game for teenage pop stars. Overnight, the label forced an insincere image on the girls to cash in on the “pop-punk princess” trend. Lillix released two albums – 2003’s Falling Uphill and 2006’s Inside the Hollow – but despite minor hits like “It’s About Time” and a cover of the Romantics' “What I Like About You,” neither managed to crack Billboard. Things only got worse when after the release of Inside the Hollow, Maverick folded and all of a sudden Lillix were without a home. The band would soldier on, but not without Burns.

Instead of continuing to play music she felt detached from, Louise Burns decided to pursue a solo career. It took her some time to decide if that’s what she wanted, but in 2011 she worked with renowned producer Dave “Rave” Ogilvie on her debut album, Mellow Drama, which found its way onto the Polaris Music Prize longlist. The next year she joined the Arts & Crafts-signed indie band Gold & Youth, whose 2013 album Beyond Wilderness was released just two months before her next solo album, The Midnight Mass (co-produced by Colin Stewart and the Raveonettes' Sune Rose Wagner). In the span of two years, Burns had released three albums – one more than Lillix had released in twice that time.

Burns now returns with her third solo effort, Young Mopes, an album that once again came at a time of serious reflection in her life. Luckily she chose to continue, because Young Mopes is her sharpest collection of songs, and one that finds her expanding on the scope of her ‘80s-inspired goth pop to include such disparate influences as country music and the sitar.

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