The Hornbook, magically transmutes the entire history of 20th-century rock ‘n’ roll—’50s golden oldies, ‘60s garage spunk, ‘70s glam flamboyance, ‘80s indie transgression, ‘90s lo-fi weirdness—into an alien transmission from the future. Now, if you stayed awake during high-school history class, you might remember that a hornbook is an early-education tool for children dating back to the 15th-century—a wooden paddle inscribed with the alphabet, numbers, and the odd Bible verse. (Think of it as the beta version of your iPhone’s notes app.) “When I was writing these songs, it felt like I was making a children's book—every song was a little story,” Englehorn says of the title concept. “But it also felt like a little bit of a cipher for our whole world.” 

The Hornbook was largely written in Maui but recorded in Montreal with producer Mark Lawson, whose C.V, includes one of Englehorn’s personal touchstones: Who Will Cut Our Hair When We’re Gone?, the gloriously ramshackle 2003 debut album from Montreal cult heroes The Unicorns. “The Unicorns are a huge influence,” Englehorn enthuses, and certainly you can hear a similar childlike sensibility on The Hornbook, from the Dr. Seussian wordplay in his songs, to the ever-present mischievous glee in his singing voice, to the sandbox experimental approach he shares with his musical (and matrimonial) partner, drummer Estée Preda.