Written by Shea Roney
Linnea Siggelkow, who performs under the dream-pop project Ellis, independently released her sophomore record no place that feels like last week. The Hamilton, Ontario based artist is no stranger to movement, having shifted and reallocated all over Canada as she was growing up. Ellis, as a creative project, has become a way for Siggelkow to work in configuration with her innermost thoughts of existence and belonging, something that has become overbearing the past few years. Within this new collection of songs, told through booming alternative displays, lasting pop hooks and deliberate patience, Siggelkow gives the floor to her most intrusive thoughts as she tries to answer what it means to belong.
Whether the songs are rooted in their patience and subtlety or strung out by souring melodies and brooding distortion, no place that feels like takes despondency in hand, finding beauty in the sanctuary that Siggelkow has built herself. Songs like “obliterate me” and “it’ll be alright” feel more in place on a sunny car ride to nowhere rather than in a place of desolate wallowing, regardless of how sobering her lyrics may be. The leading single, “forever” feels free of any debt that the word’s very real meaning can carry. “Now forever is passing me by”, she sings, relishing in the release of permeance through heavy guitars and an airy reprieve of spirit. Songs like “taurine” flow within a liberating shoegaze-esque style while “what i know now” is a bouncy folk lament, as the chorus loosens up, singing “and it was too good to be true”.
The beauty of no place that feels like is most notable when answers are not rushed, rather endured through a patient and cathartic dive into what it is that is holding Siggelkow down. In that sense, some of the most moving and impactful moments on the LP come from a delivery that understands why this waiting room exists. The opener, “blizzard” is a story split into several different scenes, holding onto cinematic subtlety in its pauses as she walks from verse to verse with deliberate contemplation. “Emptied out on the balcony/A distant hum in the quiet street”, opens “balcony hymn”, a growing song of second guessing, marking space in time and story where Siggelkow has room to listen to her own worries. The standout track, “home” perfectly sums up the theme of belonging, most notably when Siggelkow sings “no place that feels like”, purposely withholding the title word, replacing its absence with an outro that erupts into a warm and cathartic release.
For an album that relies on tension, confusion and doubt to drive the theme, there is an unmistakable sense of relief that we walk away with after listening to no place that feels like. Ellis has always been able to make oblivion feel approachable – where it begins to feel less like a burden, but rather an opportunity for repurpose, growth and understanding. Although frank in her delivery, giving a voice to dark personal struggles, Siggelkow’s soaring melodies, blooming walls of sound and new explorations fill the album with compassion and patience, until no place that feels like is a home in and of itself.
The Ugly Hug 