PREMIERE: Alix Fernz Enters a Black Lagoon Alternate Reality in "Muselière"

Alix Fernz by Antoine Giroux

Allo, and welcome to the world of Alix Fernz. The local post-punk artist has been taking over the Montreal scene over the past several months, most recently playing explosive sets at M for Montreal, Taverne Tour, and Le Phoque OFF. We've been fans of his work since seeing Alix perform at Système earlier last year, where he somehow managed to crowd-surf the dancefloor. It's also become the norm for us to greet each other by saying "AllO," inspired by Alix's song “Muselière”, so we couldn't pass down the chance to premiere the music video.

As we enter Alix's subconscious, we're greeted by a Black Lagoon-inspired version of himself, chasing him relentlessly in and out of his dreams. We follow Alix's alter ego as he robs a vintage shop, parties too hard, and gets kicked into another dimension where he gets into even more trouble.

"Through a character named Benjamin, the lyrics from “Muselière” recount my experience at a private school where freedom of speech was frowned upon. It's the first track of the album, a key song filled with intensity." – Alix Fernz

Alix Fernz by Antoine Giroux

“Muselière” gives us a taste of what's to come with his debut album Bizou, which is set to be released on April 19th via Mothland. Bizou depicts, through honest and anchored lyrics, a red-lit reality, the scene for nocturnal musings ranging from petty fantasies all the way to lurid nightmares. Singing about bar life, Alix delves into psychosocial disorders, drug addiction, and fear while drawing inspiration from high heels, lipstick, transvestism, fashion, and weirdos. He lays out along masqued syllabic beats the accounts of a coming-of-age in an era wherein likes and memes are all the rage. It's a beautiful delirium at the crossroads of art, pop, punk, and psychedelic rock, hitting the hearts of fans of Hubert Lenoir and Crack Cloud.

Catch Alix on tour across the USA & Canada in the coming months:

March 6th, 2024 - Montréal, QC @ La Sala Rossa (with Omni)

March 11th-16th, 2024 - Austin, TX @ SXSW

April 28th, 2024 - Toronto, ON @ The Baby G

May 16th, 2024 - Montréal, QC @ Pow Pow (Montréal Album Launch)

May 23rd, 2024 - Chicoutimi, QC @ Bar à Pitons

May 24th, 2024 - Québec, QC @ Le Pantoum (Québec City Album Launch) 

May 25th, 2024 - Rimouski, QC @ Les Bains Publiques

Alix Fernz

Bandcamp | Spotify | Apple Music | Youtube | Instagram | Facebook | TikTok

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: Public Appeal Shares Party Girl Anthem "So Bad"

Public Appeal by Alice Atisso

We heard you wanted a party girl anthem, so we found the hottest track of the summer; "So Bad" from up-and-coming Montreal artist Public Appeal. It's one for our 4 am ravers and for fans of That Kid, Isabella Lovestory, Slayyter, and Shygirl.

Public Appeal’s explosive first release embodies the perfect amount of bitchy, it-girl energy, whether you're getting pumped up for the club or walking home the next morning. Lyrics like, "Fear god when you should fear me," and, "Everyone wants my name, and I'm like au revoir," ooze enough ultra self-confidence to give anyone a boost.

Public Appeal by Alice Atisso

Public Appeal, known as Kyle to their friends, has lived in Montreal for four years and has been working their way through the music scene. Pulling inspiration from artists like Uffie and ClubEat, as well as the electroclash and techno genres and producers like SOPHIE, Public Appeal is in your face and exaggerated, with songs that have a whole lot of attitude.

Public Appeal by Alice Atisso

Stay tuned for future releases from Public Appeal, who might just become your new favourite pop star by the end of the summer.

Public Appeal

Instagram | Spotify

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: Nick Schofield Unveils Blissful Music Video for "Light and Space" (Forward Music Group)

Nick Schofield, shot by Christopher Honeywell

To celebrate the one-year anniversary of his sophomore LP Glass Gallery, Hull-based electroacoustic composer Nick Schofield aptly unveils the music video for his new track “Light and Space.” Composed entirely on a vintage Prophet-600 synthesizer, “Light and Space” is a meditative soundscape inspired by the dance between its namesake within the National Gallery of Canada, located in Ottawa.

On “Light and Space,” Schofield shares:

“This composition conveys a core sentiment that inspired the making of Glass Gallery - the sublime light that flows through the serene space of the National Gallery in Ottawa. I researched the Light and Space artistic movement and noticed that ideology of perceptual phenomena applied to the architecture of the gallery, especially how the glass structure frames the ever-changing natural light and environment. In a way, experiencing the light and space of the National Gallery showed me that the world can be framed as a work of art.”

Out today, the song’s accompanying music video captures Schofield’s notion of the everyday creative sanctuary. Shot on a ferry in British Columbia using a beloved point-and-shoot camera, the glimmering footage deconstructs Schofield’s surroundings, the ocean air, wind, waves and sparkling sunlight, into ethereal abstractions. On the video’s conceptualization, Schofield remarks: “In the song, crescendos of vintage synth chords and glistening arpeggios perfectly align with the fuzzy footage of water and waves, so it felt natural to pair them together.”

Watch the video for “Light and Space” below!

Nick Schofield
Website | Instagram | Bandcamp

Zoë Argiropulos-Hunter (she/her) is the co-founder and managing editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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PREMIERE: Oddysseys Share Grungey New Track "Demeanor"

Our favourite Chicago pals Oddysseys are back with their latest hot and heavy release, "Demeanor." Premiering today on the site, the track will be available on all streaming platforms on July 30th.

"Demeanor"'s gritty Nirvana-esque vocals paired with the shoegaze guitars pick up where their last release, "Moaner," left off. The track perfectly capture how we progress and regress due to the fear that stems from the options available to us as we forge our futures through their layers of cascading sound. Falling deeper into this sonic world, Oddysseys lives up to their name by exploring everything between the mysterious and the euphoric.

As well as being total grungey shoegaze rockstars, they're also very sweet friends and good people. The Odd Haus collective has been sending us their zines regularly, filled with excellent mutual aid resources, topics to reflect upon for social change, and a ton of delicious and easy recipes.

Listen to “Demeanor” below

Oddysseys

Website I Instagram

Spotify I Apple Music I Bandcamp

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: Slic Shares Director's Cut of Hypnotic Electronic Track "EZ"

Single cover shot by Ana Hernandez.

You know that feeling when you've been out all night with your friends, it's 5 AM, and you're debating whether or not to get breakfast together, that feels so purely like going out in the summertime? Still buzzed from the night before, traces of glitter and silvery outfits shimmering in the morning sun? Maybe I'm getting a little too niche here, but for those of you who know exactly what I'm talking about, "Ez," the latest track from electronic-pop artist Slic, captures this feeling of endless summer and early-morning adventures perfectly.

Slic is a Venezuelan-American artist based in Brooklyn-by-way-of-Miami. Their longstanding affair with the club began as a teenager in Miami amidst the EDM explosion of the early 2010s while Carl Cox was still DJing underground warehouse parties.

They integrate structural threads of Venezuelan music not found in the sample library: beat patterns drawn from tambores, reggeaton, and merengue are loaded up with digitally-generated specimens of sound. In their compositions, the laptop grid becomes a vantage point from which to build a shimmering, transnational future.

"Music can be a way to channel collective wish fulfillment," they explain, embracing a crucial element of pop: the visceral romance of pure belief that punctures through and out into the glaring light of reality."

Watch the exclusive director's cut of EZ below.

Videographer by Ana Maria Hernandez

Directed by Ana, Khalil Flemming, and Slic

Slic

Spotify I Bandcamp I Soundcloud I Apple Music

Instagram I Twitter I TikTok

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: sineila Debuts Surrealist Hyper-Pop Track "Blow!" (Prod. Margo)

Art by Aya Avalon

Premiering today on Also Cool, Montreal's angel-pop star sineila shares her latest track, "Blow!", co-produced and co-written by Montreal's up-and-coming hyper-pop sweetheart producer Margo. "Blow!" is infused with glittery Y2K meets Gen Z vibes, surrealism, and nostalgia, evocative of those pink glittery iridescent dolphin stickers we all had growing up.

"Blow!" blends the sound of an AM radio through broken speakers with Gen-Z malaise, a song both nostalgic and futuristic. Made almost entirely over Zoom, sineila sings of failed love and the anxiety of deep introspection in uncertain times, an honest tableau of life in 2021.

Art by Aya Avalon

The track has Gen Z song of the summer potential, with its sugar-sweet melodies and immersive wall-of-sound synths. For fans of SOPHIE, Cecile Believe, and PinkPantheress, this one's for you.

Listen to "Blow!" out on all streaming platforms now.

sineila

Spotify I Instagram

Art by Aya Avalon

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and communications specialist currently based in Montreal.

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Tonight: Janette King and DijahSB Present "Cool Me Down" At The Diving Bell Social Club

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We’re thrilled to co-present Janette King and DijahSB’s “Cool Me Down” release show, recorded at the beloved Diving Bell Social Club, tonight Monday, April 19th 2021, at 8:30 PM EST. The set will feature both artists performing and coming together to share their new single “Cool Me Down,” set to release on April 21st. Tonight’s performance is presented in collaboration with our friends at Hot Tramp Records, POP Montréal, Exclaim! and The Diving Bell Social Club. Admission for this release show is free with the option to donate, and all proceeds will go directly to the artists and presenters. Folks who donate will receive a download code for “Cool Me Down,” and get an exclusive pre-release listen!

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Janette King shot by kittyshootsfilm, styled by Dress Up Collective

Janette King (she/her) is a producer, vocalist, multi-instrumentalist, and DJ based in Montreal. [Her] unique sound blends together soulful vocals, an upbeat production style, and honest lyrics to create a truly captivating listening experience. Her debut LP What We Lost is set to release June 2021.

Bio via artist Spotify

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DijahSB shot by Jarius Madion

DijahSB (they/them) is a Toronto-based rapper who makes navigating synth loops, booming bass claps, and smoothed out production look easy. [They] effortlessly glides across these soundscapes with lyrics that are as earnest and personal as they are agile and quick witted. Inspirational without being preachy, their music is a raw look into the mind of a Black, non-binary artist rapping their way through hope, heartbreak, and breakthroughs. Their sound [is] a small light pushing through dark cracks as the self-aware inner workings of an artist in a constant state of growth.

Bio via artist Spotify

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Visit the event page for more information and tune-in tonight via the event link

Tickets available here

Pre-save “Cool Me Down”

Janette King

Instagram | Website | Spotify

DijahSB

Instagram | Twitter | Spotify

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Premiere: Claire Ridgely's First Solo EP, Flowers for a Friend

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Photo Credit: Fayality

Makeup & Styling: Genevieve Sauvé

First we were googling how to develop a widely-distributable vaccine, then it was round two of impeachment research - and now we’re down a TikTok spiral being told how to manipulate the stock market. Is anyone else feeling a little tired of trying to stay on top of all the nonsense? What we all need is some sunny music to dance (or cry) to - and Montreal’s pop sweetheart Claire Ridgely has just the remedy, and we are obsessed.

With a voice fit for summer, she’s been a force in the Montreal indie scene for a while. After graduating from the 2020 SOCAN Incubator for Creative Entrepreneurship and receiving a FACTOR Artist Development grant, over the past year, Ridgely has gained a lot of recognition for her warm, close-to-home songwriting sensibility. Her voice garnered significant attention from features on pop singles by Robotaki, Pat Lok, and Said the Sky - and familiar labels like Majestic Casual and Kitsune Musique. If you listened to the Canadian R&B duo, adhoc, you may also remember their song together called “the heat”. We fondly remember her rooftop performances for the iconic Montreal event series called Bliss.

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Now it's really Claire’s time to shine - after dropping four singles over the past year, she’s releasing her first solo EP called Flowers for a Friend. Featuring contributions from Clay and Friends, wordsbyjuni, and Oscar Luis, the album is a collection of comfy and intimate songs reminiscent of a BFF sharing secrets with you at a sleepover. It’s well-produced pop with a story - Ridgely’s lyrics recount personal narratives that aren’t always as bubbly as the beat, but that makes them all the more alluring. On a cold and snowy January day, Flowers for a Friend is a reminder that the warm days of summer will return, curfew will eventually end, and we’ll be breaking hearts and soaking up the sun at Jarry pool once more. 

Dive into the summertime-dream music video for “Island” below:

Follow Claire Ridgely on Instagram

Listen to Flowers for a Friend on Soundcloud or Spotify

Premiere: Queer Cowgirl Crooner Fliss Makes Her Debut With "Comfrey and Calendula"

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“Comfrey And Calendula” cover art by Emily McPhee

“‘Comfrey and Calendula’ is the most vulnerable song I have written to date. The process of writing it and performing it for the first time was extremely cathartic and healing for me. Now it’s time to put it out into the world.” - Fliss

Meet Fliss, a self-described queer cowgirl crooner from Ottawa, Canada. Today, Fliss makes her debut with “Comfrey and Calendula,” a song written straight from the heart, and her most vulnerable work to date. The single teases at her to-be-released EP (out sometime in the early new year), which marks an exciting new direction for the singer-songwriter as a solo artist after finding her creative footing as the lead vocalist, guitarist and songwriter for dream-pop band Sparklesaurus. We had the chance to meet Fliss and chat about growing up in an artistic family, what influences her approach to making music, and her incredible group of friends behind her upcoming music video for “Comfrey and Calendula.” Read our full discussion below!

Zoë Argiropulos-Hunter for Also Cool: Hi Fliss! Thank you so much for chatting with us at Also Cool. To start, can you tell our readers about yourself and your artistic upbringing? 

Fliss: Thanks for having me! Well, I grew up in a pretty musical family. My grandparents on my mom’s side were folk singers in the 60s and 70s, my mom plays some piano, my dad played guitar, and I have many aunts and uncles who play music. I was always interested in music, but I really got into it when I got my first bass guitar around age 11. I fell in love with bass, but then I started writing songs and the guitar lent itself to writing more, so I picked up my dad’s guitar and started teaching myself chords. I had an uncle who gave me some pointers on bass and guitar, but my main way of learning was just getting tabs off the internet and printing out binders of covers. I pretty much always played in my room alone until I was 16 or 17, when I finally gained some confidence — with the help of my high school music teacher — to sing in front of people. I hadn’t even really sung much in front of my family before then. Only my mom, if she promised not to look at me! 

Also Cool: You're now branching into a solo act while also being a member of the Ottawa band Sparklesaurus: What has embarking on this project been like so far? How has your approach to songwriting changed, or perhaps adapted, now that you're working alone? 

Fliss: Sparklesaurus has sadly disbanded for the foreseeable future, so I’ve really been focusing on this new project. I had quite a few songs in the vault already that didn’t really work for the Sparklesaurus sound and style, so some of the songs on the upcoming EP are ones I wrote a couple years ago. Others are more recent. I guess my songwriting approach has changed a bit in the way that I don’t really need to think about if the song will be a good fit or not for the band’s sound or whatever. I don’t know if I did that too much anyway when writing, but a lot of the time with Sparklesaurus, I would bring a song, and together we would kind of experiment and decide on what the vibe and arrangement would sound like… If we should add a bridge here, or a solo here, or things like that. Some songs worked for the band, and others didn’t. I definitely miss the aspect of bouncing ideas off of each other and the camaraderie. On the flip side, maybe there’s a bit more freedom to just follow whatever creative direction that is inspiring me.

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Fliss, photo courtesy the artist

AC: On that note, you describe your music writing style as "introspective and untethered": What inspired this approach to music-making? 

Fliss: I am a quite introspective, sensitive, and very emotional person. So I am always writing straight from the heart. It’s not really a conscious choice, it just happens that way. It’s very scary and vulnerable to share your deep thoughts and feelings in such an open way, but I also think that it is extremely rewarding and, dare I say, cathartic. I try not to overthink my music and writing too much. I hardly ever go back and rewrite or change or tweak songs over and over again. Usually if I’m doing too much of that, I end up falling out of love with it and just kind of scrap it and start a new song. Only the [songs] I love the absolute most will make it onto the EP.

AC: So, without further ado, congratulations on the release of "Comfrey and Calendula!" When choosing a single to debut off a to-be-released album, what made you pick this one? Can you tell me about the song's significance to you, in your own words? 

Fliss: Thank you so much! Honestly, I did think about whether “Comfrey and Calendula” was the best choice for the first single or not. Mostly because lyrically it’s pretty bold, pretty intense, and pretty personal. I wasn’t sure if maybe I should ease people into my music with something less... Like that. Maybe something a little more fun or digestible. But, I decided to go with it because at the end of the day, it is probably my favourite song I’ve written, and I think the subject matter is important. It’s very close to my heart. So I really, really hope that it resonates with people. It was written when I was doing a lot of reflection and processing family-related trauma. It really poured out of me and it’s just really special to me. It would be so amazing if it touched even one person.

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Fliss, photo courtesy the artist

 AC: You also have a music video coming out soon for this track. Without giving too much away, can you tell us more about the creative process behind the video? 

Fliss: Yes! The video was written, directed, produced, and edited by Emma Lamarre, a really good friend of mine. Her and I brainstormed concepts, ideas, and shots, and she and another friend, Christine Loomans, put a storyboard together. Christine also co-directed and helped shoot, as well as helped with a bunch of logistical things. My other friend, Alazaar Dadi, also got some awesome drone shots! And my other BFF, Shamisa Schroeder, is animating the title. I won’t give too much away, but there is a group dance scene with choreography by my friend, Surraya Dawn. The credits for all the friends in the dance scene will be in the video. So, it was definitely such a collaborative effort and I feel so lucky to have so many talented, incredibly generous, and supportive friends who all contributed to making this truly amazing piece of art! 

AC: Before we let you go, is there anything you'd like to plug that you're working on? What can we expect to see from you in 2021, and how is the best way to support your work right now?

Fliss: The music video for “Comfrey and Calendula” will be out next week, on December 13th. The full EP will be finished and released in 2021. 

One really amazing way to support me would be listening, favouriting, adding the single to your playlists, and following me on Spotify — so that you will be notified of my future releases as well! Other than Spotify, you can follow me on Instagram. You can also buy the song on Bandcamp, if you’d like to support me that way. I am so amazingly grateful for any and all forms of support! Since everything is online these days, and especially right now, all the online support helps immensely. Drop me a message anytime. Oh and also! You can sign up for my email list at www.flissmusic.com for special exclusive releases, news, or things like that. For example, this month I am sending all my subscribers a couple of unreleased phone demos as a thank you for pre-saving the song. And thank you so much for supporting me by giving me a platform with Also Cool to talk about my music and help get the word out. I really appreciate it!

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Fliss, photo courtesy the artist

Listen to “Comfrey and Calendula”

Fliss

Instagram | Facebook | Website | Twitter

This interview was conducted over email and has been condensed and edited for clarity.

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Premiere: Cyrus Jordan Sets the Tone for the Weekend with "Not My Flavour (Anymore)"

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Cyrus Jordan, photo courtesy of the artist

Though it’s getting colder in Canada (sigh, winter is coming), Vancouver-based artist Cyrus Jordan is turning up the heat with his new single “Not My Flavour (Anymore).” Jordan is well-versed in the world of bass, playing both stand-up and electric, and his commitment to groove shows in his first formal experiment in creating house music (and thank goodness because it’s about time we get up and dance after a long week!) Reminiscent of 90s neo-soul, Jordan tackles the timeless theme of heartbreak with a gentle touch, while making “Not My Flavour (Anymore)” bouncy, vibrant and wholly his own.

Press release:

Vancouver based artist Cyrus Jordan releases his first foray into house music with the single “Not My Flavour (Anymore).” As a bassist (stand up and electric!) Jordan creates bodacious vibrations that groove with influences from D'Angelo, Channel Tres, Devonte Hynes​.

Jordan works closely with members of beloved group Schwey and has come into his sound through previous single ”Stretch” with drums by Alex Bingham of Winona Forever.

“Not My Flavour (Anymore)” offers dreamy, nostalgic energy as Jordan recognizes that he is no longer in a healthy relationship. The track is spacious but groovy, as warm synths and tasty bass lines weave around Jordan’s soft vocal. The track is inviting and an exciting glimpse into Jordan’s versatile musical vocabulary.

As Jordan says: “the track was an older song that I wrote on an old piano on Salt Spring Island while I was in a relationship I realized wasn't healthy for me anymore. It was one of the most fluid songwriting experiences I’ve ever had and it transformed really well into a produced track."

Stayed tuned for more of Cyrus Jordan’s grooves, he will be releasing many more tracks and videos in the coming months.

Cyrus Jordan

Instagram | Soundcloud | Spotify

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On the Rise and Here to Stay: NOVEMBER'S "Bedroom Eyes" Defines Star-Quality

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Bedroom Eyes EP album cover, courtesy of NOVEMBER

"This EP is about evolving and coming to terms with some of the more beautiful parts of living but acknowledging what can happen during the harder ones." — NOVEMBER

NOVEMBER is the moniker of Ottawa-born, and now Montreal-bound, singer-songwriter and producer Gregory-Yves Fénélon. Today, he graces us with his dynamic EP Bedroom Eyes. Though the album is self-described as pop, Fénélon’s powerful, velvety vocals and signature dreamscape instrumentals masterfully transcend the genre’s expectations to achieve a truly romantic and innovative sound. Leading up to his release, we had the chance to chat with NOVEMBER about reaching out to his inner child while producing Bedroom Eyes, finding solace in silence, and how he excited he is about re-introducing himself to his listenership with this EP. Read our interview with NOVEMBER below!

Zoë Argiropulos-Hunter for Also Cool: Congratulations on the release of Bedroom Eyes, and thank you so much for collaborating with us again, NOVEMBER! To start, how have you been leading up to the launch of your EP? 2020 has been quite busy for you: working with Japanese act Frasco; performing at POP Montreal; and collaborating on a campaign for Sapporo, to name just a few projects. What has been fuelling your drive and sustaining your creativity as of late? 

NOVEMBER: I honestly really enjoy what I do, which I think should be the case as much as possible in this life. As hard as the last few months have been, music and art have been my primary means of expression for most of my life, so going forward is very much [a] default. Also, when these opportunities pop up, they’re almost like fun little challenges to me. It’s important that I still have so much fun and get so excited. The Sapporo thing, for example, came during a really stressful point in the summer and pandemic, but getting to collaborate with foreign artists on a track (that had to make us and the-powers-that-be happy), [sounded] like a hill [I wanted to] climb! Yes please! And it gives me something to focus on. 

Also Cool: On the EP more specifically, you recorded Bedroom Eyes in your apartment and childhood bedroom. What was the decision behind designating these areas as a studio space? What effects have they had, both conceptually and sonically, on the album? 

NOVEMBER: I’ve always recorded in the bedroom I live in from the time I started making music. I think the habit started because when I was a kid just experimenting, it was a place where I felt safe to try things without fear, which I think is really important for any artist.  It can sometimes be complicated now because I live in a small studio in Montreal and the walls are thin. But hey, I’ve been here almost 6 years through many sessions and [have never gotten] a noise complaint.

Because the EP was done over the course of a year, some stuff was done before the world stopped turning. I was still going to Ottawa to see my mom and knew I’d be back in my childhood bedroom, which hadn’t changed since I left at 18, and seized the opportunity to do some of the wilder vocals whenever I was there. So it’s all come full circle, and these are still the places I feel the least seen and most free. I was belting my ass off at 9PM last summer for this solo on “Red Room,” and that feeling of freedom is really present vocally. I’ve been to studios before too, and even though I’m recording most of my stuff alone in a studio, it more so felt like the case: colder almost and more cavernous. I think the most important thing I had to learn with this EP though was really designating the space for certain things at certain times. I never wanted it all to feel like one murky room all the time. 

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NOVEMBER’s home studio, photos courtesy of the artist

AC: Branching off of that, you described yourself as a child as "creative and emotional," with a significant interest in many artistic fields. How has your passion for the arts grown with you throughout the years? Do you find yourself reaching for any modes of expression in particular to connect with, or perhaps soothe, your inner child? 

NOVEMBER: I’ve always loved the richness of silence, but as I’ve aged I’ve really come to adore stillness too. Stillness has led me to find new appreciation in genres, artists and even whole mediums I couldn’t wrap my head around even 5 years ago. What I’ve also learned about myself is that my inner child is so curious and ready to observe. So throughout the years I’ve really expanded my possibilities of what I enjoy and it’s led me to a lot of different kinds of rooms. I still naturally reach for music, but I’m all the better for experiencing what others naturally reach for. 

AC: You note in your description of the album that you'd like to guide your listeners on a journey that concludes in their own "emotional catharsis." How have you maintained, and plan on persevering, self-care after creating such emotional and vulnerable work? 

NOVEMBER: This is a great question. If I’m being honest, I hadn’t really thought about it. The truth is, by the time I make the decision to include something or someone in my writing, I think it’s me acknowledging that I’m ready to talk about it and ultimately surmount it. So a lot of the emotion is still there, but not so much active for me and more so embedded in a line or instrument. This isn’t a rigid rule though. Things come up sometimes when I’ll do a song live or while I’m listening to my music, and I’ll just let them come and go and usually that means tears. In those cases, I remind myself that these songs are fragments of my experiences and feelings, and some catch the light when I look at the mosaic. 

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NOVEMBER self-portrait, courtesy of the artist

AC: Now for a more light question: If you could perform Bedroom Eyes with an elaborate set design and with 100% creative direction, what would the production look like? 

NOVEMBER: I have a background in musical theatre that jumps out in the sense that I really love a spectacle. In a perfect world, the show for Bedroom Eyes would mimic the music and have this story arc with different stops for the audience. Every song is actually set in a different place. It would be cool to bring them to life, since the inside of my head isn’t exactly reality and everyone’s perception of things is their own. It would have dancers, costumes and basically be a big pop show. I’d also love for people to have enough room to dance, move or just do what they need to. 

AC: Before we end off, how do you plan on celebrating this release and what are you looking forward to as 2020 comes to a close?

NOVEMBER: Donuts, vegan food, weed and some time doing absolutely nothing. No but really, this EP has been such a long time coming and these songs have taken up so much space in my head that it almost feels like an empty nest. I am super happy it’s a tangible thing, though. I celebrated with stillness since when I’m at my busiest that can be something I only get in limited amounts. It’s only temporary though, and I’m trying my best to figure out a way to get at least one video together throughout everything. I’m really just excited for this to be out and for whomever to be able to hear it. I think it’s some of my coolest stuff and a great reintroduction to where I’m at now.  

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NOVEMBER self-portrait, courtesy of the artist

Listen to Bedroom Eyes out now!

NOVEMBER

Bandcamp I Spotify I Instagram

This interview was conducted over email and has been condensed and edited for clarity

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Premiere: Magi Merlin's Walking to the Dep

Magi Merlin by Lawrence Fafard

Whenever I've moved to a new neighbourhood or started a new phase of my life, I often romanticize my new daily routines—walking to the dep, going to the grocery store etc.

Often I'll be listening to my favourite music, or sometimes I'll even dress up a bit to motivate myself to get out of the house. I guess that's what TikTok would call being the main character.

Magi Merlin's new music video for her track "Walking to the Dep" is exactly that. It's a perfect fusion of the dreamworld going on in your head, mixed with the most mundane but comforting of routines.

I spoke with her about her artistic career, inspirations on a cold November night. Tune in to our N10.as show next Thursday at 8pm EST to hear the full interview, and be sure to check out her new music video below. 

Malaika Astorga for Also Cool Mag: Thank you for being a part of Also Cool! Why don't you tell us a bit about who you are and what you do?

Magi Merlin: Hey, I'm Magi Merlin! I'm a singer-songwriter based in Montreal, Canada. I would describe my music as an alternative RNB Neo-soul, but I've recently discovered that I'm branching into different genres. So maybe like RNB fusion. Yeah, let's say that. (laughs) 

Also Cool Mag: That's so fun. So did you grow up in Montreal? 

Magi Merlin: So, funny story, not really. I grew up in Saint-Lazare outside of Montreal, so it's actually quite boring. I went to school in the West Island, and I moved here for university, which I've now dropped out of. So now I'm just here, which I like.

AC: What were you in school for initially?

Magi Merlin: I was in computational arts, which involved graphic design and website development. 

AC: What has your experience with the music/creative scene been like? 

Magi Merlin: I've been making music for my whole life, which I feel like a lot of people say. But it started with me teaching myself how to play guitar, so very indie.

Once I moved to Montreal, that's when I started to understand what kind of music I wanted to make. Also, by being in Montreal, you're just closer to the scene. It makes it so much easier to get into contact with people, and I feel like I could like to grow as a musician after moving.

AC: Did you start going to shows here? How did you end up finding the scene? 

Magi Merlin: Okay, so I actually have a clear origin story. In 2017, I had I ripped this song from a producer called WunTwo. I had taken one of his tracks and wrote on it, and put it out on SoundCloud. 

I made a music video for it, which started getting a bit of traction, and this guy found my music. He introduced me to his friend funkywhat, and that's who I make all of my music with now. We've just been working together consistently for the past three years, and I even lived on the same street as him in NDG for a year.

AC: One of the things that I enjoy about Montreal is that you can see people around really easily, and that's a huge contributing factor to the scene. You see people at shows, but you also see people when you go out for a coffee, or you run into them sitting on the sidewalk, eating a sandwich. 

That kind of casual interaction is definitely responsible for a lot of my friendships and collaborations and discovering new aspects of the city. 

Magi Merlin: Yeah, it almost prompts inspiration. It prompts your creativity. It's just like a good-ass place to be. 

Magi Merlin by Yusuf Victory

AC: So I read that you've played quite a few shows. How do you like performing live, and how has that changed over time?

Magi Merlin: Confidence is a big part of it, getting used to knowing what I feel like and how I sound on the stage. There are older videos where I'm barely moving on stage versus more recent videos where I'm flowing a lot more; there's a lot more movement.

AC: Do you have like a favourite venue or like a favourite show that you've played?

Magi Merlin: I really liked the one I did recently for Slut Island. It was a bit weird cause everyone has masks on and all that, but I really liked Sala Rosa as a venue. 

AC: I miss that place. That kind of leads into my next question. I was watching the music video, and since I live in the Plateau I was super excited to recognize all of the locations. Is there any reason why you chose this neighbourhood in particular?

As I watched it, I found it made me think about all of my different apartments and how emblematic routines like walking to my dep would be of specific eras of my life.

Magi Merlin: I feel like in Montreal, you fall into these little routines. Deps are everywhere, but you always kind of have that one that you go to regularly. 

The song just ended up being super Montreal. It's my version of a love song. One of my love languages is gifts, but it doesn't have to be a big thing. Going to the dep and getting me like a bag of chips means a lot. I was trying to put that in a track, that homey, comforting feeling.

AC: How would you describe Montreal to someone who hasn't been here or wants to move here?

Magi Merlin: It definitely depends on the area. Right now, I live downtown, which I would describe as casual shopping, Urban Outfitters kind of vibe. But in the Plateau, it's very homey. It's very, "Going out to a cafe, chilling with your friends, reading a book, tote bags."

AC: That's so funny. When I moved to Montreal, any idea that I had that I'd ever use a purse again was gone. Tote bags from the grocery store became my go-to, and now I have way too many but also keep buying more.

So, I'm interested to talk about who inspires you. Where do you find inspiration? 

Magi Merlin: I've been super inspired by existentialism lately. I've been reading a lot of books, most recently A New Earth by Eckhart Tolle. 

I'm also super into movies. I am obsessed with this app called Letterbox. I'm on it just as much as I'm on Instagram. It's like basically this bank of just every movie ever, but not to watch the movie. You can read about the movies and then you can organize them into little lists. It's great for organization, I highly recommend it. 

I watched movies a lot growing up, and I was introduced to The Go Goo Dolls because I watched Treasure Planet. More recently, I watched The Queen's Gambit on Netflix, which was bonkers. That stayed with me for a few days afterwards. I also really liked Honey Boy by Shia LaBeouf, Hereditary, and My Cousin Vinny.

AC: Do you have any like favourite poets or books that have stood out to you in the last little while?

Magi Merlin: Yeah, Nejma by Nayyirah Waheed. It's really pretty and very direct. I like poetry that doesn't complicate things too much, but it makes you think about a situation in a new way.

AC: Who have you been listening to lately? 

Magi Merlin: This past week, I've been listening to In Rainbows by Radiohead. I'm also super into Mk.Gee's "A Museum Of Contradiction," and then older artists, like The Spinners and John Coltrane.

AC: How do you want people to feel when they listen to your music?

Magi Merlin: I want people to feel cool. Often, when I'm listening to music from various artists that I enjoy, that's what I feel like. To be able to give that to somebody else would be the ultimate goal.

Watch “Walking to the Dep” by Magi Merlin below

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Premiere: St John's Property and Illustrator Isha Watson Team Up to Release "The Isolator"

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“The Isolator” cover art by Isha Watson

There is nothing quite like a collaboration between pals, no? This is certainly the case for the uber-talented friend group of St John’s-based new-wave band Property and illustrator and animator Isha Watson. Today, the quad release “The Isolator,” an allegorical song originally about the mundane observation of tourists in St John’s, that has since taken on a new meaning in the wake of COVID-19 and under Watson’s artistic direction in the form of a gorgeous music video. Off their upcoming EP Think Electric!, Property’s single offers an honest punk undertone in both sound and intention with punchy danceability. When coupled with Watson’s pastel-laden video, “The Isolator” becomes a comforting soundtrack to get you through yet another day of pondering the meaning of life in quarantine. Check out our interview with Property and Watson below to hear their thoughts on life in St John’s, creating together, and abolishing the myth of productivity.

Zoë Argiropulos-Hunter for Also Cool: Hey Property & Isha Watson! Congrats on the release of "The Isolator" and it's accompanying music video. To start, can you tell our readers about your projects and yourselves? 

Isha: I am an illustrator based in St. John’s, originally from Perth, Australia. I moved to Newfoundland three years ago and fell in love with the culture and surroundings. I made it my intention to immigrate permanently. Originally a graphic illustrator, I challenged myself to take the next step by making my illustrations come to life. I’ve been animating pretty consistently ever since.  

Property: Hi! We are a band based in St. John's. Our names are Sarah (guitar/vocals), Jack (guitar), and Liam (bass). We all grew up here and live here in a house downtown. We started this band in 2016 and have been playing in St John’s and touring Eastern Canada ever since. We play guitar driven music with a drum machine, and more recently with our friend Jacob live on drums. 

Also Cool: For Property: How did "The Isolator" come together in terms of production? Were there any particular scenarios or influences that had an impact on the sound and feel of the final product? 

Property: The song was written and arranged pretty much exactly a year ago this month. We recorded it half with our friend Jake Nicoll and half at home during the first month of quarantine. It’s a reflection on living in St. John’s for a long time and working a service job that interacts with the tourism industry. It’s like this funny thing where people come here because they saw tourism ads on TV; so, when they get here they expect to see that untouched and “authentic” image of Newfoundland that they are sold. It’s funny to be on the other side of that sometimes. In the song “The Isolator,” is a sort of tongue-in-cheek euphemism for the island. But it totally takes on a new meaning in Isha’s video. 

AC: For Property and Isha: How did you work together to conceptualize the video? I'm interested in the characters and their repetitive actions of personal business; was any of that drawn from your own experiences in insolation, or is it rather a cultural artifact of the times we are in generally?   

Property: Isha made the animation and conceptualized it pretty independently! After the initial month of lockdown in Newfoundland (which we spent together in our house watching movies every night..) we were allowed to join “bubbles” with another household, which was Isha’s household where a handful of friends live. The animations are definitely reflective of that period of time, and the characters in the animation are us and friends doing the sort of things that we did, and do, to pass the time. So in this way, the song is kind of given a new meaning with the video and the context of the times. It can become a sort of reflection on the past (pre-pandemic) and then a reckoning with the present: being unemployed and in quarantine and engaging in monotonous activities.

Isha: While the song "The Isolator" was written a year ago, I began on the animation aspect of the music video in the midst of COVID-19. The inspiration for the video was purely built on the repetitive nature of day to day life during the pandemic. Overcome with boredom the majority of the time, projects like playing video games, knitting and nail filing (as referenced in the music video) were examples of what my friends and I did to fill the time. Only being able to see eachother inevitably resulted in some artistic collaboration. 

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Property (photo provided by the band)

AC: On that note, the theme of self-care, in many forms, is really apparent in the video! I'm curious to know how both of you have been balancing that with your respective work (music and visual art) when there is so much pressure to create in the supposed "free time" offered by the pandemic? Which we all know is a sham, but still… It's sometimes hard not to compare ourselves with others.  

Isha: Before the pandemic, I always had an issue with being productive on my time off. I had to be doing something to avoid feeling aimless. I live in a house with six other people, so there were countless activities happening all the time which I incorporated into the video. Every morning I had a routine: I’d wake at 7:30am, shower, dress, drink a lot of coffee and sit at my desk for eight hours working on my animation. Treating the video like a job and pretending I was going to work helped me feel better when things felt pointless. I actually asked Property if I could make the music video for them, and from there the collaboration came together pretty seamlessly.  

Property: We’re all working in service or are in online school (or both) at the moment, so things are a little different than they were during lockdown. But over quarantine and the summer, there was this sort of haunting feeling that we should be making a bunch of new music, and finishing our almost completed EP. But we were all grieving the loss of tours and shows and festivals that we had booked for the spring summer (as well as the state of the world), and it sort of felt like there was no rush to make any new music or release anything.

To stay motivated, at the beginning of the summer we set some pretty relaxed goals about a 2020 release for our new music/videos, and we’ve been adhering to that pretty well, which feels pretty good. Now that music stuff is starting to happen again in new and innovative ways, we think 2021 will bring a fresh start and maybe (hopefully!) a proliferation of new releases and bands from friends in our beloved St John’s scene and across the country. 

 AC: What advice would both of you give to fellow artists hoping to work with each other on a multi-disciplinary collaboration while adhering to COVID-19 protocols?

Property: Since shows are few and far between, and harder to pull off with adhering to protocols, doing collaborative media work has definitely been a focus for us the past while, mostly music videos and live videos. Best advice would be to run with everyone’s ideas and trust your collaborators to do their thing! Try out new mediums and make stuff you wouldn’t usually make!

Isha: It’s obviously a really weird and hard time to release any sort of music or art knowing that opportunities to show and exhibit your work are going to be inherently different. However, it’s been nice to have more time to work on my own stuff and get better at things I was neglecting before the pandemic. Sarah has a project with Amery Sandford called “I Don’t Do Comics” that is a cool platform to make art, even if you’re not an artist, during the pandemic.

AC: Before we let you go, are there any upcoming projects that either of you are working on that you're excited about and would like to share? 

Isha: I just finished a print fair for the local music festival Lawnya Vawnya, and I’m selling some new prints at the Top Floor Art Store in St. John’s. A lot of my inspiration comes from my friends, and the supportive arts scene we all exist in. 

Property: We’re releasing our EP called Think Electric! by the end of 2020 (we don’t have an exact date set yet), and we just released the first music video from that EP last month that we’re super excited about. Thanks so much, Also Coo!

Watch “The Isolator” below

Property
Instagram | Website | Bandcamp

Isha Watson

This interview was conducted over email and has been condensed and edited for clarity

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Playfulness Has No Age Limit: Rudy Shares New Track "Makeup"

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Rudy (left to right: Ruby Izatt & Rowan W-S)

Rudy is the musical brainchild of long-time pals Ruby Izatt and Rowan W-S. The project began as “an extended songwriting challenge” between the pair once they found themselves on the opposite coasts of Canada (when Ruby returned to the band’s hometown of Vancouver to go to university), and still itching to create together. Now reunited in Montreal, the duo have been hard at work: transforming their long-distance demos into master tracks, using both digital and analog techniques in their basement home-studio.

Today, Rudy premieres their first single of the year: “Makeup,” which the band says “finds inspiration in clip-on earrings, clowns and sneakers and intends to bring a bit of magic to everyday life where dancing alone in your bedroom is a whole event.”

Also Cool had the chance to catch the band before their release, and chat about how they revived this track “off the cutting-room floor,” and find inspiration in the sentiment of family heirlooms and throwback cartoons.

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Photo provided by Rudy

Zoë Argiropulos-Hunter for Also Cool: Hey Rudy! Congratulations on the release of "Makeup!" To start, can you tell our readers a little bit about yourselves and your musical project? 

Rudy: Hi Also Cool! This is so exciting for us! We are Rowan and Ruby (a Cancer and Leo, respectively), and we started writing songs together to keep in touch after Ruby left Montreal to finish her studies in Vancouver. Rowan is part of Winona Forever, and Ruby first learned how to play bass while touring from Vancouver to Montreal with the band. 

Also Cool: You two have recently reunited after being a long-distance band on the opposite coasts of Canada. How has being in the same city impacted your project, and the creative process of writing/producing "Makeup" by extension?

Rudy: Being able to talk and experiment in person has been huge for us. Though we enjoyed the surprise of listening to new demos while taking public transit to school/work and writing alone in the evenings while we were on opposite coasts, everything goes so much faster when there’s someone offering feedback right away. Plus, being in the same room means we can track live, which sounds more cohesive and lively than tracking each instrument separately. 

“Makeup” had gone through so many revisions while we were sending the track back and forth that it got to be a bit of a hot mess. Finally listening to it together for the first time was when we re-discovered that the song wasn’t complete trash and we were motivated to finish it.

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Photo provided by Rudy

AC: The song features so many experimental embellishments, from sound-effects, voice-overs from different "characters," and sounds that remind me of children's toys. Where did you draw inspiration from for these elements, and how did you get them to work together to build this track? 

Rudy: Since the song is about being in one room, we wanted to build a sonic world that felt inviting and imaginative. We have a TV/VCR player in the studio that's usually playing some movie or old cartoons while we’re working, which we often look to for reference or inspiration. We were listening to Arthur and King Princess a lot at the time, who both employ sound effects to create the world where their music resides.

When we finished the bed track for “Makeup,” Rowan was experimenting and played some slide guitar over the pickups at the end of the track. We thought sounded like twinkling stars, and worked backwards [by filling] in the gaps with experimental sounds and voiceovers.

AC: Of course, the lyrics talk about the idea of doing makeup/dressing-up just for yourself to jazz up having to stay inside during quarantine. Were there any particular looks that you put together that really struck you? What are some of your style go-tos, in terms of makeup and accessories, and why? 

Rudy (Ruby): I am definitely someone who will slap on two discordant eye makeup looks right before hopping in the shower. Honestly, the lyrics to “Makeup” were just talking about my life pre-quarantine…

When my grandfather died last year, I received his leather fanny pack and a few pieces of his late wife’s glass bead necklaces which I revere and I think kinda look sick together? I gravitate towards anything with bright colours, or an interesting story. 

AC: Before we let you go, are there any upcoming projects from you that we should look out for? What are your plans as artists in the near future?

Rudy: We have so many songs we are working on at the moment! We also have a little lyric video for “Makeup” that we are going to put out shortly.

Listen to “Makeup” out now

Keep up with Rudy

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Premiere: "I WANNA SEE WHAT DEATH IS LIKE" by Don't do it, Neil

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Self portrait

Happy Friday the 13th, Friends! What a perfect day to premiere a haunting dream pop album looking at death, mental health, and exorcising personal demons. Whew! Philadelphia-based Don’t do it, Neil, also known as Mabel Harper, is one of the original members of Grimalkin Records, the music & zine collective and record label raising money and supporting social justice & civil rights organizations. This release tackles heavy subjects and its production delivers them with a perfect balance of sparkling pop and brutal horror.

Press release:

Harper explores mental illness, grief, and denial on I WANNA SEE WHAT DEATH IS LIKE, her newest album and most candid work-to-date. Through haunting production, irresistible pop hooks, and violent contrasts, IWSWDIL broadens Don't do it, Neil's creative horizons while delving frankly into the circumstances surrounding Harper's real-life suicide attempt, and exorcises personal demons along the way.

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Digital only proceeds support Harper's future projects.

Tape proceeds got to The Okra Project. "The Okra Project is a collective that seeks to address the global crisis faced by Black Trans people by bringing home cooked, healthy, and culturally specific meals and resources to Black Trans People wherever we can reach them."

Lathe proceeds go back to Grimalkin’s label and mutual aid fund.

Watch the video shot and directed by Mabel Harper below:

Warning Flashing Images** Don't do it, Neil - Orpheus from the album I WANNA SEE WHAT DEATH IS LIKE, out November 13, 2020 on Grimalkin Records. https://do...

credits

released November 13, 2020

Produced, written, arranged, and performed by Mabel Harper as Don't do it, Neil. Recorded, mixed, and mastered by Mabel Harper in a bedroom in Philadelphia, PA.
Artwork and layout by Mabel Harper. Lathe cut photograph by Richard Dunn.

Premiere: Alicia Clara Debuts Ethereal Video for "Five"

Montreal’s new favourite dream pop queen Alicia Clara debuts her video for “Five” today via Hot Tramp Records. This single follows up Alicia’s first-ever release ‘Closing Time at the Gates’ in February 2020, and is off her forthcoming EP Outsider/Unusual. For fans of Helena Deland, Weyes Blood, and TOPS, Alicia Cara might just be your new shoegaze fave.

Shimmering in a halo of light, and surrounded by lush greenery, Alicia sings to the human condition and to failed relationships. As Alicia describes, ‘it is a bit of a self-fulfilling prophecy about having finally forgiven past hurt, all the while still being unable to let myself feel anything out of fear of getting hurt again.’

On the topic of the stunning video by Aaliyeh Afshar, Alicia says, “I wrote Five after waking up from a strange dream during the first lockdown, and the song was written based on my state of mind at that time rather than on a narrative anecdote. To match the nature of the track, I was envisioning something simple but oneiric for the video, shot in nature. Aaliyeh then translated this into her own vision. In maybe a little bit of a sad way, I find that the solitary vibe of the video matches the current mood around the world too!”

Watch Alicia Clara’s “Five” below

Alicia Cara

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Premiere: Róisin Marie Eats Her Heart Out in Her Video For "Like That"

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Róisin Marie by Christopher Walsh

Meet Róisin Marie, a New York-based R&B newcomer who, at only 21 years old, has the voice and vision of a seasoned ballad composer. Today, Róisin shares her latest track “Like That,” with an accompanying video directed and edited by the artist herself. We had the chance to catch up with Róisin, and chat about how “Like That” transformed from a diary entry into a fully realized production that captures both the vulnerability of heartbreak and the allure of being alone. Read our interview with Róisin Marie below.

Zoë Argiropulos-Hunter for Also Cool: Hey Róisin! Thank you so much for chatting with me! To start things off, tell me about yourself and your musical background.

Róisin Marie: Hi! Thank you for having me. I am 21 years old, and from right outside New York City. Music has always been a huge part of my family, and growing up I was lucky enough to see many Broadway shows and concerts in the city. I was a theatre kid who loved to write poetry, and started writing my own music in college. 

Also Cool: What is your creative process like as a musician? Do you take inspiration from any influences? 

Róisin Marie: I work a 9-5 right now, so the biggest thing I am learning to work through is being able to clock back into music and find myself in my creative space after a long day at work. I have found that writing poetry, or journal entries as they come to me, and having a catalog of this to pull from, really helps me get my thoughts out when I do sit down to create. I am really inspired by the people I get to work with. They model consistency, accountability, and honesty. I think surrounding myself with them has made me both a better creative and a better human. 

AC: Congratulations on the release of “Like That!” Can you tell me about the evolution of this track and what it was like collaborating with RocNation signee Anwar Sawyer on its production? 

Róisin Marie: Thank you so much. This track really has evolved! It started as a ballad that Anwar sent me. I wrote to it, [and it became a] completely different song. Then like five months later, I was journaling about a relationship I wish I had explored with someone. I pulled up the ballad and started singing what I was writing until it felt right. It was my “idea of the day.” I played it when I got to Anwar’s studio […] And it was just a moment that we both felt. It all fell together after that. Anwar and I have been working with each other for about a year now. He is also my manager and best friend. Being able to create together is such a blessing.  

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Róisin Marie by Christopher Walsh

AC: “Like That” is being released with an accompanying music video, of which we’re super into. I’m curious to know: What inspired your artistic vision for the video, and how did the project come together to compliment the song’s narrative? 

Róisin Marie: It is! I am so happy you like it. The artistic vision was inspired by an incredible artist, Lee Price. Her series “Women and Food” shows women in vulnerable and intimate moments with food as a crutch, as a drug, as nourishment, etc. This just felt right to me. The song is about a heartbreak that I didn’t even get to properly feel; I am mourning a “what if.” I wanted to show myself in this intimate setting binge eating my feelings. I also wanted to add in the sexual elements of licking and eating food off of my fingers to further the feeling of loneliness, but in a somewhat awkward and uncomfortable way. 

AC: Branching off of that, how do you feel about working as an artist under the pressures of COVID-19 and quarantine, especially in NYC? How are you taking care of yourself and your craft? 

Róisin Marie: Part of me feels sad, but part of me is also super grateful for the time it has given me to get to know myself better. I haven’t gotten to perform and I don’t know when I will -that makes me sad. But in the time that I wasn’t working, I had a taste of being an artist and musician full time, and that was really nice and motivating. I am taking care of myself by being patient, going outside, calling friends, sleeping, eating, and channeling my emotions into my art. I hold myself accountable to write every single day, and I set intentions that align with my vision for the future. 

AC: Finally, we hear you’re working on your debut full-length project, which is super exciting! What has this process been like so far, and what can we expect in the coming months? 

Róisin Marie: I am! It’s been a lot of digging. I have to be super honest and real with myself and with who I am creating with. This writing and creative process over the last six months or so has really required me to strip away a lot of things I thought were defining me. I have been coming into my own skin and I think this process is definitely reflected in my writing. I can’t wait to share and see what comes of all of it. 

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Roísin Marie by Anwar Sawyer

Watch Róisin Marie’s video for “Like That” below

Credits

Director: Róisin Marie

Producer: Anwar Sawyer

Director of Photography: Andrew Greene

Editor: Róisin Marie

Colourist: Kevin Ratigan

Keep up with Róisin Marie

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Photography by Christopher Walsh

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Jak Lizard's "Orange Tracksuit" is a Ray of Sunshine

Via Jak Lizard

Energetic, upbeat and impossible not to dance to, Jake Lizard has released his latest track “Orange Tracksuit” off his upcoming EP “Humphrey.” It’s the kind of song you put on in the morning to help you get out of bed when you really don’t want to, and ends keeping you company while you make your coffee, get dressed for the day, and take your morning commute (whether that’s on the bus to work, or to your living room home-office).

“I love this song. When this one was completed in the studio, I remember looking at Ivan, and not saying anything, just silently acknowledging how much excitement I was feeling. Life is about balance. This song is about after you’ve taken a moment to reflect, where you go next. “Orange Tracksuit” tells the story of someone finding the larger than life joy that can come from a concrete object, like an Adidas tracksuit in your favorite color. ‘I tried it on, I swiped my card,’ and then was transcended to my happy place. It’s a “look good, feel good” track” -Jak Lizard

Listen to “Orange Tracksuit” below:

Jak Lizard

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Premiere: Night Lunch's Spooky & Sparkly Video for "Damien"

A little spooky, a little sparkly, Night Lunch’s video for “Damien” is here via Celluloid Lunch Records. Infused with glossy neon 80’s vibes, “Damien” is perfectly reminiscent of Halloween-themed high school dances. Also, we love nothing more than a killer synth solo! The track is off their latest album “Wall of Love,” which we hopes serves as the next coming-of-age horror flick soundtrack.

The members of Night Lunch have been contributing to the Montreal DIY scene for the better part of the last decade, manifesting first as Baked Goods and The Marlees. Now as Night Lunch, their sound is retro-futurist; emerging from the lo-fi mud to reveal a shimmering gem of pop immortality with the release of Wall of Love. The nostalgia of 80's synth ‘n keys are a definite inspiration for this group, but unlike many acts that seek to revive that trend, Night Lunch comes from a place of timeless pop sensibility.

Watch Night Lunch’s video for “Damien” below

MILLY Debuts Video for "Star Thistle Blossom" feat. Ketchup Jesus

Via Dangerbird Records

Ketchup Jesus debuts as a shoegaze star in MILLY's latest music video for their song Star Thistle Blossom (Dangerbird Records). 

MILLY is a four-piece shoegaze band from Los Angeles. Their slow and fuzzy sound, balanced with vocals, are led by singer/guitarist/songwriter Brendan Dyer, with Spencer Light on guitar, Yarden Erez on bass, and Zach Capitti Fenton on drums. For fans of Spencer Radcliffe, Slowdive, and Sparklehorse, MILLY is the kind of music you listen to when you're reminiscing about the summertime and missing your friends. 

In their video for Star Thistle Blossom (directed by Justice Vaughn Ott), we follow the journey of a white t-shirt that gains stardom via an accidental Jesus-shaped ketchup stain. 

On the origins of the song, Dyer says, "I wrote it back in 2017 when I was working at Whole Foods. I was stocking honey on the shelf and was intrigued by Star Thistle Blossom honey. There's a lot of health superpowers in honey, and I like the theme of tying in being healthy with feeling strong mentally. The chorus is an acknowledgment to understanding loss but having hope in something and that it always gets better. Even if that's not true, it still feels helpful."

Watch the video for Star Thistle Blossom out now.