Jane Inc., Rose Mercie and DR. GABBA – Also Cool's Playlist Refresh

 

Jane Inc. by Shelby Fenlon

So it turns out, the sun does provide a lot of serotonin. All we needed to do was put on some headphones and take a lap around the neighborhood to some new tunes. This is the essence of our Playlist Refresh: a bi-weekly introduction to new music keeping us going.

Starting off with Jane Inc., who has just released her sophomore LP Faster Than I Can Take via Telephone Explosion Records. Entirely written and self-produced by the project’s brain Carlyn Bezic (Ice Cream, U.S. Girls), Faster Than I Can Take delights with experimental, multifaceted danceability. Embellished with “a Prince-like ability to shred harmonic guitar riffs over deep, danceable grooves, an eagerness to experiment with form, and lyricism that seamlessly links the personal and the political.” Faster Than I Can Take puts Bezic’s dynamism on full-display, with tracks like “Pummeled Into Sand” making room for a new tone of self-reflection from the artist. 

Ottawa/Hull: Don’t miss Jane Inc. with Akeem Oh and FIAMMA May 14th at Club SAW. 

Jane Inc. via Telephone Explosion Records

Next is “Immaterial Girl” from Marci, the rogue pop project of Marta Cikojevic from Montreal’s beloved soft-rock outfit TOPS. “Immaterial Girl” boasts Marci’s signature syrupy sincerity, which we can’t wait to hear in full on her self-titled debut, out August 5th on Arbutus Records

“Immaterial Girl” arrives with an accompanying music video, directed by one of Marci’s star-studded personnel Chloé Soldevila (Anemone). Let loose in Marci’s 80s dream world and watch the video below! 

All the way from Paris is French-Mexican post-punk girl-band Rose Mercie with “Sweet Place”. The track is off their latest offering ¿ KIERES AGUA ?, co-released on Celluloid Lunch and French label Jelodanti Records

The creation of ¿ KIERES AGUA ? began in 2019 when the band drew tarot cards on a beach in southern France. Following the guidance of their reading, Rose Mercie took the plunge and traveled to Mexico, where they completed an immersive artist residency to compose their second album in La Casa Del Bosque. 

On ¿ KIERES AGUA ?, Rose Mercie shares:  

“As we composed the songs for our new album, the image of a young, contemporary, yet ageless woman was conjured; a woman who left, who disappeared, got lost and then found more than ever before. We imagine this record as the journey of this woman, whom we will sometimes try to find, to guess through the clues, who seems to have gone very far from home, who no longer knows where her place is, who is changing and who is evolving. We grow stronger with her, we run, we laugh and we dance and then we sit in the sun, we let our skin warm, we realize that we are totally in the present, and that around us there are only girls, sisters, our friends, and that no one can ever lock us up.”

In need of chonky electronic beats? DR. GABBA has got you covered. The mysterious space doctor has taken over TikTok with his funky piano tunes and recent single “MAGIC RIDER”, which follows his Planet Piano EP.

DR. GABBA is an estranged doctor who invented groundbreaking devices in the new emerging school of MUSICAL MEDICINE. However, an argument about the future with fellow co-founder, HENRY J. KAIZER, led to the banishment of DR. GABBA from all future healthcare services in America.

In order to survive, DR. GABBA experimented on his own body and invented the ACID HEART, a musical medical device that keeps him alive using sonic frequencies. With this new invention and never-ending lifespan, DR. GABBA is now forced to spend the rest of his life creating music to fuel his ACID HEART and ultimately take on the whole KAIZER HEALTH CORPS.

After leaving Planet Piano, DR. GABBA and crew see a car floating around the moon known as the MAGIC RIDER. They decide to hop in and it takes them to the underground MOON CLUB for a night of dancing.  

Can’t get enough of this intergalactic music-maker? Check out his most recent track “GABBACOPTER”, released on Almost Good Dance Tapes Vol.2.

Almost Good Dance Tapes is a compilation album series created by a collection of producers and longtime friends with eclectic voices in the electronic music medium.  Ranging from techno, house, and breakcore to barely dance-able ambient and AGDT celebrates the homegrown nature of experimenting, creating, and sharing music with your friends and the world. Vol.2 is the second album in the series where the collective has really hit their stride. Expect basement-techno bangers, acid melters, light-hearted lo-fi, and much more!

You can listen along to our playlist on Spotify, and stay tuned for the next round of new music!


Related Articles

 

Sounds Cool 2021 (Also Cool’s Top Albums)

 

Illustration by Malaika Astorga

Once again, music has unsurprisingly gotten us through the year. Throughout the whirlwind of 2021, we here at Also Cool were lucky enough to discover a range of compelling releases across a spectrum of genres. What unites these projects is their radiance, their ability to captivate us through trials and triumphs and be a constant when seemingly nothing else was. In no particular order (except alphabetical), we’ve compiled a mix of stand-outs from our 2021 favourites. 

If you haven’t been introduced to these artists via our music section or radio shows on N10.AS and FSR, take a listen to our year in review. There’s something here for everyone, and maybe you’ll see one of your friends here, too – spread the love and send them this article to tell them that they are indeed also cool.  

We’d like to extend our gratitude to all the artists on this list for keeping us company through the last year. Our listening habits have been elevated and comforted by these selections, and we’re looking forward to what’s in store from here and beyond in 2022.

Whether experienced in-person during the brief resurgence of live music, or in solitude weathering out your headphones, here’s to music for filling the void in the best way possible. 


Sounds Cool 2021 (Also Cool’s Top Albums)

Ada Lea - one hand on the steering wheel, the other sewing a garden (Next Door Records / Saddle Creek)

Interview with Ada Lea by Malaika Astorga (October 21st, 2021) 

“The introspective folk/pop songs walk with you through the process of finding your identity and losing it again to someone who's not worth it, daydreaming about life in other cities, and wondering when to go home again.”


BACKXWASH - I LIE HERE BURIED WITH MY RINGS AND MY DRESSES (Ugly Hag Records)

Interview with Backxwash by Zoë Argiropulos-Hunter and Rebecca L. Judd (June 20th, 2021)

“With I Lie Here, BACKXWASH claims her title as contemporary hip-hop’s greatest force to be reckoned with, and we are celebrating her reign.”


Bnny - Everything (Fire Talk)

Interview with Bnny by Malaika Astorga (August 20th, 2021)

“Written in sessions that span several years by singer Jess Viscius as she processed the death of her partner, the album is a chronicle of love at its most complex and loss at its most persistent.”


Clairo - Sling (FADER)

“On her second album, reluctant Gen Z ambassador Clairo turns back the clock, embracing classic touchstones of 1970s folk.” — Cat Zhang, Pitchfork


Das Beat - Identität (Arbutus Records)

Interview with Das Beat by Zoë Argiropulos-Hunter (June 3rd, 2021) 

“In four flawless tracks outfitted with celestial atmospheres and pulsating undercurrents, Identität offers a dioramic perspective of the couple’s intimate creative dynamics, backdropped with the essence of Berlin’s esoteric nightlife.”


Dish Pit - DIPSHIT (Self-Released)

“Following the sudden closure of their record label, Montreal-based DISHPIT's long-delayed debut album is finally seeing the light of day as the band begins working on the follow-up. DIPSHIT — recorded with veteran producer Steve Albini — unleashes a devastation of post-punk and lo-fi grunge upon the world.” — Matt Owczarz, Exclaim!


Dorothea Paas - Anything Can’t Happen (Telephone Explosion)

Interview with Dorothea Pass by Zoë Argiropulos-Hunter (May 7th, 2021)

“On her new LP Anything Can’t Happen, Paas illuminates how she came to define success as encountering and reconciling self-discovery through her work, all while establishing growth on her own terms.”


Ducks Ltd. - Modern Fiction (Royal Mountain)

Interview with Ducks Ltd. by Malaika Astorga (August 17th, 2021) 

“Toronto's Ducks Ltd.'s new single How Lonely Are You? is the perfect soundtrack for your mildly existential end-of-summer playlist.”


Hildegard - Hildegard (Chivi Chivi / Section1)

Interview with Hildegard by Malaika Astorga (June 8th, 2021)

“Their debut record has been described as the result of merging their identities, coupled with a complete loss of ego. The result is a beautiful and experimental eight-track experience, documenting the creative bond they share.”


Jane Inc. - Number One (Telephone Explosion)

Interview with Jane Inc. by Zoë Argiropulos-Hunter 

“Building off samples, break-beats and Ableton tutorials, Jane Inc.’s debut Number One serves as a reminder that Bezic is no one-trick-pony.”


Kekko - Dreaming Life (Spirit Goth Records) 
Interview with Kekko by Zoë Argiropulos-Hunter

“If not already evident by the band’s namesake —which combines the last names of the husband and wife duo, Tim Kek and Cherie Ko— Kek’s lush atmospherics intertwined with Ko’s ethereal vocals manifest a radiance unique to a soulmate connection.”


kolenżanka - Place Is (Bar/None)

Interview with kolenżanka by Malaika Astorga (June 16th, 2021)

“To leave an old life behind and begin a new one is an anxiety-inducing and transformative process that Phoenix-born and NYC-based singer kolenżanka has mastered.”


L’Impératrice - Tako Tsubo (microqlima)

Interview with L’Impératrice by Zoë Argiropulos-Hunter (May 22nd, 2021)

“L’Impératrice’s latest venture is a shimmering think-piece on life’s ever-perplexing phenomenon of broken-heart syndrome, which derived from the name Tako Tsubo (meaning “octopus trap” in Japanese).”


Magi Merlin - Drug Music (Self-Released)

Magi Merlin “Mock Meat” review by Malaika Astorga (February 23rd, 2021) 

“A little spooky, a little bit sultry, Magi Merlin's "Mock Meat" draws you in with textured sounds and silky vocals.”

Magi Merlin Drug Music premiere by Zoë Argiropulos-Hunter (March 5th, 2021) 

“Throughout Drug Music, Magi Merlin owns her truth between entrancing beats and smokey basslines, while getting hot and heavy with lush vocal harmonies and a playful raspiness.”


May Rio - Easy Bammer (Dots Per Inch)

Interview with May Rio by Zoë Argiropulos-Hunter (June 22nd, 2021) 

“Much like its origin story, May Rio’s Easy Bammer documents and celebrates the romantic unexpectedness of everyday life.”


Motorists - Surrounded (Bobo Integral / We Are Time / Debt Offensive)

Interview with Motorists by Malaika Astorga (September 16th, 2021) 

“Comparable to various eras of punk, jangle rock, and mid-2000s Canadian indie rock, Motorists express their struggles with isolation by pairing a post-punk vocal tone with optimistic and upbeat melodies.”


New Chance - Real Time (We Are Time) 
Interview with New Chance by Zoë Argiropulos-Hunter (July 28th, 2021) 

“On her latest offering Real Time, Cheong brings her reflections on nature’s abstract cycles to the forefront, between spellbinding textures and an eclectic sampling of everything from Calypso percussion to a sunrise rooster crow.”


Ouri - Frame of a Fauna (Born Twice / Lighter Than Air) 
Interview with Ouri by Rebecca L. Judd (October 30th, 2021) 

“Marking the latest notch in Ouri’s belt, Frame of a Fauna carefully wields experimental and classical curiosities to seek deeper truths between the bars.”


Oxford Drama - What’s The Deal With Time? (Self-Released)

Interview with Oxford Drama by Rebecca L. Judd (July 7th, 2021)

“Inspired by the never-ending mazes of modern technology and society, the duo – consisting of Małgorzata Dryjanska and Marcin Mrówka – transforms crushing emotions and uncertainties into a musical experience that transcends the turmoil.”

Oxford Drama “Too Busy” video premiere by Malaika Astorga (December 9th, 2021)

“Although it may seem like everyone else has their lives together, they're probably just good at keeping a curated online presence. Our Polish pals Oxford Drama encapsulate this chaos energy perfectly in their music video for “Too Busy”, a single off their recent album What's The Deal With Time?”


PACKS - Take The Cake (Royal Mountain / Fire Talk) 

Interview with PACKS by Zoë Argiropulos-Hunter (May 17th, 2021) 

“Toronto’s PACKS are filling an indie-rock void with their sound that is equal parts laid-back and jangly, while also sophisticatedly pensive and bright.”


PinkPantheress - to hell with it (Parlophone) 

“The 20-year-old UK producer broke out on TikTok with snippet-sized songs that ache with nostalgia for the recent past. Her intimate, lived-in music succeeds where cheaper imitations fail.” — Arielle Gordon, Pitchfork


Yves Tumor - The Asymptotical World (Warp Records) 

“Even on a brief EP, Yves Tumor’s prismatic world seems to get bigger as it mutates into certain conventions of goth rock, dream pop, and shoegaze.” — Sasha Geffen, Pitchfork


Listen to our year in review below!


Related Articles

 

Also Cool's FME Top Picks: Round One

 

Pierre Kwenders by Uproot Andy

If you haven’t already heard of Quebec’s FME (Festival de musique émergente), we’re thrilled to acquaint you. Founded in 2003, FME is an annual music festival held in the beautiful town of Rouyn-Noranda and exclusively highlights independent artists. Our team is grateful to be attending this year’s edition of FME, and leading up to the festival we will be rounding up our list of must-see (and hear!) acts from the 2021 lineup (which is top-tier all around, for the record). Take a peak at our first collection of FME Top Picks below, featuring Pierre Kwenders, Lido Pimienta, Pantayo and Crabe.

Pierre Kwenders by Fanny Viguier

Pierre Kwenders 

Pierre Kwenders is the stage-name of Congolese-Canadian singer-songwriter José Louis Modabi, who is somewhat of a living legend as a Juno-nominated and Polaris-longlisted after-hours king. After immigrating to Canada as a teenager, Kwenders attracted widespread attention for his guest appearance on Radio Radio’s 2012 album Havre de Grace and began releasing his own music shortly thereafter. The Montreal-based musician is celebrated for his music that “is a response to a world that so often asks people who fit comfortably in multiple boxes to pick only one.” Known for rapping and singing in multiple languages (English, French, Lingala and Tshiluba), Kwenders is also recognized for his percussive rhythms that command undeniable danceability. If you find yourself in Montreal, check out Kwenders’ after-hours Moonshine soirées, held every Saturday after the full moon in a location only disclosed via text message the day of the event. 

Pierre Kwenders will be performing at FME on September 2nd, 2021 at 7:00PM EST

Website | Instagram | Bandcamp | Spotify

Lido Pimienta by Daniela Murillo

Lido Pimienta 

Another trailblazer on our Top Picks list is Lido Pimienta, the Afro-Indigenous, Colombian-Canadian superstar who dazzles audiences with her artistry, while simultaneously confronting systemic toxicity that permeates society at large. With the 2016 Polaris-Prize win under her belt, Pimienta is known for her mesmerizing poetry, electronic soundscapes that embrace her Afro-Indigenous traditions, and a wholeheartedly punk stage-presence and outlook.  Now based in Toronto, Pimienta also works as a visual artist and curator who explores “the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular.” To top it off, she has of the most eye-catching performance attire and visuals we have ever seen. 

Lido Pimienta will be performing at FME on September 2nd, 2021 at 7:00PM EST

Website | Instagram | Bandcamp | Spotify

Pantayo by Sarah Bodri

Pantayo 

Pantayo’s 2020 self-titled debut is constantly spinning for us. This Canadian queer quintet based in Toronto is made up of members of the Filipino diaspora. Formed in 2012, Pantayo combines of kulintang —an ancient form of Southeast-Asian instrumental percussion using gongs, drums and chimes— with elements of synth-pop, punk and R&B to create infectious rhythms as a basis for their ethereal soundscapes. Named as one of NOW Magazine’s Toronto Indie Musicians to Watch in 2018, their debut LP was shortlisted for the 2020 Polaris Music Prize. The group is perhaps the first ever act to fuse the rippling effect of a gong with pop sensibilities; a feat made clear by their name, which is Tagalog for “for us.” 

Pantayo will be performing at FME on September 2nd, 2021 at 7:00PM EST

Instagram | Bandcamp | Spotify

Photo credit: Crabe

Crabe

Self-described “présent-punk” duo Crabe are constantly pushing the envelope with their aggressive, experimental sound and work ethic. Known for their energetic, chaotic live performances and a career that spans over the last 15 years, the band has played over 250 shows and are a staple in Quebec’s experimental music roster. Their most recent release Sentients is described by Mothland as “a tribute to out-of-date sounds [due to] the band offloading their traditional rock n’ roll instruments to pursue new avenues of ‘crabisme.’” Possibly making the most noise between two people, Crabe are sure to wake us up from the quarantine haze with their industrial, thrashing expansion on punk’s skeleton.

Crabe will be performing at FME on September 3rd, 2021 at 10:00PM EST

Instagram | Bandcamp | Spotify

For more information on FME, to review the festival schedule and purchase tickets, please visit their website.


Related Articles

 

Out Today: Dorothea Paas Curbs Expectation with Debut LP "Anything Can’t Happen"

 

Dorothea Paas, shot by Miriam Paas

To some, pursuing creativity is at best, money-making, and at worst, awkward and a best-kept secret. In either case, some kind of sacrifice is needed to “make it make sense” — you either sell out (gasp!), or give up on your dreams entirely to please others; maybe even yourself. We’ve all seen some iteration of this scenario:

 

You’re going to be an artist? Have fun with that,” or; “You’re going to be an artist? How dare you try make a name for yourself!” (assuming your endeavors “work out” in some capacity)

 

The latter is especially rife within DIY circles, where settling for second-best has become the norm when push comes to shove, seeing as comfort is far too often associated with complacency in the art world, sigh.

 

Amidst all of this artistic turmoil, there is the “in-between” (which, by the way, isn’t any more or less secure). More often than not, this in-between looks like side-gigging your passions to make ends meet, because at the end of the day, bills have to be paid. That being said, there are some artists who navigate and wade in this liminality with grace and use it as a means of figuring out life’s many curveballs with a certain finesse; often times to their creative advantage.

Toronto singer-songwriter Dorothea Paas molds the perfect example of what achievements can come with taking things slow, especially in an industry that can wring you dry. On her new LP Anything Can’t Happen — out today via Telephone Explosion Records — Paas illuminates how she came to define success as encountering and reconciling self-discovery through her work, all while establishing growth on her own terms. The result is a folk-rock chrysalis composed of nine introspections on the self that have bloomed with Paas over the years.

Charmingly, Paas labels herself as an emerging artist, even though she really is anything-but. Over the last decade, she has lent her talents as a vocalist and guitarist to notable acts like Jennifer Castle and U.S. Girls, amid refining her solo skills in songwriting, recording and performing. In my conversation with Paas, she explains that her humility towards her work has been informed by the necessary embrace of the aforementioned “in-between”:

 

“I’ve never placed severe creative expectations on myself. I’ve always worked other jobs, and I feel like I will continue to work other jobs,” shares Paas in our Zoom call.  “Even though my work now feels a bit more polished, allowing things to grow organically has taken some of the pressure off my writing and performances. Maybe it’s avoidant of me, but imagining music as my main source of income doesn’t feel sustainable. Maybe I need to think more about where I want this to go, or how to become a star? But for now, I like not being pulled by the concept of fame or being known for the sake of being known.”

 

Paas’ modest approach to musicianship has allowed her songs to take on many forms, from lo-fi cassette-deck hums to electrified folk whirlpools; filling both grapevine-invited house shows and downtown hotspots. This makes Anything Can’t Happen more mature than a classic debut, and has allowed Paas to develop a unique and intimate relationship with her craft.

 

“Not being a prolific songwriter lets me revisit old songs and slowly accumulate my repertoire. I like that I get to reevaluate their meanings as I grow; while listening to new music and getting new inspirations and thinking about how I want to channel my songwriting instincts.”

 

Being in this ongoing state of reflection and transformation has allowed Paas’ music to equally inform her personal life while processing and healing from “years of ruminating on loneliness, anxiety, sadness, love and relationships.”

 

“I don't think writing lyrics is my strong suit, but sometimes I channel literal pages of my journal to write a song. I’ve always been very intellectually in-touch with my feelings, and I feel like it isn't until I take a journal entry and turn it into a song that I realize how deeply affected I am by a situation I’m going through. Over time, I’ve gotten a better insight on my past, and I understand more how an audience or a listener might be hit by a sentiment.”

Dorothea Paas, shot by Miriam Paas

Knowing that having my journal read to an audience would be my own personal hell, I ask Paas how she incorporates this level of vulnerability into her songwriting.

 

“In a generic sense, I feel like there has been a weird double-bind when it comes to diaristic writing for women songwriters. I feel like there is both a stereotype that women are expected to ‘write this way,’ but also for us to not write about diaristic things and challenge expectations? I don't know how to explain it, really, but I’ve just felt this weird external pressure to change the way I write to be more abstract. That being said, I think there is something very powerful about writing your own experiences really plainly. I do think that it is a strength of my work in many ways.”

 

Coupled with her intention to balance improvisation and construction in her songwriting, Paas’ candid lyricism extends a level of intimacy to the listener that she says conjures “a very specific feeling.”

 

“I don't think [my lyrics] are vulnerable in the sense that I'm like, sharing my most embarrassing thoughts. That's what Twitter is for. Actually, I feel deeply humiliated by my Twitter and I'm actively trying to stop writing embarrassing things on there,” Paas laughs. “My lyrics are more like diamonds that have been forged through years of therapy and introspection and conversations with my friends… the final by-products of condensing thought. If they’re communicated clearly, they can heighten the sonic elements of what music can do, which is create a shared sense of euphoria and connection.”

Dorothea Paas, shot by Miriam Paas

Towards the end of our conversation, Paas notes that she feels honoured to write songs that can connect to audiences and actualize the viscerality of the difficult emotions we all experience. “There’s something about being the writer and the vessel for [these feelings] that inspires me. I click into another mode and it’s very uplifting.”

 - - -

Anything Can’t Happen is out on Telephone Explosion Records today, May 7th, 2021.  Paas will be performing at this year’s Megaphono festival and showcase, taking place virtually from May 25-26th, 2021. For more information, visit Megaphono’s website here.


ANYTHING CAN’T HAPPEN

Out May 7, 2021 via Telephone Explosion Records

TER079CoverHi.jpeg

1. One
2. Anything Can't Happen
3. Container
4. Closer to Mine
5. Interlude
6. Waves Rising
7. Perfect Love
8. Frozen Window
9. Running Under My Life

Mixed by Maximilian “Twig” Turnbull, Steve Chahley
Mastered by Heather Kirby, Dreamlands Mastering
All art and lettering by Vida Beyer
Design and layout by Steve Sidoli, Dorothea Paas


Dorothea Paas

Instagram | Bandcamp | Spotify

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, and a radio host & DJ.


Related Articles

 

In Conversation: Carlyn Bezic Talks Taking Up Space On and Offline with New Project Jane Inc

 

Jane Inc by Andrew McGill

What role do you play in today’s social media rat-race? Are you an observer (always monitoring, never posting); a creator (sharing content related to you and your interests); a critic (engaging with and commenting on said content), or; a luddite, in the sense that you’re disenchanted altogether and logged off (and out) forever? Whatever your involvement in whichever form of feed Discourse™, one’s stance on social media translates as a fraction of the self — sometimes, in more ways than one — across online spaces. These curated extensions of the self are of particular interest to Toronto musician Carlyn Bezic, and are given centre-stage in her new solo project, Jane Inc

Known for her involvement in acts like Ice Cream, Darlene Shrugg and as a touring member of US Girls, Bezic realizes years worth of side-gigged musical experimentation as Jane Inc. Building off samples, break-beats and Ableton tutorials, Jane Inc’s debut Number One is out on Telephone Explosion Records March 19th, and serves as a reminder that Bezic is no one-trick-pony. 

What started as layering bass, guitar, synth, and vocals on top of drum breaks and samples has now transformed into the dance-machine that is Jane Inc, with Bezic as its ring-leader. With the help of recruited support from Toronto recording engineer and stalwart Steve Chahley (Badge Epoque Ensemble, US Girls, Ben Stevenson) to coproduce, the duo recorded live drums performed by Evan J. Cartwright (US Girls, Tasseomancy), saxophone by Nick Dourado (BUDi Band, Aquakultre, Fiver) and wurlitzer by Scott Harwood (Scott Hardware) to marry Bezic’s hypnotic, cyber reveries and glittering grooves.

Leading up to her release, I got the chance to chat with Bezic on taking the reins with her latest musical venture, and how she dissects the tensions between the self and the ills of today’s digital climate on her anticipated release Number One.

To open our conversation, Bezic tells me about the origin of Jane Inc, which she explains was inspired by stringing together a myriad of concepts. “The name was born out of a few things. My middle name is Jane, so it’s kind of about me in a way. But, I also liked Jane as in, Jane Doe… Someone who is a blank ‘woman’ figure. ‘Inc’ also plays on my approach to the writing and recording process, where I thought of [the project] as my own little company where I’m playing a bunch of different roles, you know?” 

Bezic elaborates on the shapeshifting quality of Jane Inc, asserting that it’s personified more as an artistic mindset, rather than a traditional alter-ego. “[Jane Inc] is like a mental trick. It was helpful for me to view, say, a baseline as something other than a direct reflection of me — Carlyn, as a human being — that supposedly expresses to you exactly who I am. This framework was informed by an explicit exploration of how what you do online creates a new being removed from reality — which can be both liberating and also terrifying.” 

From here, our conversation shifts onto the topic of how artists in particular struggle to exist, both in relation to survival and relevancy, without having some kind of online presence. Noticing Bezic comments on this in her songwriting, I ask her how she navigates the difficult position of wanting to be critical of this phenomenon, while also having to be complicit in it. 

Sighing in a way that feels relatable, despite the lag of our Zoom call, Bezic states: “I mean, I find it to be a real mind-fuck.” 

Jane Inc by Andrew McGill

“The way I personally engage with the Internet isn’t very healthy, I think. I’m 100% addicted to the Internet, even though I know it’s really insidious. I’ve been experimenting with posting more and showing myself, which feels strange and disingenuous because our engagement habits are so intrinsic to our perceived empowerment. When this is tied to the thing you’re creating… it becomes even more complicated. [My music] isn’t then just an extension of who I am as a person, but also a product, and I become its advertisement — even though I’m just a human being. It’s inescapable because it is so essential for my job, and I’d rather have some control over how I am perceived by handling my social media presence myself.” Continuing on this notion of how she remains purposeful in navigating the maze of social media, Bezic comments: 

“Intentionally taking up online space represents a growth for me. I’m trying to be more comfortable sharing [my music] and being myself, and it feels similar to what it would be like in real life and during a performance. That being said, when I think about it deeply, this comes at the expense of commodifying myself and the art that I’m making. So, like I said, it really is a necessary beast.” 

Through listening to her teaser tracks from Number One, I noticed Bezic’s lyrics air her frustrations with the physical world in parallel with her commentary on social media. Her single “Steel” struck me as an observation on how identity is manufactured by our physical surroundings; through mundane, daily activities. I was curious to know if the sentiment I was picking up on was informed by Bezic’s experiences with the fast-paced rhythm of Toronto.

“Toronto is a city that hates creative people. We are also seeing in a really real and horrifying way how it also hates low-income people, unhoused people and racialized people. [‘Steel’] was born out of a very complicated relationship I have with Toronto, as I grew up here and have lived here the majority of my life. Though Toronto has a very strong [arts] community and is full of creative people, its bureaucratic, big city energy doesn’t allow for any sustainability. It hates itself. Even before the pandemic, I felt like I had no energy. The city was never giving me energy. Everyone is working to live, or living to work, the places [we] love are closing down and rents are skyrocketing. You know, the same old story as everywhere else. The opportunity keeps on getting smaller and smaller,” Bezic laments. 

Bezic’s outlook took an upward turn towards the end of our interview, where she told me about looking ahead and her plans for the future. 

“Though I complain that Toronto sucks, there are a lot of musicians here who really inspire me and push me forward. I am excited, and feel lucky to have collaborated with them [on this record]. I’m looking forward to eventually having a band at some point and figuring out a nice little setup for doing livestreams or something lowkey. Other than that, I’m already writing the next album, which I’m hoping to release in the next year.” 

Jane Inc by Andrew McGill


NUMBER ONE


Out via Telephone Explosion Records on March 19, 2021

8fdEufxb.jpeg

1. Gem
2. Steel
3. Faceless, Bodiless
4. Dirt and The Earth
5. Bloom Becomes Me
6. My Oldest Friend
7. His, Mine
8. Obliterated

All songs written and performed by Carlyn Bezic


Drums and Vermona by Evan J. Cartwright
Saxophone on "Bloom Becomes Me" by Nick Dourado
Wurlitzer on "Faceless, Bodiless" by Scott Hardware
Mixed by Steve Chahley and Anthony Nemet
Produced by Steve Chahley and Carlyn Bezic
Toronto, 2020


Jane Inc

Instagram | Bandcamp | Spotify

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, and a radio host & DJ.


Related Articles