Public Appeal: The Fight for Queer Creativity

Public Appeal by Uma Nardone

Public Appeal (she/they) didn't come out of nowhere – her rise to notability is profound for all the ways they have worked to create music that people want and crave. Growing up in the rural south of France, Discord forums, and Internet algorithms fed her artistry, and moving to Montreal allowed for the exposure necessary to become a star. With mentors and inspiration coming from places like NYC and LA, Public Appeal has found her voice through years of listening to Club Eat and Charli XCX. 

When asked to describe her genre, they tell me there's no need for labels – her music is meant to serve and make you feel good on the dance floor. It's a pursuit I can't discredit in any way, shape, or form. I think communal love for Public Appeal comes from this honesty. In her music, there is an expression of something almost too real for simple minds to handle. With performance being center stage in this era of the Montreal music scene, brutally realistic and dystopian pop beats are what we need to make it through the weekend.

“Indie sleaze is where I draw my inspiration – the irony of playing with archetypes is where you have the most fun.”

When making her music, Public Appeal is asking questions. Her process could be compared to the Barbenheimer phenomenon: the brains of nuclear physicists, but an almost plastic-like beauty and playfulness going hand-in-hand. Indie sleaze becomes ultra-meta as a new generation of artists take on ideas of aesthetics, Tumblr and Instagram, allowing for nuanced forms of consumption. 

Public Appeal by Uma Nardone

As we sit in a park discussing everything from childhood celebrity crushes and the meaning behind lyrics, Public Appeal runs me through her outfit. The level of indie sleaze that one can exude is showcased. The shirt is her father’s, her jewelry was found on the street, mismatched Doc Martens that got switched at a party, and Jack Antonoff spectacles without lenses. Everything from head-to-toe is a collage – a moment in time and an inside joke, yet still eye candy for strangers. 

Her music is similarly a family affair: it's perverse because we can all relate and imagine the scenarios expressed on her latest EP, Mind Your Business. This can be seen in “I Wanna Party With You”, which addresses the awkward dynamic of going out with a lover while being over the feeling of them – easy enough in a city like Montreal, and relentlessly relatable.  

Sometimes the care and attention given to artistry is not noticed when people are making their music on a laptop in their bedroom – yet I believe the best forms of expression come from raw experiences, and Public Appeal allows for that. They study histories of music and genre, searching through old interviews of favorite artists and diving deep into the Soundcloud ether to find inspiration. 

Public Appeal by Uma Nardone

Recently, Public Appeal has delved into the history and sounds of electroclash, introducing even a music lover like me into a world I've never known. With hundred-song playlists and concert lists with footnotes, a sense of care and need for good music is instantly seen in her way of being. This is all the proof needed to express the love they have for music that wirelessly connects to listeners as well.  

“My music can't be labeled! It's androgynous and hot, it makes you feel like party drugs – careless but curious, let it take hold of you!”

Public Appeal is a lesson in balancing work ethic and production as well as attitude and style – the perfect equation for sexy music. They put in an effort within the scene that I can only attribute to the sanctity of protecting queer spaces. 

With so many people taking up space in the industry without the boldness that warrants the spotlight, her music lets her talent shine without ego or force. Self-awareness is used similarly in their music, as indie sleaze is used in all its campiness – allowing for a tangle of fun and intelligence that is an exact portrait of a time and place. As they've told me, music is a tattoo, something that comes from an ache and gets spread all over the city for everyone to feel.  Public Appeal knows her music will change completely with time. But right now, Mind Your Business is the moment and a force to be reckoned with, with future live performances and new music in the works, the possibilities are endless. 

The MIND YOUR BUSINESS REMIXES EP will drop in the new year, featuring appearances from artists like babynymph and bounce2. Stay tuned, as the sound of Public Appeal’s grows and evolves for all to witness, for the betterment of dance floors everywhere.  

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Public Appeal

Instagram | Spotify

Uma Nardone is a writer based in Montreal.

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Wrocław’s Oxford Drama Makes Light of Modern Absurdity with “What’s the Deal With Time?”

Oxford Drama, shot by Nelly Valverde

If the weight of the world has got you feeling sideways, you’re not alone. This sentiment is the driving force behind What’s The Deal With Time?, the third album by Polish indie-poppers Oxford Drama. 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.

Highlights of the concept album include “Not My Friend,” which is described as a “therapy session” in a track – its depth is punctuated by silky struts of guitar and Dryjanska’s warm vocals. “This is the Internet” strikes a refreshing balance, poking fun at algorithmic dependencies without veering into condescension. Then there’s “San Junipero,” inspired by the Black Mirror episode of the same name – a haunting piano ballad that shines through the pointed commentary, speaking to the subject of romanticizing the past and blurring the lines of what’s real.

In Oxford Drama’s persistence through heavy realities with flecks of optimism and wit, the band uncovers worlds of possibility. There is so much to be said about navigating the “today,” and so much more to be dreamt about tomorrow. We caught up with Małgorzata to chat about What’s The Deal With Time?, and covered everything from Seinfeld to the winning life accomplishment that is taking out the trash.

Rebecca L. Judd for Also Cool: Hi there Oxford Drama – thank you for your time, and for sharing your art with us at Also Cool! What's The Deal With Time? is a stunning album, congratulations on the release. To start, I'd love to learn more about both of you – what kinds of musical backgrounds did you come from, and how did you find each other?

Małgorzata Dryjanska of Oxford Drama: Thank you so much! Marcin and I met almost 10 years ago during an English language competition, where kids from different high schools in Wrocław had to prepare a speech about youth. Both [of] us were the only ones that had musical themes in our presentations, [and] we felt that we might have a lot in common. We were right about that, but it took almost two years of Marcin persuading me into forming a band. Our iPods matched, we both loved Blur, and because Marcin knew I liked to sing, he wanted to try to make music with me. I finally agreed, [and] it was worth it!

Also Cool: What's The Deal With Time? is a concept album, exploring plenty of complicated subject matter such as the pressing weight of nostalgia and societal relationships with technology. What does making a statement on these topics mean to you, and what is it that convinced you to do so?

Oxford Drama: As both Marcin and I are on a mission to understand the world, and especially nowadays — to understand the modern world — we felt intrigued by the idea of writing a concept album as both the observers and the receivers, actively taking part in the modern mess. 

We're kind of old souls, in the sense that we don't really find ourselves understanding every aspect of technology. We want to get our music out there in the world, so by wanting that we have to be visible in our social media feed. But we don't want you to be bored or frustrated by constantly seeing our faces, so we're very careful about choosing what we want to post and how we want to post it. 

And that's only us as professional users of social media – privately, we're also not happy with loads of ads trying to get our attention, [or] how we're living in our own bubbles and not always seeing other perspectives. These are the subjects that are frequent in our conversations, so we thought we might want to take those themes and present them in the form of pop songs.

Oxford Drama, shot by Nelly Valverde

AC: I took a special liking to "Bachelor of Arts" – it struck a relatable and tender contrast between all the world's possibilities and an internal lack of direction. Could you elaborate on this track, its formulation and its intentions – particularly within the context of the rest of the album?

OD: The theme of "Bachelor of Arts" started more as a joke. We just started writing some songs within the subjects we wanted to elaborate on, already knowing it's a concept album, and I [was thinking] that I'm just one of many in the modern world feeling [like] “...I'm not a kid anymore, but I'm kind of lost as an adult. I get work done, but man, sometimes I just need a hug and some peace and quiet.” 

I think that feeling of being lost is so universal, but I wanted to sketch it in a way [where], by listening to the words, you can see the picture. You imagine that person, the protagonist, and it's so vivid that you can also guess the surroundings. We wanted to be free in the interpretation, because in a way the person from "Bachelor of Arts" might also be the one in [other tracks like] “This is The Internet”... we don't know that. 

But what I think most of the songs on What's The Deal With Time? have in common is the humour that I think keeps us sane. Just like in “Bachelor of Arts,” I sometimes think I should get a medal for taking out the trash, but I know it's not going to happen. But yeah, I sometimes deserve it (laughs).

AC: It's mentioned that your album is inspired by Seinfeld – the cheeky reference in the title definitely gives that away! Can you elaborate on Seinfeld as an influence? What are some other cultural influences behind What's The Deal With Time?

OD: I knew this day was bound to happen! The story is kind of strange. My parents introduced me to Seinfeld when I was a kid, and I remember watching their favourite episodes and remembering the funny lines … and basically being in love with every element, creating the atmosphere of New York in the 90s. 

And so [that nostalgia] was always in the back of my head – Seinfeld, my love for Saturday Night Live and movies with Chevy Chase. My favourite video is the one with [Chevy Chase] for Paul Simon's “You Can Call Me Al.” Humour for me helps in dealing with the modern world, but I also love lyrics that are about playing with words, and have some irony or sarcasm in them. David Byrne singing about peanut butter, or Ezra Koenig singing about a falafel shop just fascinate me. So on What's The Deal With Time? I didn't want to present such important topics deadly serious, I wanted to add some lightness to them by adding some absurdity. And that humour in everyday situations reminds me of how I remembered Seinfeld as a kid.

Most definitely Black Mirror's episode “San Junipero” influenced us to write [the] song of the same title. Both of us understood the plot differently but we both shared similar emotions which the episode evoked in us.

[Lastly], this might be controversial, [but] U2 also inspired us in a way. In the fall of 2018, we went to Berlin to see the guys from U2 live, and the time spent in this beautiful city inspired us in ways we couldn't even imagine. We talked a lot about the history of Europe, about how Berlin inspired U2's Achtung Baby and Zooropa, but also Bowie's Low and “Heroes.” Despite knowing all of the albums really well before, this mixture worked so well that our heads started creating a lot of ideas, and then What's The Deal With Time? happened. [That] Berlin era is just full of great ideas.

Oxford Drama, photo provided by the band

AC: What's The Deal With Time was released into the world a couple of months ago – how have you celebrated since then?

OD: We finally binge-watched Six Feet Under! 

We're extremely happy with the response [to the album], and as perfectionists, it's the first time after the release that we still wouldn't change a thing, really. There are some gigs planned for the summer that we're extremely excited about. And now we have the time to start working on the new record, because there are a lot of ideas that are waiting to be taken care of – hooray!

AC: Thank you so much for your time, Oxford Drama. What's The Deal With Time? will be on loop for me for many long summer nights to come. What can we next expect from you?

We're excited to play [that] new material, because it's so much fun. Also, I guess we're getting back to the studio – that is our living room – to make the next record, as some ideas are waiting [to come out] and we kind of don't know how to relax, so…

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WHAT’S THE DEAL WITH TIME?

Released on March 26, 2021

1. Not My Friend

2. Too Busy

3. Bachelor of Arts

4. San Junipero

5. This Is The Internet

6. You Only See What You Like

7. Offline

8. Retromania

9. Episode Couples

Music by Małgorzata Dryjanska and Marcin Mrówka

Lyrics by Małgorzata Dryjanska

Produced by Marcin Mrówka

Drum recordings (tracks 7, 9) produced by Jacek Maciołek

Mixed and mastered by Michał Kupicz

Cover design by Hanna Cieślak

Band photos by Nelly Valverde

All rights reserved Oxford Drama, 2021

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What’s The Deal With Time? is now available to stream and purchase – take a listen here!

Oxford Drama

Bandcamp | Soundcloud | YouTube

Instagram | Facebook | Spotify | Apple Music

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of her studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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

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With "Fresh Paint," Andria Piperni Creates A World All Her Own

Andria Piperni, “Fresh Paint”. Photo courtesy of Calli Cohen

Montreal-based singer-songwriter Andria Piperni has long proven that she is the one to watch, and her latest track “Fresh Paint” is no exception. 

On this track, the R&B songstress sounds slinky and seductive, telling a story of blissful intimacy as a brand-new world is created. On her Instagram page, Piperni explained that “Fresh Paint” is all about “...getting lost in a moment, and that enchanting feeling of discovering somewhere, something, or someone new.”

The essence of Piperni’s vivid dreamscapes is revealed in clouds of soul and jazz, with delicate vocal melodies floating through. With the right person or the right environment, there is safety – even in floating above the ground, or crashing through waves of the sea.

Piperni enlisted the help of Chris Vincent, member of Montreal electro-soul band Busty and the Bass, to produce and mix “Fresh Paint”. This lush, sensory track is the latest single to be featured leading up to the release of her debut EP, Who’s Counting?, which is slated for release early next year.

“Fresh Paint” is a perfect demonstration of Piperni’s ability to balance indulgence with illusion. If this single is any indication, the rest of the EP will surely follow in such a descriptive and immersive direction. We had the chance to talk with Piperni in the weeks after the release, getting into her influences and perspective on the music industry. Take a read below!

Rebecca Judd for Also Cool: Hi Andria, thank you so much for chatting with us today! “Fresh Paint” is a beautiful track, congratulations on the release. Listening to this track, it feels as though there’s room for multiple interpretations - what’s yours?

Andria Piperni: Thank you! Yeah, I left a bit room for each listener to have their own interpretation of the song. The lyrics are quite metaphorical and hold a lot of imagery — I wanted listeners to envision their own world, the same way a painter would when they paint. It all plays on this idea of creating something new. The scenario I had in mind while writing was two people coming together and creating this magical moment of their own.

AC: It’s an incredibly difficult time to be a creative - how has this year treated you? 

AP: The uncertainty of it all has been hard, and I miss playing live shows. It can be pretty stressful not knowing what’s ahead or how to plan for the future. But in some ways, this pandemic has made room for some great things, too. I spent most of this year writing and recording new music, and it was really nice to be able to put my full focus on that. I’ve also had more time to do some writing for other projects, even outside of music, and got around to doing things like getting my merch online! And I get to wear sweats 95% of the time. Despite everything, I’ve managed to find a silver lining. 

AC: You describe yourself as inspired by  “...everyday human experience, as well as the surreal episodes of … vivid dreams”. Can you elaborate on these inspirations? (I’d love to start having these dreams…)

AP: Those closest to me know that I have the weirdest dreams! For as long as I can remember, I’ve been a vivid dreamer. It’s rare to wake up and not remember my dreams in detail, sometimes several of them. It can be a bit exhausting sometimes. But now and then, I’ll wake up with a certain storyline or melody in my head, and I’ll write it down for later. And I do the same during the day too – I take notes in my phone anytime an idea comes up. They can come from a conversation, a movie, an observation… I always try to pay attention to those little everyday moments, because those are the things that people can really connect to when listening to a song.

AC: Montréal is your hometown, but you briefly lived the ~ Parisian ~ lifestyle and found yourself across the pond. How did this relocation impact your creativity and your music?

AP: Oh man, it was everything. I was studying abroad for about 5 months, and it was amazing. This was before I decided to pursue music full-time, and I think the experience really shifted my perspective and helped me learn more about myself and life in general. Being somewhere completely new, where you don’t know anyone, where there is so much culture and opportunity to travel and meet people from around the world … see[ing] so many beautiful places… It made me realize that life should be lived to the fullest, and your choices should not be based on fears. It gave me courage to do everything I’m doing now.

Andria Piperni. Photo courtesy of Calli Cohen

AC: If you could change anything about the music industry, either in Montréal or at large, what would that be? 

AP: I guess it’s not a secret that it’s very hard for artists to make a good living off of streaming royalties. Don’t get me wrong – as a listener and as a creator, streaming has given me a lot. I discover new music, and listeners can discover my music like never before. But the cost of creating and putting out music (you know, “marketing”) is still very high when you compare it to the streaming payout. It’s just not feasible for independent artists in the long run, especially right now without the ability to play shows. But artists are more and more empowered these days, and I’m hopeful that it will lead to a balanced and fair system. Also… more womxn and minority representation on all fronts! We’re starting to see programs emerge with this goal, and it’s great, but there’s still a long way to go. 

AC: Who is your dream collaborator?

AP: I think my answer changes every time someone asks me this question. It’s hard to pick just one, but someone I would love to collaborate with is John Legend. He’s, well, a legend. And if I happened to meet Chrissy and their adorable children in the process… it would be a dream! 

Thanks again for your time, Andria. Before we let you go, we’ve heard that your debut EP Who’s Counting? is set to release early next year. What can we expect from you in the months to come? 

Yes, [it is], and I’m so excited! I have one more single off the EP coming out before I release the full project. You can also expect some new merch, a music video… and in the meantime, maybe a little holiday cover song or two on my Instagram page before the year wraps up. :) 

Listen to “Fresh Paint” – out now!

Andria Piperni

Instagram | Twitter | Facebook

Website | Spotify | Soundcloud | Bandcamp

Rebecca Judd is the features editor of Also Cool Mag.

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

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Healing’s Hard To Measure, But Peyton Stilling Gives It A Try

Peyton Stilling, photo courtesy of the artist

Exam seasons, holidays, the pandemic – if you’re exhausted, it makes sense. The chaos that is otherwise known as 2020 is coming to a close, and we are all surely in need of a little healing. Dallas-based singer-songwriter Peyton Stilling would agree, fresh off the release of “Healing” – a brooding testament to her own process.

“Healing was written during quarantine,” the artist explains. “I’d just broken up with my boyfriend and had to move back in with my parents, and I had no money or job. I had all of this time on my hands, but felt no motivation to write anything.” Teaming up with multi-platinum production team locknkey (Moses Elias & Robert Sewell), Stilling wrote this track as a means of release.

The results are infectious (are we allowed to use that word right now?) – balancing soulful vocals with tight production, Stilling paints a picture of resilience. She speaks her survival into existence over a moody baseline and assertive claps: “The doubts and distractions / I will get past them …”  With such conviction, we’re tempted to believe her.

Last week, we were able to catch up with the singer-songwriter and discuss her musical journey, the scene that has fostered it, and some distant dreams for a post-pandemic life. Read our interview with Peyton Stilling below!

Rebecca Judd for Also Cool: “Healing” is a beautiful testament to the post-breakup blues, and comes from a deep place of vulnerability. How does creating your music help you move through life’s challenges?

PS: Music helps me process how I am feeling and gives me the ability to give myself advice. I don’t always listen to my own advice, but at least I am writing songs about it. With “Healing”, I wasn’t able to finish writing that song until I had processed all the emotions I was feeling. 

Songwriting has helped me get through some really hard times, and is definitely my outlet. It will be very funny to listen back to some of my music in 10 years’ time and think “...that was the boy I was upset over?”

AC: You’re a Dallas-based musician - what is the ~ scene ~ like down there, and how does that inform your own musical approach?

PS: Dallas is a great place to grow as a musician. There are so many talented musicians here and it is a great place to get your [musical] start. There are no real labels in Dallas, but when it comes to venues and gigs you can make a great living here. It has helped to grow my confidence as a live performer, and really cement in my head that this is what I want to be doing for the next 20 years – just hopefully on a bigger scale. (No shade to the Dallas coffee shops, I still need to perform there...)

Peyton Stilling, photo courtesy of Hannah Dimmitt

AC: Your debut single, ‘Forest Through The Trees’, came out last February - how has your process changed since then? What have the past couple years taught you as a musician?

PS: My songwriting process is very similar to when it all started. I think the biggest thing that has changed is [that] my team has gotten bigger. When I started a year ago, it was just me; now I have an amazing group of people rallying behind me and my music. I am super thankful to have those people in my corner.

The past couple years have taught me to trust my instincts. I still have self-doubt, but am constantly working towards being confident in my decision-making. That is a big part of being in the music industry – trusting yourself and not letting the opinions of others sway you. 

AC: Are there any songs that you wish you had written?

PS: Yes, 100%. “Green and Gold” by Lianna La Havas or “Carried Away” by H.E.R. Honestly, anything by either of those artists and I would be happy. 

I have actually started rewriting some of my favourite songs on my YouTube channel. So far, I have rewritten Broke by Samm Henshaw, Location by Khalid and of course, Carried Away. I have been uploading a different rewrite the first Sunday of each month.

AC: When the pandemic subsides, what are you most excited to do?

PS: I am excited to have a real concert again. I absolutely love performing, and this year, not being able to do that, has been really tough. Live streams are just not the same. 

[Aside] from music, I can’t wait to travel. The pandemic has made me miss freedom and realize there is so much of the world to see. My manager is originally from London, and has told me that he would love to take me over there for a few weeks. I think that would be awesome. And it is in writing now, so he has to take me…

Listen to “Healing” - out now! 

Peyton Stilling

Instagram | Twitter | Facebook

Official Website | Youtube | Soundcloud

Rebecca Judd is the features editor of Also Cool Mag.

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

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