Out March 14th, Halo on the Inside is the product of metamorphosis. It is the butterfly and the beast – a rhapsodic, hedonistic, dance floor-adjacent, pagan-friendly, horns-adorning wall of sound and emotion. Halo on the Inside finds Circuit des Yeux renewed, recombinant, and thrillingly alien.   Bringing Halo to fruition involved numerous changes in Haley Fohr’s typical methods of operation. She worked at night. Throughout the writing, Fohr was living alone, slipping down to her basement studio from 9 p.m. to 5 a.m. to free her mind, her voice, her hands. These late hours should not be understood as grim and isolative, though. It was a quiet space for uninhibited exploration. She turned herself loose on unfamiliar tools, winding her way through pedals and synthesizers, finding “play and melody through software malfunction and feedback.”  The process was adjourned in a trip to Minneapolis to complete the record with producer Andrew Broder (Bon Iver, Moor Mother, Lambchop). The album’s centrepiece, Cathexis, puts the pair’s creative chemistry on full display. Haley’s seemingly limitless voice interplays with Broder’s cathartic guitar coda, offering perhaps the album’s most ascendant moment.  Yet, the center of Halo remains Fohr’s voice. It is a powerful, seemingly supernatural instrument — a four-octave span that can span gentle melodic hooks, animalistic bleats, and elemental wails. Here, Fohr makes use of its full range in maximalist compositions that swerve fearlessly between genres and styles. There’s shock in metamorphosis, Halo On The Inside tells us, but there’s also levity and beauty. A moment of seclusion and dislocation yielding to rebirth and ominous beauty.