Montreal Singer-Songwriter Silka Weil Releases Bold New Single “Make Me Lose Control” Ahead Of Forthcoming EP, Midnight Blue
Silka Weil, one of Montréal’s most compelling emerging voices in folk-rock and alt-pop, today releases “Make Me Lose Control,” a charged and urgent new single that announces the arrival of her second EP, Midnight Blue, due July 3, 2026. Seductive, confrontational, and alive with tension, the track is the fullest expression yet of the sonic territory Weil has been carving out since her celebrated 2023 debut – and the most immediate proof that her ambitions have only grown.
The song was born from a simple and deeply practical impulse: Weil wanted something fun and electrifying to play live. What emerged was something richer – a moody, propulsive love song that she describes as “done my own way.” “I sometimes enjoy being confrontational in my writing and performance,” she explains, “so for the most part it’s a little more direct than subtle.” That directness is everywhere in the lyrics: “Tear through your heart and soul / You’re everything I want and more / Reduced down to our flesh and bone / You’re gonna make me lose control.” It’s a love song with its teeth in.
What makes “Make Me Lose Control” particularly striking is the dynamic range Weil and producer Jean-Sébastien Brault-Labbé have built into it. The verses and chorus hit hard and rock-heavy, while the bridge opens into something softer and more intimate – a contrast Weil describes as “a real pleasure to work with.” The track also carries the energy of a song written in motion: Weil finished the third verse on the spot in the studio – and also sings backup – with the freedom of that process is audible in every moment. A last-minute decision to swap electronic drums for real drums after the bridge gave the recording a final surge of physicality that pushes the track into another gear entirely.
Recorded, produced, mixed, and mastered at Studio de la Ruelle, “Make Me Lose Control” marks another chapter in Weil’s ongoing collaboration with Brault-Labbé, who also produced her EP, Midnight Blue and whose broader credits include Gabrielle Papillon, Samuele, Matt Stern, Erika Lamon, Vamoise, Le Husky, and the Blue Seeds. The single arrives with a lyric video designed by Weil herself, whose hands-on approach to her visual identity is as considered as her approach to the music. The result is a track that already has a strong live response from her audience and is set to reach a significantly wider one.
Weil earned Musi-Flo’s Artist of the Year for 2023 and appeared on the July 2025 cover of radiodowntown.ca, with radio play and interviews across Canada and internationally – including a live interview with Mexico-based media organisation Ella Suena. Her music has been compared to PJ Harvey and Lana Del Rey for its ability to hold boldness and intimacy in the same breath, and “Make Me Lose Control” does exactly that – a song that leans into desire, plays cat and mouse with vulnerability, and arrives at something genuinely thrilling. “I would stay up all night / I would walk over fire / To stand in your light,” she sings in the bridge – and you believe every word.
Hi, Silka! Good to see you again! Care to introduce yourself to the readers for those not familiar with your music?
Thank you for having me, it’s great to be back!
I am an independent singer-songwriter from Montreal, Quebec. I love to blend genres and write in a variety of styles. My music has been described as folk-pop and post-grunge. I love PJ Harvey and Lana Del Rey, you may pick up on their influence in my songs.
“Make Me Lose Control” started as something you wanted to play live. At what point did it become something deeper than just a performance piece?
My songs always take on lives of their own as I go through the writing process. When writing MMLC I wanted something catchy and upbeat for live shows. I brought it to my producer before I’d finished writing it just because I was excited about it and wanted to work on it. We ended up recording it the same day and I finished the last verse on the spot. We hadn’t finished the full studio version before I started to play it live though. So it was exciting to perform it and to see how well listeners responded to it.
Performing strong songs like MMLC also feels very empowering. So maybe it being a performance piece also gives it a deeper meaning, a meaning derived from the strength I feel while playing it and the strength of the crowd connecting to it.
Anytime I bring a song to the studio it breathes so much life into it, you end up creating a whole world and atmosphere around it and you can go to that same place while performing. There ended up being a lot of overlap between debuting it live and finishing the track in-studio. It kept the recording process very spontaneous and alive, especially with how quickly that whole process went.
You describe enjoying being confrontational in your writing. What does confrontation allow you to express that subtlety cannot?
I’m definitely not confrontational in every song I write, but sometimes I find it refreshing to cut out the nuance and just say what it is I’m going for. That’s the more “rock” and “grunge” style that I lean into, especially for this track. “Lay down your heart/lay it down for me” is as much a confession of my desire as it is a call to action. “Let’s just cut the chase and say what we want”, you know? I also love being more direct on some of my live songs because you can actually get people’s attention in a rowdy bar.
In some of my other songs I get more into subtle imagery, and the meaning of those pieces comes from the listener’s interpretation. But sometimes it’s nice to cut loose and just scream “this is how I feel, and what I want!”.
You finished part of the song in the studio. How does writing in that moment change the energy compared to something carefully pre-written?
It just keeps it fresh and alive, you don’t end up reworking or overthinking. You just go for it and trust the process. At the end of the session you sit back to listen to what you worked on that day and go: “yup, that’s it!”.
When audiences hear this song live versus on record, what do you hope they experience differently in each setting?
There’s an immediacy to a live performance that is so intimate and specific to that moment in time. The way you breathe and the quality of your voice can change performance to performance. Whereas a studio recording is like a time capsule of what you wanted most to convey and how you want the song to be heard over and over again. The benefit of the studio recording is the opportunity to layer the sounds and arrangement that you don’t get from a stripped down live performance. Each has its own special quality. I do absolutely adore the final studio version because of all the layering and instrumentation that went along with it. The dramatic switch at the bridge comes across much more in the recorded version because of how different the arrangement is at that point in the song. Whereas live, I really just want to uplift the crowd and give everyone a good night out. It still gives me so much joy to see someone really vibing with a performance in those live settings, there’s no better feeling.
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