Five Years and Three Cities: VICTIME Unveils New Album En Conversation Avec (Mothland)

 

VICTIME by Rose Cormier, from left to right: Samuel Gougoux, Laurence Gauthier-Brown and Simone Provencher

Crumple it up. Unfold it. Walk away. Come back together and start again (and again). This was noise rock trio VICTIME’s unexpected five year-plan to create their second long-player En conversation avec, unveiled today via Montreal label Mothland.  

En conversation avec album artwork by Cléo Sjölander

Deconstructing a guitar-bass-drums mold, while still embracing their unbridled exploratory approach, VICTIME have returned with a genreless sophomore manifesto that they credit as their best work to date. Hurtling at 100kph, En conversation avec is a corrosive, meter-busting rendez-vous of DIY breadboard overdubs, pixelated synth-scapes and a complete disregard for conventional musical permissibility. 

Devised across three cities (Gatineau, Montreal and Quebec City) between bandmates Laurence Gauthier-Brown (Ponctuation, Pure Carrière), Simone Provencher (Album) and Samuel Gougoux (Corridor, Kee Avil) through virtual demo-ing with high-stakes jams in-between pandemic lockdowns, En conversation avec is the result of the VICTIME’s unanimous urge to overhaul their sound. 

While the band is adverse to talking about the COVID-19 pandemic (with good reason), they agree that making a record long-distance was a cornerstone to the evolution of their creative process.  

“Without some delineation of guitar-drum-bass, it truly isn’t a VICTIME record,” says guitarist  Provencher. “The three of us worked on every part, which defined the album more than anything. The studio-based approach allowed us to rediscover the joy [in playing] through recording riffs, vocals, rhythms and loops directly on our computers and then sharing them with each other for processing or overdubbing,” she adds. 

For vocalist-bassist Gauthier-Brown, the digital back and forth allowed her to tackle difficult and uncharted subject matter through her lyrics differently than before. 

“Over the many years with the band, living through both the #MeToo movement and the pandemic, I’ve learned how to use my voice and take my place. The album’s first single [M.A.] allowed me to grieve and process a difficult experience. At first I couldn’t sing it without crying. But at the same time, after 7 years in a relationship, I also wrote my first ever love song with this record. It felt like the first time I could really do it,” she explains. 

The band attributes lessons learned from exploring expressive mediums outside of music to the spirit of En conversation avec

“We weren't necessarily tired, but we were excited about new things that we were learning while working on separate projects,” shares Gauthier-Brown. “We were all playing music with other people, scoring films, theatre and dance pieces as well, and that brought out different elements of our [musical abilities] that we were interested in incorporating into Vicitme,” she adds. “I had worked on a theatre show for two years that never happened because of the pandemic. Having to really sing on my own [while practicing] and not just do rhythm stuff helped me go deeper into myself and find my voice.” 

“I remember a moment, way before we even started the record, where Laurence walked into the jam space and said she didn’t want to be in a rock band anymore,” recalls Provencher. “I cried,” adds Gauthier-Brown, as the band laughs in harmony. 

“We each wanted to do something different with our own instrument and influence each other’s output,” explains Gougoux. “While using loops isn’t exactly inventing anything new, it brought a different element to thinking about the songs’ rhythmic elements and changed my [creative] vision over time,” he adds. 

Since forming in the late 2010s, VICTIME’s trust in each other as friends and collaborators is a testament to the band’s progression in tandem with the members’ individual growth.

“We’ve been able to find a balance in having fun together and being serious,” says Gougoux. “We started this band when we were still teenagers in our heads, but now we all have full-time jobs and are thinking about, you know, having a house and a family,” says Gauthier-Brown, the band all laughing together.

That being said, VICTIME are just as weird, and just as millennial, as they’ve always been. Along with Kim Gordon, eye surgeries and the sadness of roadkill, En conversation avec cites Twilight's Breaking Dawn and the documentary Sisters With Transistors among a myriad of intriguingly cryptic references.

While VICTIME is currently challenged by the ambitious translation of their “studio-heavy” songs to live context, they are collectively eager to see what the future holds for En conversation avec

“We’ve spent time in different scenes. For me, more the art scene than the music scene. And we’ve changed labels. I have no idea what kind of reception we’re going to get, because we’re starting over again, in a way… But we’re going to keep the momentum going and hopefully not take five more years to write another record,” giggles Provencher. 

“Even though I’ve been touring a lot with other projects, I know that the music communities we’ve been in will be receptive and supportive. I think we’re in a place now where we’re just excited to get invited to venues and festivals again,” says Gougoux. 

Don’t miss VICTIME’s upcoming shows in Montreal and Ottawa!

Double Album Launch Party

with Yoo Doo Right with We Owe ft. Brian Chase (Yeah Yeah Yeahs) 

December 6th, 2024 at Théâtre Plaza (Montreal) 

Tickets 

Debaser’s Pique Festival 

December 14th, 2024 at Arts Court (Ottawa) 

Tickets 


EN CONVERSATION AVEC

Out October 25th, 2024 via Mothland

1. Pleine conscience
2. Un beau spectacle
3. M.A.
4. Ces ruines
5. Collage
6. Résonne encore
7. Faire la matière
8. Régicide
9. Figurine
10. En conversation avec



 

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Also Cool's POP Montreal 2024 Top Picks (Nabihah Iqbal, Beverly Glenn-Copeland, knitting and more)

 

Amery via POP Montreal

The 23rd edition POP Montreal takes over the Plateau/Mile End this week from September 25th-29th. With over 200 artists performing across 20 venues, along with film screenings, a Kiki Ball, a panel symposium and more, the world-renowned music festival promises a five-day whirlwind of unforgettable programming. From living legends to POP first-timers, discover Also Cool’s must-see acts from this year’s lineup through our Top Picks selections below, along with our official POP Montreal playlist.

Pop star and illustrator extraordinaire Amery hits Casa del Popolo with her perfect soundworld, ready to hot wire the night. She began releasing music as Alpen Glow in 2020, after years playing in punk groups in Newfoundland and as half of Montreal pop duo Born At Midnite (Arbutus). Recorded in Montreal by David Carriere (TOPS, Marci), Patrick Holland and Kristian North, her debut album Continue As Amery is a blast of melodic joie de vivre. Sandford brings her punk and DIY credentials into sharp focus on 8 perfect pop odes to city living, making mistakes and figuring it out as you go along.

Amery plays Casa del Popolo on Wednesday, September 25th at 8:15pm.

Nap Eyes via POP Montreal

Nap Eyes have been on the AC playlist rotation since our high school era, with their 2015 album Whine of the Mystic serving as a soundtrack to our senior year. The Nova Scotian icons make crooked, literate guitar-pop, perfect for nostalgic self-reflection. Nap Eyes songs resonate because they manage to balance the cryptic and the quotidian delicately, rendering a compellingly honest equivocation without evasiveness, a relatable ambivalence without apathy. As a result, both lyrically and musically, their music articulates the urgency of youthful grace. It’s the sound of being young and alive in the city, a tenuous and impermanent counterpoise of recklessness and anxiety, archness and earnestness.

Nap Eyes play La Sotterenea on Thursday, September 26th at 7:30pm. 

Beverly Glenn-Copeland by Brianna Roye

New-age vanguard and living legend Beverly Glenn-Copeland returns to Montreal with his first collection of new music in nearly two decades. With his recently released full-length The Ones Ahead, the Canada-based, Philadelphia-born singer-songwriter and composer rediscovers his breakout 1986 album Keyboard Fantasies. Having just celebrated its one-year anniversary, The Ones Ahead is Glenn Copeland’s captivating piano ballad opus. Now in his late 70s, The Ones Ahead is a prolific testimonial to the artist being told that he “would not be successful until [he] was very old” by his mother at a young age. 

Beverly Glenn Copeland plays Théâtre Rialto on Thursday, September 26th at 7:45pm. 

Los Bitchos via POP Montreal

Los Bitchos is back, better than ever, and ready to get you dancing. Since the launch of their much-loved debut album, Let the Festivities Begin, with City Slang in February 2022, the London-based, pan-continental women instrumental four-piece (featuring Western Australian-born Serra Petale, Uruguayan Agustina Ruiz, Swede Josefine Jonsson, and South London-born Nic Crawshaw) has captivated audiences worldwide. If you’re into 70s-80s-inspired cumbia, you’ll love this dynamic girl group.

Los Bitchos play MDP sur De Gaspé on Friday, September 27th at 7:00pm.

Freak Heat Waves via POP Montreal

Weirdo sonic collagists Freak Heat Waves take the stage with their delightfully uncategorizable Mondo Tempo for an anticipated live performance alongside Montreal expat Homeshake. Hailing from Victoria, British Columbia, the pair’s refined collaboration is palpable on their ambitious 5th release. Dusky, burned-out and deliciously groovy from top to bottom, Mondo Tempo effortlessly glides between steamy disco and hits of dub on Freak Heat Waves’ astral FM dial. 

Freak Heat Waves play Théâtre Fairmont on Friday, September 27th at 8:00pm. 

YHWH Nailgun via POP Montreal

YHWH Nailgun translate a primitive raw spirit into a modern form. The New York-based quartet hit hard and fast, and have been making the rounds at festivals like SXSW all year long.

YHWH Nailgun plays La Sotterenea on Friday September 27th at 8:30pm.

Sydanie via POP Montreal

Toronto-born hip-hop savant Sydanie made an everlasting impression on Also Cool since she graced the stage at the 2021 summer edition of Debaser’s Pique festival in Ottawa. With her unapologetic flow and electric dexterity, the Jamaican-Trinidadian rapper delivers gripping verses within her inventive spin on hazy trap meets grime meets electronica. With a long-anticipated LP Electric Circus in the works for 2025, we’re itching to catch this masterly emcee take the stage before its release.

Sydanie plays Piccolo Rialto on Friday, September 27th at 11:00pm.

Alix Fernz via Pop Montreal

Get your liptstick out for punk scene sweetheart Alix Fernz, taking over La Sala Rossa alongside Edith Nylon and our darkwave crush Laura Krieg. Singing about bar life, psychosocial disorders, drug addiction and fear, while drawing inspiration from high heels, lipstick, transvestism, fashion and weirdos, the singer-songwriter lays out along masqued syllabic beats the accounts of a coming-of-age in an era wherein likes and memes are all the rage.

Alix Fernz plays La Sala Rossa on Saturday September 28th at 8:00pm.

knitting via POP Montreal

Hot off the press is knitting’s debut full-length Some Kind Of Heaven, produced by Scott Monro of Preoccupations. Released earlier this month on Canadian west coast label Mint Records, Some Kind Of Heaven is the Montreal band's best (yet). Some Kind Of Heaven serves up fizzy-yet-tense alt-rock with an uncompromising spirit, both wrestling and embracing the familiar woes and self-discoveries of the 20-somethings years. Needless to say, the group’s delightful pairing of self-deprecation and crescendoing, grungy instrumentals have us hooked. 

knitting plays L’Hemisphère Gauche on Saturday, September 28th at 8:00pm.  

Nabihah Iqbal via POP Montreal

Musician, writer and beloved NTS radio broadcaster Nabihah Iqbal travels all the way from London, England to share her celestial fusion of shoegaze and cold wave. Her sophomore LP DREAMER was one of Also Cool’s top albums of 2023 for “[traversing] spacey dream sequences with 80s synth pop sensibility,” with Iqbal’s ethereal vocals embroidered throughout. Iqbal will follow her live set with a DJ performance to close out the night. 

Nabihah Iqbal plays The Rialto Hall on Saturday, September 28th at 10:00pm, followed by a DJ set at Piccolo Rialto at 11:30pm.

POP Montreal

Website | Instagram


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PREMIERE: Montreal's Never Better Perfects Indie Candour with New Track "Leash"

 

Rhys Climenhage AKA Never Better

Audio engineers: How do you pass the time when your DAW needs to reboot? 

For Rhys Climenhage, AKA Never Better, technical difficulties sparked writing the title track of their to-be-released debut record Leash. Set to arrive October 11th, 2024, the Montreal singer-songwriter shares the full-length’s opener, all of which came together in “about 10 minutes” on the faithful day their Pro Tools crapped out before heading to work in the studio. 

Climenhage is a friendly face in Montreal’s indie scene, both on stage and behind the mixing board. Since arriving in la belle province from their hometown of Peterborough, Ontario, Climenhage has found themselves “stumbling upwards” creatively, collaborating with fellow scene sweethearts like Sasha Cay, Holobody, James Clayton and Fireball Kid, all while nurturing their solo venture as Never Better. 

With their busy schedule, playing “at most, in like seven bands,” and engineering friends’ works, it makes sense that Climenhage “didn’t intend on making a record” when they first started crafting “Leash”.

“Leash” single artwork by Amery Sandford

Out today, the album’s lead offering is a tender musical keepsake for Climenhage. The song documents the early days of Climenhage’s relationship with their now partner, and fellow musician, Charlotte. With warm guitar strumming and honeyed harmonies, “Leash” is ever-inviting after the first listen, offering a glimpse into the budding closeness between Climenhage and the apple of their eye. Fittingly, recording “Leash” on a whim began the process of Climenhage seeking artistic consultation from Charlotte on more love songs they wrote for her, which would eventually become the album. 

“By the fifth song I knew it was going to be a record, and I was so excited to share it [with Charlotte], because she is also a musician and I wanted to see what she thought about it,” says Climenhage. “As we continue to date, I find myself being able to write a song in front of her from scratch, which I’ve never been able to do. I was sharing everything with her early on. She was there while I was mixing, and eventually I got the courage to ask her to sing on the record.” 

Climenhage cites the help of many friends making the production of Leash possible. Featuring instrumentation and backing vocals from a cast of local musicians, the album was entirely recorded and produced by Climenhage. Until Leash arrives this fall, Climenhage says they’re planning to roll out a few more singles and announce the album release show in Montreal, already hard at work on their next project.


LEASH

Out October 11th, 2024

  1. Leash

  2. No Choice or Chance

  3. Pockets

  4. Leaf Clover

  5. Shuffle Slump

  6. Circles

  7. Loud and Lazy

  8. I’ll Find My Way To You

  9. Herd


Never Better

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.


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PREMIERE: Dresser Tackles Self-Doubt in Ana-Maria Espino Trudel-Directed "Competency" (Music Video)

 

Dresser, from left to right: Chrissy Lawson (bass), Finn Dalbeth (guitar and vocals), Kevin White (drums), photo by Alex Apostolidis

Trigger Warning: The following music video contains flashing lights that may affect those who are susceptible to photosensitive epilepsy or have other photosensitivities.

Montreal art rock trio Dresser reckons with quarter-life uncertainty with the premiere of “Competency”, a kaleidoscopic music video melt-down softened by DIY charm. Directed, edited and produced by multi-hyphenate media artist and filmmaker Ana-Maria Espino Trudel, “Competency” sees Dresser embrace catharsis at a trippy band practice in an unidentifiable studio.

Between whirring zooms, psychedelic transitions and the band jamming in strobing, red light in various degrees of focus, Espino Trudel skillfully personifies the anxious and existential monologue of vocalist-guitarist Finn Dalbeth.

On “Competency”, Dalbeth shares:

“Musically, Competency is our stab at a dancey and carefree pop tune. But lyrically it is self deprecating and faintly sinister. The first verse is essentially me calling myself incompetent, hopeless, and lazy, which I find in a light-hearted way to be quite a fun and empowering tone to take in front of a live audience. The song goes on to fantasize about sabotaging a generally harmonious relationship, and explores further feelings of inadequacy and dissatisfaction. While all this may seem grim, writing ‘Competency; felt like a healthy outlet at the time. Even though in hindsight it certainly could be an example of ‘writing on the wall’. In the funniest way, of course."

“Competency” is Dresser’s first offering from the band’s independent sophomore album Fuel, set to release August 2nd, 2024.

Buoyant yet gritty, “Competency” brings a garage-meets-jangle spunk to the ever-pensive Dresser. Recorded and mixed by René Wilson (Faith Healer, Anemone, Baby Jey) at Value Sound Studios in Montreal, “Competency” tempts both headbanging and swaying, (hopefully) hinting at the worlds traversed on Fuel.

Until the full-length arrives, watch the video for “Competency” below!


FUEL

Out August 2nd, 2024

1. Heavenly Lethargy

2. The Wringer

3. Dolena

4. Competency

5. Never

6. By Your Side

7. Fuel

8. Still Looking 

Recorded and mixed by René Wilson at Value Sound Studios in Montreal


Dresser

Instagram | Bandcamp | Spotify | Youtube

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.


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“We’re on the Come Up”: What the Capital Music Awards Mean for Ottawa’s Vibrant Music Industry

 

The Angelique Francis Band performing at the Capital Music Awards, photo by Laura Collins

"This city has talent," JUNO Award-winning Ottawa singer Angelique Francis declared as she kicked off the 5th annual Capital Music Awards. The awards ceremony, recently held at the Bronson Centre Music Theatre, recognized a diverse range of Ottawa artists, bands, venues, and music industry players across 13 categories. Winners were selected through international juries and public voting, showcasing the city’s global appeal as an establishing music capital. The room was full of musicians and industry champions nominated for categories including Newcomer of the Year, Best Production and Arrangements of the Year, Video of the Year and Music Educator of the Year. Organized by the Ottawa Music Industry Coalition (OMIC), the awards highlighted the excitement around music coming out of the city. 

The Awards indicate growing opportunities for Ottawa artists to make a name for themselves and propel their careers while staying true to their hometown. Francis, for example, hosted the Capital Music Awards as a proud member of the local scene just weeks after walking the Grammys’ red carpet in Los Angeles.

Angelique Francis hosting the 2024 Capital Music Awards, photo by Laura Collins

Indie rock band Pony Girl—nominated in five categories—energized the crowd with the first performance of the night, and later took home Single of the Year for “Laff It Off.” Their returning presence at the Capital Music Awards speaks to the success of their recently-released albums on Paper Bag Records, playing shows across the country and continuing to tour internationally this year. 

Reflecting on the band’s experience as an Ottawa-based group, Pascal Huot of Pony Girl shares: “We are part of a community here. We’ve found support and other folks to work with. Working on this project in Ottawa over the last ten years has helped us expand our network in town. Lately, we’ve been meeting more people we don’t know at shows — and that’s exciting!” He acknowledges the many pockets of creative people throughout the city and events like Pique and the Capital Music Awards for helping further a sense of culture in Ottawa.

Pony Girl posing with their Single of the Year trophy, photo by Thai Duy Cuong Nguyen

“The Awards are more than an event,” Huot emphasizes. “There are many moving parts to putting on events and bringing together the community. Especially in an industry context, it’s not particularly easy or fun to bring resources into the arts.” Huot stresses the importance of these events and organizations that create profitable opportunities for artists working in Ottawa. He also highlighted the need to advocate for higher standards, professionalism, and accountability in the music industry. However, he believes one of the biggest things people can do to show their support is to simply show up: “Go to shows. Buy merch. Reach out to your network and see if you can find opportunities [to support] your favourite local artists.”

Pony Girl performing at the Capital Music Awards, photo by Laura Collins

N'nerjie, an emerging R&B-soul artist and winner of the Songwriter of the Year award for her smooth, heartfelt storytelling on "Tug of War," expressed her love for Ottawa's music scene: “Honestly, I love being an artist in Ottawa. I think the music scene here is incredible. The community is beautiful, and there’s so much talent in this city." As someone who didn’t grow up in Ottawa, N’nerjie says she’s grateful to have found her way in the city and expresses the significance of celebrating all facets of the city’s music ecosystem. 

“Events like the Capital Music Awards show not only artists, but other people in the city, that we are being recognized and our work matters, our talents matter, and it’s not going unnoticed. People can think that nothing really happens in Ottawa and it’s this small little city, but honestly, there’s a lot of great stuff happening here,” they add. 

N’nerjie winning Songwriter of the Year at the Capital Music Awards, photo by Laura Collins

Arts and culture are at the heart of any city. It’s how stories get told, communities are strengthened and opportunities are created. Erin Benjamin, President and CEO of the Canadian Live Music Association (CLMA) (and this year’s recipient of the Community Impact award), highlights the broader implications of supporting Ottawa’s music industry. “A thriving music scene adds exponentially to the quality of life in Ottawa, creating a place where people want to live and visit. Ottawa’s live music community is a major part of the solution as we work together across all sectors to overcome challenges, seize opportunities, and build a world-class city.” 

Erin Benjamin winning the Community Impact award at the Capital Music Awards, photo by Laura Collins

Benjamin emphasizes how bolstering the industry benefits not only those within it, but also citizens and visitors alike. “Music doesn’t just impact us emotionally, but also economically, socially, and culturally. By understanding our local music ecology and finding ways to nurture and foster it through collaboration and effective policy, we can leverage all that being a true music city means.”

With performances throughout the night and wins from artists including Hannah Vig, Grey Brisson, LeFLOFRANCO, School House, Joly and The Commotions, the 2024 Capital Music Awards proved the talent is here to make Ottawa a music city, with an audience poised to support its growth every step of the way. 


As Scott Ruffo, co-owner of The Brass Monkey, said in his acceptance speech for the Live Music Venue of the Year award, “Ottawa needs to be put back on the map, and that’s what we are trying to do.”


See the full list of winners here.


Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.


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2023 in Review (Also Cool's Top Albums)

 

2023 in Review - Also Cool’s Top Albums

Listen along with the official Sounds Cool 2023 playlist!

100 gecs - 10,000 gecs

100 gecs - 10,000 gecs (Dog Show, Atlantic Records)

Can an album be both cohesive and chaotic? 100 gecs defend their reign as hyperpop harbingers, bringing feral music into the mainstream. Starting off strong with a THX sample, “Dumbest Girl Alive” screams into the void with relatable–yet questionable–choices, like texting people back that you should probably leave on read. 

The throughline is glitchy, punky, technicoloured rage, sometimes with an in-your-face attitude, and sometimes more laissez-faire. “757” is a barrage of party-anthem lyrics, while “The Most Wanted Person in the United States” gives more of a “I guess I’m a serial killer or something” attitude.

Overall great listen if you’re okay with being overstimulated. Read our review of their show with Machine Girl here.


Alice Longyu Gao - Let’s Hope Heteros Fail, Learn, and Retire

Alice Longyu Gao - Let’s Hope Heteros Fail, Learn, and Retire

Unphased, unapologetic and unfiltered, Alice Longyu Gao’s breakthrough album Let’s Hope Heteros Fail, Learn, and Retire opens with one of the greatest lyrics of all time, “Imagine a world with no heteros.” Hot off the heels of her first world tour, the NYC-based wildcard and self-proclaimed CEO of ALG enterprises is delightfully impossible to keep up with on Let’s Hope. A bombastic concoction of hyperpop (understatement), industrial metal, EDM and flirtations with pop punk and sometimes dinner theatre-esque polka, Longyu Gao’s Let’s Hope makes one thing clear: gender is just as real as genre (it’s not).


Blonde Redhead - Sit Down for Dinner

Blonde Redhead - Sit Down for Dinner (Section1) 

NYC avant-rock trio Blonde Redhead gifted listeners Sit Down for Dinner this past September after a five-year marinade. Beguiling yet humble, tormented yet sexy, Sit Down for Dinner marks the band’s first release in nearly a decade, and perhaps their most genuine musings to-date. This balancing act is translated elegantly in the band’s live rendition of Sit Down for Dinner, with an evident chemistry that can be best described as the kind of mind-reading that comes from powerful creative kinship. 


Club Casualties - Bridge Under Water 

Club Casualties - Bridge Under Water 

This was easily one of our most listened-to albums of the year. Club Casualties is the joint project of LUCY (Cooper B. Handy) and Nick Atkinson, with Bridge Underwater being their second full-length album. The project provides a more dance-centric take on the duo's independent musical identities, while still highlighting their vocal-focused approach. The album also includes collaborative tracks with God's Wisdom, Mal Devisa, Sen Morimoto, and thoughtfully-layered vocals from both Nick and Cooper. 

Bridge Under Water feels like biking home after a summer evening that may or may not have impacted the direction your life is taking. The album is best listened to start-through-finish via Apple headphones.


Debby Friday - GOOD LUCK

Debby Friday - GOOD LUCK (Sub Pop) 

Not to brag, but we’ll note here that we have it on the record that Debby Friday’s GOOD LUCK was ranked one of our most-anticipated albums of 2023 before its release and Polaris Prize win: 

“On ‘So Hard To Tell’, Friday subdues her metallic, industrial-punk foundations to unveil raw, reflective and luminous R&B by allowing her unmodified singing voice to surface. [...] Upon first listen, the dynamism of ‘So Hard To Tell’ made Friday’s GOOD LUCK one of our most-anticipated albums of the year (yes, already!).”

(Also Cool Playlist Refresh, January 21st, 2023) 


Jordan Gardner - Rhythm Acceleration

Jordan Gardner - Rhythm Acceleration (CRSL)

If you go out dancing in Montreal, you’ve probably seen Jordan Gardner on at least one DJ lineup – whether it be at Datcha, Système, or an underground rave. Rhythm Acceleration is his first EP, drawing on rhythmic inspiration from the UK, Detroit, Chicago, and his many years in the field (AKA in the club). The album also features Montreal party scene staple Martyn Bootyspoon, who provides fiery vocals to “Rhythm Acceleration.”

The album’s sound is across the board party-ready, but draws inspiration from the spiritual unification that occurs on the dance floor, the ubiquitous pulse of Maori Hakka, and the the legacy of the Maroons, a revolutionary group in Jamaica that rebelled against the British colonists who enslaved them. Also Cool’s standout track, “Celine Dior,” is inspired by Gardner’s love for fashion, Chicago house music, and dancehall.


La Sécurité - Stay Safe!

La Sécurité - Stay Safe! (Mothland) 

Interview with La Sécurité by Rebecca L. Judd (June 15th, 2023):

“From the arresting synths of debut track ‘Suspens’ to the domineering bass line of ‘Serpent,’ the band has set a standard of heightened sonic volatility, and the remainder of the record continues that thrill. Stay Safe! provokes the senses with its bilingual musings and jagged new-wave arrangements, traversing between subjects like flirtation and bodily autonomy with the same crafty cool. “


Lil Yachty - Let’s Start Here.

Lil Yachty - Let’s Start Here. (Motown Records, Quality Control Music)

Rap-rock has picked up in popularity lately, and is easy to get wrong. Lil Yachty, however, brings a beautiful, elevated take on the genre, enlisting the likes of Alex G, Unknown Mortal Orchestra’s Jake Portrait, and Daniel Caesar, as writers on the project. There’s no misdirected angst, but rather careful consideration of the blending of genres and evolution of his sound.

We had the opportunity to see Lil Yachty perform live with his band earlier this year. The show’s production was excellent, with his live band all equally highlighted and clearly appreciated on stage. Lil Yachty performed flawlessly, providing an interlude featuring all his top hits, and then returning to the second half of the album to close out the show. Overall the album was unexpected, and one that’s easy to return to for deeper listening, or for a casual addition to your psych-indie-rap-rock playlist. 


Nabihah Iqbal - DREAMER

Nabihah Iqbal - DREAMER (Ninja Tune) 

With her sophomore studio album DREAMER, English musician, producer, DJ, broadcaster and curator Nabihah Iqbal reimagines her approach to music to overcome creative burnout. Conceived in its earliest forms on harmonium and guitar after her studio—and DREAMER’s buddings—were burglarized, Iqbal’s anticipated return transverses spacey dream sequences with 80s synth pop sensibility. For fans of A.R. Kane and Broadcast, look no further.  


No Waves - Postcard

No Waves - Postcard (Stomp Records)

Montreal’s punk scene sweethearts No Waves shared their first EP this year after signing with Stomp Records. The album is a compilation of songs written from when they were teenagers, and thematically is as emo as you can get. Postcard covers everything from the feeling you get when life starts to change a little too quickly to hometown angst. The obvious sonic comparisons are Surf Curse, Joy Again, and FIDLAR, but the band pulls inspiration from CRABE, LUCY (Cooper B Handy), ultra-pop hits, hyperpop and the Mexican punk scene.

Listen to our podcast episode with No Waves to learn more about the band, their inspiration, and Postcard.


Sasha Cay - Spin

Sasha Cay - Spin (Lighter Than Air) 

Spin is the striking debut record of Montreal born-and-raised indie rock singer-songwriter Sasha Cay. Recorded amongst friends in her bandmate’s home studio, Spin is a stunning, silvery portrait of vulnerable vignettes shared from Cay’s heavy heart. Between twinkling tunings and Cay’s hushed vocals, the songstress’ gritty inclinations shine through in both songwriting and sentiment. 


Turnstile & BADBADNOTGOOD - New Heart Designs

Turnstile & BADBADNOTGOOD - New Heart Designs (Dine Alone Records)

Hardcore-turned-jazz is an unexpected, but deeply appreciated, fusion of genres – especially when it comes from two of Also Cool’s favourite artists, Turnstile and BADBADNOTGOOD

Turnstile have always been arguably accessible as a hardcore band, drawing inspiration from classic hardcore song structures and indie rock sounds. It was a surprise to see them transform so elegantly with the help of BADBADNOTGOOD’s jazz fusion. However, for those of us who grew up going to BADBADNOTGOOD shows, you would know that although their music is pleasantly jazzy, there is almost always a moshpit IRL.

It’s the perfect album to get to know both bands, and stretches the boundaries of what a collaboration from two artists in very different genres can sound like.


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What's Cool at M For Montreal 2023

 

What better way to curb the effects of daylight savings than a weekend of music? The wide-ranging curation of the M For Montreal music festival returns from November 15th-18th, 2023. Offering exceptional programming from two distinctive lineups, the shows from the festival’s Official Selection are available exclusively to festival delegates and pro pass holders, while the Marathon bills are open to music fans alike. Discover Also Cool’s M For Montreal top picks in the highlight below, featuring never-before-seen artists for the mag to keep on your listening radar. Also Cool’s official M For Montreal playlist will be updated with more must-see acts in the week leading up to the festival.

Cartel Madras via Bandcamp

Marathon

Calgary-raised, Chennai-born Cartel Madras promises to stir a fervent atmosphere. The Desi experimental hip hop duo, composed of sisters Eboshi and Contra, commands audiences with their explosive blend of trap, punk, house and South Indian aesthetics - a genre they’ve coined as “Goonda rap.” For bold flows and anthems of resistance, hit Sala Rossa for the Consequence showcase on Saturday, November 18th.

Cartel Madras at M For Montreal

Alix Fernz via Instagram

Marathon

Sainte-Thérèse expat Alix Fernz (AKA Blood Skin Atopic) is the latest mistfit darling of Montreal indie label Mothland. Thriving in the allure of mischievous freak-pop, Fernz’s debut single “Wax” intrigues with its tightroping of post-punk and synthwave. Fernz plays alongside Hippie Hourah, presented by Simone Records, at Ausgang Plaza on Saturday, November 18th.

Alix Fernz at M For Montreal

Blesse by Gaëlle Leroyer

Official Selection

blesse is the sonic renaissance of former Zen Bamboo members Léo Leblanc, Charles-Antoine Olivier, and Xavier Touikan. Hot off the arrival of their debut album normal (Simone Records), the Montreal trio recently rocked Festival De Musique Émergente and Le Phoque Off with their distinctive garage-meets-hyperpop flare. See what all the fuss is about on Thursday, November 16th at Quai des Brumes.

blesse at M For Montreal

Heaven For Real by Beatrice Scharf-Pierzchala

Marathon* (available to pro and festival pass holders)

Quaint Toronto-via-Halifax art rock outfit Heaven For Real is the brain child of twins Mark and J. Scott Grundy. Between jangly rhythms and playful musings on every day life, the group has endeared audiences with their breezy, yet contemplative, songwriting for over a decade. Embrace the warm and fuzzies at their M gig, presented by The Current, at Café Cléopâtre on Saturday, November 18th.

Heaven For Real at M For Montreal

Poolblood by Kate Killet

Marathon* (available to pro and festival pass holders)

Polaris long-lister poolblood—the nom-de-plum of Toronto singer-songwriter Maryam Said—has made a splash with their full-length debut mole (Next Door records). Recorded entirely analog, poolblood’s mole is a tender, lush collection of bedroom-folk introspections. For a moment of poignant stillness, catch them alongside Heaven For Real at Café Cléopâtre on Saturday, November 18th.

poolblood at M For Montreal


M For Montreal

Website | Instagram


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Vanessa Tha Finessa Talks Her Talk on EP "CURRENT" (Foundation Media)

 

Vanessa Tha Finessa by Matthew Cowen

Propelled by the winning combination of bad-bitch charisma and savvy lyrical chops, Vanessa Tha Finessa can’t lose. The Los Angeles-based rapper recently gifted her EP CURRENT to the world – an artful appetizer that leaves no choice but to indulge.

While CURRENT marks Vanessa’s first release, it stands on the shoulders of an expansive sonic rolodex. The Ghanaian-born talent grew up surrounded by hiplife and dancehall alongside American pop music, and immersed herself in artists like Mac Miller and Nicki Minaj when she came Stateside. She was then scouted by casting director Sarah Benjamin after college, courting the fashion world by modelling for campaigns with Nike and Milk Makeup and posing for the covers of 10 Magazine and WWD.

All of these influences are front-and-centre on CURRENT, manifesting themselves as commanding Afro-fusion drum loops and an air of self-assuredness. “I birth these bitches like a doula / Head game crazy, can’t stay out his medulla”, Vanessa snarls mere seconds into opener “Talk Tha Talk”. The bouncy “Top Notch” layers punctuated claps over an echoing chorus: “Yeah, come rock my boat / ‘cuz it’s Murder She Wrote.” Vanessa knows what it’s like to be in-demand: her style toes the line between slapping you with both hands and being too chic to care.

Her decision to change lanes and emerge as a musician first came after a chance encounter with Smiles Davis at an LA party. The DJ and producer picked up on Vanessa’s wit, helping her to record the carnal “Run It” in 2019 (which went on to be featured on Showtime’s Flatbush Misdemeanors). The track is infused with a vaguely-industrial sensibility, peppered with steady claves and distorted vocal layers. Its inclusion in the middle of CURRENT seems to serve as a cleansing vignette of the artist’s first steps. Though a touch less tuned-up than the duo’s other collaborations, “Run It” succeeds at archiving an undeniable spark.

Spanning five tracks altogether, the fluidity with which CURRENT unfolds offers an intriguing testament to Vanessa Tha Finessa’s fast-paced life. An individual of many accomplishments who seems to tower above them all – reaching beyond artistic discipline to capture the weightlessness of poise.


CURRENT

Out May 25, 2023 via Foundation Media

1. Talk Tha Talk

2. It's You

3. Run It

4. Counterfeit

5. Top Notch


Produced by Falcons, Karats, Smiles Davis, and Royal Bait

Album photography by Matthew Cowan


Vanessa Tha Finessa

Instagram | Spotify | YouTube | TikTok

Rebecca Judd is the features editor of Also Cool Mag.


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Interview: The Return of Montreal's Suoni Per Il Popolo is an Intergenerational Celebration of Musical Escape

 

Suoni Per Il Popolo 2023 poster

Montreal’s world-renowned experimental music and art festival, Suoni Per Il Popolo, returns from June 1st to 23rd, 2023. The 23rd edition of the festival plans to animate the city’s beloved venues as a homecoming for music-makers, composers and the sonically curious. From the festival’s Plateau-bound nebulous and beyond, festival goers can expect a profusion of over fifty intimate concerts from local, national and international artists, and genre-defying programming spanning free jazz, avant-rock, noise/post-punk, avant-folk, afro-futurism and more. Along with concerts, the festival features sonic meditations, exhibitions, screenings, comedy shows, parties and a street fair

In anticipation of this year’s festival launch, we caught up with Kiva Stimac, Suoni Per Il Popolo’s co-founder and co-owner of Casa del Popolo and Sala Rossa

On this year’s edition, Stimac reiterates the significance of Suoni’s avant-garde programming as a means of community restoration: 

“With regards to anything in arts presentation right now, we have to consider the power and importance of music and creativity in healing from the turmoil of this global pandemic. What I’ve always looked for in experimentation and play is the questioning and liberation that you get from not only being a musician, but an audience member as well.”

Along with fellow festival co-founder and business partner Mauro Pezzente (Godspeed You! Black Emperor), Stimac established Casa del Popolo and Sala Rossa, two pillar venues in Montreal’s music scene. Acting as the festival’s homebase since its foundation, Stimac says their atmosphere brings Suoni’s values to life.

“As venues and as places, it has always been really important that we serve food and drink that is delicious and that when artists come, we provide them with a good stage and good lighting…and somewhere to stay in a really familial way! [Pezzente] is a musician and I’m a chef and a visual artist, so our model is based on both of us being artists and wanting to invite artists that we love to our home to celebrate and create with us.” 

While Suoni has expanded since its humble beginnings of “beer sales and selling sandwiches,” its DIY ‘til death mentality remains, with all of the festival operations continuing to happen behind the scenes at Casa and Sala on St Laurent boulevard. Likewise, the project continues to be funded by grants and unique collaborations, which Stimac feels fuels, rather than limits, Suoni’s spirit year after year.

“Though we have a limited budget, it forces us to look for money in other ways for special projects to do with artists. Like grants to fund local and international artists coming together to create a project,” identifies Stimac. “For example, this year we’re doing a deep listening sound walk with Pauline Oliveros’ life partner, IONE. It’ll be led by Ayelet Gottlieb, an Israeli-Canadian deep listening practitioner and vocalist,” she adds. “This makes it so there’s a multitude of ways you can experience the festival: You could go to a free meditation, a film screening, or a deep listening mountain walk, and then come to a performance.”

Suoni Per Il Popolo 2023 poster

Of course, Suoni’s “by artists, for artists” grit has also willed its vibrant and off-beat curation. This has set the festival apart since day one, making it the premiere event for testing boundaries through music. At the same time, Stimac and her team’s willingness to take creative risks with their programming set an interesting precedent for Montreal, which hasn’t always been the hub for out-of-town acts we know today. 

“When Casa del Popolo opened in 2000, a lot of artists were actually skipping Montreal on their tour routes,” she articulates. “So, people would play Toronto… and they would play Boston… And eventually, [my partner] Pezzente reached out to his agent, who was managing a bunch of cool artists at the time, and was like, ‘Why aren’t these bands coming to Montreal? Why don’t we try having them come to Montreal?’”  

From this phone call, Stimac and Pezzente went on to put together their first show with Scottish indie rock group Arab Strap at the newly opened Casa del Popolo. To their surprise, it sold out in 10 minutes.

“From that show and eventually starting to program at Sala Rossa across the street, we realized there was a demand for international touring artists here. Another major incentive [to book these acts], especially in the experimental and avant-garde worlds, was to invite them to Montreal in the first place.”

This effort has remained integral to Suoni’s raison d’être, and a way for communities, both local and international, to work together and “transgress the physical space” through creative innovation, according to Stimac. 

While the definitions of experimental and avant-garde have evolved throughout the years, Stimac maintains that Suoni attendees can still anticipate generations coming together to appreciate underground and outsider art.

“The size of our rooms limit you to new and up-and-coming artists, or unheralded elders at the end of their careers. This year, we have three different groups performing who are in their eighties—and on the other end of the spectrum—local groups in their twenties performing and a piano recital for young kids who are just starting out. Inviting all ages has always been important to me because you can see the trajectory of their career, and that is impactful to so many.”

Likewise, the intergenerational aspect of the festival remains integral for Stimac, due to the universally transformative power of music. 

“The release of listening to or making music can really heal trauma, and that’s the music I’m drawn towards. Whether it be the free jazz of my dad’s generation or the punk rock music of my generation… Music is made for liberation,” she explains. “My vision for the festival has always been challenging revolutionary good times.” 

Expand your listening palette and attend this year’s edition of Suoni Per Il Popolo. The festival kicks off June 1st at Casa del Popolo. Tickets are available online below. Follow Also Cool on socials for more festival updates and coverage in the coming weeks. 

Festival Information

Artists | Schedule | Tickets

Suoni Per Il Popolo

Website | Instagram | Facebook | Twitter

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.


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Chicago Post-Punk Duo Oddysseys Talks Friendship, DIY Happenings and New Single "Enough"

 

Oddysseys: Paul DiRico, (left) and Christian Treon (right)

Hot off the heels of their 2022 LP Softcore, Chicago-based post-punk duo and DIY collective Oddysseys shake off the bleak ache of winter with their new single “Enough”, arriving April 1st, 2023. Setting a promising tone for future music from the band, “Enough” cuts through its narrator’s uncertain inner-monologue with poignant, grungy rhythms and an undefeated aftertaste.

On “Enough”, Oddysseys’ Christian Treon shares:

“(‘Enough’) was written in the middle of the pandemic, when I started seeing less and less people; reaching out to less and less people. I was in a state of feeling very isolated, lonely and insecure. It progresses and gets louder and louder, following how I was feeling. It’s kind of like that build that comes from a while of being dissatisfied with how you handle situations—how you want to grow beyond (them)—and see how you can be enough not only for other people, but above all for yourself.”

“Enough” single artwork by Oddysseys

While we can’t say much more about the track until its release, listen to our audio interview with Oddysseys’ leading members, Christian Treon and Paul DiRico, below. Within, they discuss their latest arrival, learnings from their last album Softcore, as well as the admirable work ethic and camaraderie nurturing their creative vision.

Oddysseys

Instagram | Facebook | Spotify | 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, and a radio host & DJ.


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Youth Lagoon, May Rio, Ayane Yamazaki, Disq and More: Also Cool's Playlist Refresh

 

Heaven Is A Junkyard by Youth Lagoon

As we move into what is hopefully the final leg of a long winter, our listening habits have lean towards comfort songs and new releases. From the Ottawa-core soft indie rock of Trevor Sloan, to a high-energy party track from The Dare, our Refresh hits all the notes you need to get through your snowy walks and cozy days.

Listen to the latest chapter of our Playlist Refresh series on Spotify.

Trevor Sloan by Patrick Dinglasan

If you like upbeat indie-folk, 8mm footage, and mid-sized Canadian cities, you’re going to love Toronto-based artist Trevor Sloan’s latest single “Ottawa 1977”. The track marks one chapter of his new album Dusk Among the Palm Trees, out April 14. As Sloan delicately pores over fragments from his family’s past, the music video brings those recollections to life: twists and shouts, colourful beach balls, all-knowing grandparents and not-caring tots. His vocals are buoyant and pure, as ephemeral as the memories themselves: “Let’s laugh and dance / when we got the chance”. Sounds like good advice.

Trevor Sloan

Website | Instagram | Bandcamp | Spotify

May Rio by Logan White

Brooklynite May Rio has quite literally gone goblin mode with her new track “Need You Like”. Premiering this past Wednesday via Paper Magazine, the dream pop single is another instant classic from Rio, wherein she pens herself as a villain leading-on an unnamed lover: “You went to bat for me / I triple-played a loner / Gift-wrap your heart, you’re sweet / I’ll pickle it with the others”. Rich with bubbling synths and swanky guitar, Rio’s sugary voice and wit take centre-stage in the two-minute earworm. 

May Rio

Instagram | Bandcamp | Spotify

Ayane Yamazaki by Masahiro Yanagisawa

Tokyo’s Ayane Yamazaki reimagines city pop on her latest arrival “Saturn and Unicorn” Released on February 24th on me and baby music, Yamazaki’s buttery vocals glide atop luminescent melodies with hypnotizing danceability. Working tirelessly in crafting electro-pop perfection since the age of 15, Yamazaki has garnered a following from college and alternative radio stations around the world. In a statement on “Saturn and Unicorn”, Yamazaki shares that the song represents entering a new frontier; we can’t wait to see what’s next for the 24-year-old singer! 

Ayane Yamazaki

Website | Instagram | Spotify

The Dare via Bandcamp

New York’s Harrison Patrick Smith AKA The Dare resuscitates aughts electroclash hedonism on his brand new offering “Good Time”.  A fuzzy comedown from his breakout banger “Girls” (which has been a constant spin since its drop, by the way), “Good Time” is a sexy smoke break from a hazy dancefloor. The anticipated single expertly nods to dance-punk taste-makers like LCD Soundsystem and Peaches, making for a saturated rager that instigates entertainment for entertainment’s sake; and we’re absolutely here for it.

The Dare

Instagram | Spotify

Disq via the band’s website

Wisconsin rock band Disq have spent the week rolling through 400-series highways, spreading flecks of grungy magic along the way. The five-piece group is supporting the first half of Alvvays’ Canadian tour, but they emerge as the stars of the show – uneasy yet audacious, impossible to pin down and indifferent to your attempts. Their latest album Desperately Imagining Someplace Quiet feels agile and provocative, probing issues of the modern age with stream-of-consciousness wit and frenetic punk stylings. Many highlights to be found within their catalogue, but fellow emos will delight in how “The Hardest Part” scalds with its imagery and explosive climax.

Disq

Website | Instagram | Bandcamp | Spotify

Lucy via Interview Mag By Annabell P. Lee

It's fair to say that LUCY (Cooper B. Handy) is our latest musical obsession here at Also Cool. We initially discovered his music through his collaboration with Boy Harsher, "Autonomy”, and have since dove deep into the world of LUCY and caught his recent live set in Montreal with Night Lunch and Mark Cone.

His approach to songwriting falls balances simplicity with sometimes absurd but always heartfelt messages. Although it's not a new release, "Even The Score" (a collaboration with Whitearmor) has been on repeat for the last month, making it a worthy addition to our Refresh.

LUCY (Cooper B. Handy)
SoundCloud I Instagram

Youth Lagoon (Trevor Powers by Tyler T. Williams

Youth Lagoon (Trevor Powers) makes a tender return with his latest track, “Idaho Alien”, which comes off his forthcoming album Heaven Is a JunkyardIn 2016, Trevor Powers shut the door on Youth Lagoon. “I felt like I was in a chokehold,” he says. “Even though it was my music, I lost my way. In a lot of ways, I lost myself.” But after an over-the-counter drug reaction caused eight months of harm to Powers’ larynx and vocal cords, temporarily silencing his voice, he decided to return to the project.

Trevor comes home to Youth Lagoon through reflections on family, drug use, youth, brotherhood and war. “I don’t remember how it happened / Blood filled up the clawfoot bath, and I will fear no frontier.” 

Youth Lagoon
Instagram I Spotify

Scarlet Rae returns with a gentle heartache of track, “Waking Dream”. Her wavering vocals reflect on relationships with others, being alone, and moving on. “arms are open wide, my baby holds me tight, between love and light there’s always something left behind.”

For fans of Elliot Smith, Sparklehorse, and PACKS, keep an eye out for Scarlet’s live NYC shows.

Scarlet Rae
Instagram I Spotify


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Paying To Play: fanclubwallet on the Price of Touring the United States as an International Artist

 

Hannah Judge AKA fanclubwallet via Bandcamp

Editor’s note: The following interview originally aired on First Crush on CKCU 93.1 FM (Ottawa, Canada) on Friday, February 24th, 2023 and was produced by the author of this article.

Editor’s note (March 4th, 2023): Since the release of this article, the deadline to submit feedback to the Federal Register regarding the Department of Homeland Security’s proposed increase to visa rates has been extended to March 13th, 2023.


While the concept of "paying to play" is unfortunately nothing new in the music industry, especially for emerging artists, its harsh reality has risen to a whole new level.

In early February, the United States Department of Homeland Security announced proposed increases to performer visa fees that would make touring in the United States significantly more expensive, if not completely inaccessible, for international musicians.

In order to legally enter and tour the United States, international musicians are required to obtain P-type and O-type visas. Should the new rates come into effect, musicians will have to pay at least 250% more for the mandatory paperwork. As cited in Stereogum, P-type visa costs would skyrocket from $460 to $1,615, and the O-type visa from $460 to $1,655 (this is USD, by the way).

Not only will musicians be further inundated with the debilitating financial burden of touring, but the state of the North American music industry at large—and the hundreds of thousands of creative workers it employs—is under threat.

This news has driven musicians to take to social media to recruit supporters in lobbying the Department of Homeland Security to keep touring in the United States possible for international acts.

Also Cool had the chance to speak with Hannah Judge, AKA fanclubwallet, an Ottawa-based indie artist, on the issues facing Canadian musicians in the current cultural climate and how the community can show up to help keep touring possible for artists from our own music scene and beyond.

Listen to our conversation below. Supporters have until March 6th to oppose the move by leaving a comment on the Federal Register website here!

fanclubwallet

Instagram | Website | 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.


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Montreal's Eve Parker Finley Hosts New CBC Music Series "Ten Minute Topline"

 

Eve Parker Finley by Stacy Lee

Eve Parker Finley is putting musicians to the test by challenging them to write an original song based on a randomly-selected genre and a topic pulled from a hat. To top it off: contestants have ten minutes to compose their lyrics in-front of rolling cameras from the country’s biggest broadcaster. This is the concept behind Ten Minute Topline, the new CBC Music series hosted by the Montreal-based multi-instrumentalist and comedian.

On Ten Minute Topline, Parker Finley shares, “I hope [that people watching the show] get an excitement to try and play and experiment artistically themselves.”

With three out of five episodes out so far, the short series aims to “bring awareness to [the] diverse talent” making-up the Canadian music industry.

Hear our conversation with Eve Parker Finley on Ten Minute Topline below!

Eve Parker Finley

Website | Instagram | Bandcamp | Spotify

TikTok | Facebook | Twitter | YouTube

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.


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PREMIERE: Montreal's Love Language Melts the Winter Blues with "Little Gardens"

 

“Little Gardens” artwork by Heather Lynn

When in eastern Canada, daring to embrace the cold is part of one’s seasonal lifestyle. Here to warm us up from the inside, Montreal’s indie rock outfit Love Language premieres a double-feature single and video for “Little Gardens.”

Following the release of their lush 2021 EP Trying To Reach You, “Little Gardens” boasts a heavier and edgier sound for the band—bringing to life a jam-packed tour and bouncing from stage to stage in less than a year from their first show under an overpass in their hometown. Clad with fuzzy tones and a casual, yet spunky, delivery, “Little Gardens” aligns with Love Language being described as “the band that’s playing in the bar—that all the high school kids are somehow allowed into—in your favourite 90s teen movie.”

Recorded this past spring with Rene Wilson of Faith Healer, “Little Gardens” is one of the first songs written by the band after the release of their debut album. A charming outlier for being “peppery, alive and [not] taking itself too seriously,” the live setlist favourite teases a to-be-released EP, set to arrive in early 2023.

Love Language by Connory Ballantyne

On “Little Gardens”, Love Language shares: “It's a song about two people navigating the world at different paces, desperately wanting a connection only to realize that the other person may as well be floating somewhere out in the solar system.”

Accompanying “Little Gardens” is a rosy music video, shot by the band on Super8, charting their voyage to Sled Island and New York City this past summer.

So, consider “Little Gardens” an ear-worm for your winter funk survival. Give it a spin (over and over) and watch the video below for an endless source of sunshine!

Pre-save “Little Gardens” before its official release on December 16th here!

Love Language
Instagram | Bandcamp | Spotify


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Also Cool's M For Montreal Top Picks: Round One

 

Witch Prophet by Francesca Nocera

Bringing together emerging and established artists from across Quebec, the country and beyond, the M For Montreal music festival kicks-off next Wednesday, November 16th, and runs until Saturday, November 19th, 2022. Celebrating its 17th edition, the anticipated event offers a rich program featuring more than one hundred world-class acts. Discover Also Cool’s choice selections from this year’s M For Montreal lineup below as we gear up for the festival just one week away! Listen along with our accompanying playlist.

Witch Prophet

Witch Prophet is the moniker of Toronto-based operatic soul and alt-R&B singer-songwriter Ayo Leilani. Adorning a golden fusion of jazz, hip-hop, soul and prophetic dreaming, Witch Prophet “[creates] music as a portal for self-growth and discovery.” The queer, East-African songstress and rapper’s sophomore LP DNA Activation—a powerful ode to her Ethiopian and Eritrean ancestral roots—was shortlisted for the 2020 Polaris Music Prize amidst widespread praise. Driven by a dedication to uplifting community in all facets of her work, Witch Prophet is also the Co-CEO of Heart Lake Records, an independent record label supporting LGBTQ+ women, non-binary, gender nonconforming BIPOC artists and allies creating hip-hop, R&B and soul music. Her next LP, Gateway Experience, is set to release in the spring of 2023; get a taste with her latest single “Back 2 You”

Witch Prophet plays Le Système on Thursday, November 17th, at 10:00PM.

Tickets available at the door.

Witch Prophet

Website | Instagram | Twitter | Bandcamp | Spotify

Fernie by André Rainville

Fernie

Montreal’s West Island phenom Fernie won us over during his FME performance earlier this fall. Taking influence from soloists like Frank Ocean and Daniel Caesar, the Brazilian-Canadian singer crafts silky R&B that transforms a packed auditorium into a luxuriant cabaret listening-experience. Since releasing his debut album Aurora in September, the 23-year-old has been profiled by Cult MTL and graced the stage at this year’s POP Montreal festival. Capturing what it means to “leave your past behind, [find] hope and really [highlight] the struggles of believing in one’s self,” Fernie’s Aurora presents an ambitious trajectory for the up-and-coming artist. 

Earlier this week Fernie dropped a collaboration with fellow Montreal sweetheart Magi Merlin. Listen to their smooth new track “Dolla Bill” below! 

Fernie plays Le Belmont on Wednesday, November 16th, at 8:00PM.

Tickets

Fernie

Instagram | Bandcamp | Twitter | Spotify

L E M F R E C K

L E M F R E C K

Newport-raised, and now London-based, L E M F R E C K has been on the rise in 2022. Following the release of his album The Pursuit—which was nominated for the 2022 Welsh Music Prize—L E M F R E C K  blends hip-hop, ragga, gospel, and the stories of his community to create a bold sound that is uniquely his own. Confessional in nature, L E M F R E C K’s lyrics feel like a refined stream of consciousness, processing experiences into a smooth flow. Often compared to Sampha and Pa Lieur, L E M F R E C K combines his grime upbringing with trained musicianship, independently bringing Welsh rap to the international stage. 

Catch L E M F R E C K playing at Quai des Brumes on Saturday, November 19th, at 9:30PM. 

Tickets

L E M F R E C K

Instagram | Twitter | Facebook | Spotify

Flara K by Philippe Thibault

Flara K

Sam and Collin, of Flara K, both born and raised on Montreal’s South Shore, have been releasing funky, introspective pieces regularly since their 2020 debut album Anxious, Irrational, Fashionable. With a vibey, indie-electronic, R&B and pop mix, they explore anxiety, dealing with personal vices, and tackling self doubt and distrust with vulnerability.  The duo is deeply rooted in Montreal’s music scene, collaborating with the likes of Mike Clay (of Clay and Friends), What if Elephants and Milo Gore. With Sam’s stellar vocals and Collin’s groovy, prominent bass (find him also playing alongside Edwin Raphael), their chemistry, on and offstage, is palpable. The duo is set to release new music with Oliver Forest on November 17th and are 1/10th of the Montreal “anti-pop supergroup” Saint Zenon.

Flara K plays Sala Rossa Wednesday, November 16th, at 11:30PM (free show).
Flara K

Website | Instagram | Twitter | Spotify

M For Montreal

Website | Instagram | Twitter


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Lesser Evil Summon Everything That is Evoked Without Being Said on Debut LP "Subterranean"

 

Lesser Evil (from left to right: Ariane M. and Christophe Lamarche-Ledoux) by Ebru Yildiz

Lesser Evil are done interpreting their own sound. After nearly four years of tireless music-making, the Montreal-based electronic duo consisting of Christophe Lamarche-Ledoux and Ariane M. are excited to promote Subterranean and hear from the listeners themselves. The reception, according to Lesser Evil, is the second-most exciting part of being an artist; apart from the production stage itself.

I had the pleasure of meeting with Lamarche-Ledoux and Ariane on a sunny Saturday morning in late-September, where we had the opportunity to chat about their artistic process, how Lesser Evil came into existence, and what it took to create Subterranean — their debut album releasing on October 14th.

When talking about the formation of Lesser Evil, Lamarche-Ledoux describes the experience as natural, yet long-overdue. “We’ve known each other for a very long time,” says Lamarche-Ledoux, “because we were actually neighbours in a small town called Sherbrooke [Quebec].” 

Despite this, Lamarche-Ledoux explains that it took around eighteen years before the duo found themselves together in a studio, and that this actually happened after they respectively decided to relocate. “We both moved to Montreal, still not being friends. [But] we met in Montreal because we have a lot of friends in common from Sherbrooke, and [we had both been] doing music for a long time.”

Lamarche-Ledoux notes that when the two creatives and hometown neighbours finally collaborated on music production, the results were like nothing they had ever heard before. “While we were working on [Ariane’s] songs, the music became something else. It didn’t entirely sound like Ariane’s work, and it didn’t exactly sound like mine either… It kind of became this whole new thing.” He says that after hearing their strange and magical concoctions resulting from shared studio time, the formation of Lesser Evil occurred naturally. “At some point I just looked over and said, ‘Ariane, we should start a band.’ And that’s when the new [project] was formed.”

The results of this formation included an initial, self-titled EP in 2018, which produced much success upon its release; songs off the EP like “V.W” and “Cobra Effect” garnered thousands of streams on Spotify, and their track “Sight Of” has accumulated nearly 60,000 streams on the platform ever since. Still reeling from the initial hype generated by their first project, Lamarche-Ledoux and Ariane decided to hunker down and focus their energy towards something more nuanced and time-consuming. Nearly four years later, Subterranean came into existence.

Lesser Evil by Ebru Yildiz

Speaking on the creative process that went into making Subterranean, Ariane is quick to point out that the duo intended to create a piece of art that is intentionally ambiguous, allowing it to be left for interpretation by its listeners. “When it comes to the ‘bones’ of a song, it always needs to come from [us] initially,” Ariane says. “I’m an emotionally-driven person, and it dictates my life.” 

She goes on to say that the songs initially capture “a moment in time, where there’s something in me that [fixates] me.” She says that this is something that remains constant throughout the album, “As you start working on [the songs] it can pretty much go anywhere.”

Yet this incentive of having songs “go anywhere,” as Ariane puts it, is not without intention. Instead of giving clear direction, Lesser Evil instead opts to leave enough space in their songs to allow listeners to become lost in them, forcing them to find their own final destination. “I’m obsessed with everything that’s hidden; everything that’s tacit,” Ariane says. She explains that she has been doing psychoanalysis for five years now, and that this process translates directly into Lesser Evil’s music production. “When I try to write songs and capture that initial spark, I am also trying to tap into everything that’s hidden.” 

This process also inspired the album’s title, which refers to the “subterranean” elements of the human psyche. When our conversation transitions from focusing on the album’s production process to its title, Ariane describes the decision to name their project “Subterranean” as a “no-brainer.”

The controlled level of ambiguity that Lesser Evil conveys on Subterranean is clear on the singles that have been released leading up to the album. The song “Fiction” feels like an underwater voyage through subdued synths, with Ariane’s voice guiding listeners to their own conclusions as she softly sings about yearning, isolation and mystic love. Although quite different sonically, the bass-heavy dance track “Contemplate” is a surreal voyage through an underground tunnel, and Ariane’s distorted vocals equally shine on the song’s darkest and most upbeat moments. The instrumentation on these songs might change, but all have one thing in common: they are intended to resonate directly with the listener. 

Commenting on how they decide which sounds to keep while producing their music, Lamarche-Ledoux explains: “It could just be a synth sound, or the perfect amount of reverb on the [vocals]. It just has to be something that interests us, and that we can actually feel.” He elaborates by saying that while this process might “seem simple… it is actually very subtle,” and that it takes a lot of time to finalize.

Through this process, the duo aspires to create an auditory experience that listeners truly yearn for. “It has to resonate enough,” Ariane explains. “Christophe has to hear that little backbone, and be like ‘yeah, let’s spend [countless] hours on this.’” The music is intended as “a hybrid of classical songwriting” layered over “all the modern ways of treating sound,” Ariane says with a smile. The songs, as they explain, must emanate that “subterranean” reaction in thought as well as feeling. After all, nobody spends time in the studio isolating sounds and fine-tuning them if they never elicited an emotional response in the first place. 

Lesser Evil by Ebru Yildiz

Asking the duo about their creative traditions before hitting the studio, Ariane says that their music typically forms itself through improvisation: “[B]asically, we show up and see what happens.” But at a certain point in the day, Ariane and Lamarche-Ledoux do in fact have an unspoken ritual to uplift one another’s spirits. “We’re looking for high-fives,” Ariane says. “We never know what we’re going to do when we arrive; we just show up and do a session. But then, we always say that we’re looking for that ‘high-five’ moment, when we’re so enthused by our work that we begin screaming and high-fiving.”

Ariane notes that they have an additional, unorthodox tradition while making music: belting out lyrics from 90s hits like Jock Jams’ “Are You Ready For This” during their more successful moments during production. “I’m usually in the back and Christophe is in the studio,” Ariane says, “so sometimes we don’t really see each other for hours. And then he’ll just say, ‘Are you ready for this?’ and I [start singing] in the back.”

Wrapping up our interview, I ask Ariane and Lamarche-Ledoux what Lesser Evil fans can expect in the months following the release of Subterranean. “Will you guys be touring at all?” I wonder, “or will you be looking to make some music videos? Or are you guys just going to be taking a break because your album is out and you’re tired,” I muse. Lamarche-Ledoux chimes in by saying. “Are you crazy? That’s not how it works!” We all share a good laugh.

“We’ve worked for years on this record,” Lamarche-Ledoux says. “We’re really proud of it, and we want to make it [have] a life. We’re getting into some activities — some shows here and there, including a Montreal show and a Quebec show. We’re probably going to play in New York at some point next year as well.” He elaborates by saying that because Lesser Evil is a DIY project: “It’s really insane, and we’re having trouble doing all these things at once. It’s also all out-of-pocket money, so it’s pretty fucking crazy,” he jokes. “We’re really just smashing this project into the world as hard as we can.” 

The band notes that music videos and visualizers are not something that they are willing to take-on themselves, but that they are not opposed to having creatives try to visualize their work. This has been done twice already for songs off of Subterranean, including collaborator Joël Morin-Ben Abdallah’s otherworldly visuals for “Fiction” as well as Abdallah’s recent, psychedelic visualization for the track “Haze,” which uses images from the 1981 Hungarian movie Son of the White Mare.

As a final question, I ask the duo whether there is anything else they would like to chat about. Ariane replies promptly, saying that more than anything, “...I just want people to listen to the album… for us, we worked so many years on this. I just want other people’s judgment on [Subterranean]. I’m tired of listening to my own analysis.”

Lamarche-Ledoux echoes this sentiment in his answer, but also notes that bringing the world’s artistic community together is the primary response he wants to elicit. “Now the most fun part of doing art is over, which to me is making music. We’re getting into touring, and doing promotional stuff… this is kind of less fun to do. Moving forward, I want to meet more people who are interested and genuine about art, and our music. That’s all I want: I don’t necessarily want an ‘enemy interview,’ or a TV spot. I just want it to be about the love of music, and being true. Not about success.”

Subterranean comes out on October 14th, but in the meantime you can listen to Lesser Evil’s ethereal new singles on their Spotify or other streaming platforms. They also have two upcoming shows you’ll want to check out – catch them on November 4th in Quebec City at Le Pantoum, or November 5th in Montreal at La Sotterranea.

Lesser Evil in Montreal post-interview; photo by the author


SUBTERRANEAN

Out October 14, 2022

1. New/Same

2. Fiction

3. Subterranean

4. Heights

5. Wandering

6. Contemplate

7. Haze

8. Heavenly

9. Hot-Blooded

10. Reincarnation

Engineered, composed and produced by Lesser Evil

Mixed by Mark Lawson

Mastered by Brian Lucey at Magic Garden Mastering

Artwork by Caroline Robert

Source photo of the diver by Odile Gamache

Logo by Florian Petigny


Lesser Evil

Website | Instagram | Bandcamp

Facebook | Spotify | Apple Music

 

Spencer Nafekh is a tireless reader, writer, editor, and advocate for the written word. With an undergraduate degree in Concordia's English and Creative Writing program imminent, he plans to pursue a Master's specialization in journalism so that he can fully realize his career path. When Spencer is not working away, he is probably listening to experimental music while lost in the world of a science fiction novel.

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OMBIIGIZI Incites Change Through Embracing Musicianship as Cultural Responsibility on Debut "Sewn Back Together"

 

OMBIIGIZI (from left to right: Daniel Monkman, Adam Sturgeon) by Rima Sater

For moccasin-gaze band OMBIIGIZI, musicianship is about more than self-expression, it’s about cultural responsibility. 

“If we’re going to be Indigenous artists, we also have a responsibility to share parts of ourselves that not a lot of musicians necessarily have to wear. Being able to experience that struggle together is what helps us to overcome its challenges,” shares Adam Sturgeon, one half of OMBIIGIZI.

Composed of Anishinaabe musicians Daniel Monkman (Zoon) and Adam Sturgeon (Status/Non-Status), Toronto/London band OMBIIGIZI formed in 2021 and shortly thereafter composed their Polaris-Prize-nominated debut Sewn Back Together–released this past February on Toronto label Arts & Crafts

Produced by Kevin Drew of Broken Social Scene, Sewn Back Together drew both Sturgeon and Monkman out of their comfort zones to combine their complimentary styles into an expansive listening journey that is both meandering and thunderous. Awash with grungy, whammy guitar and pop-punk vocals, intertwined with crystalline moods and open hearts, Sewn Back Together manifests honouring the reclamation of heritage and a mutual commitment to healing. 

“The spirit in me is my family / The past and the future / Together it’s nearer / To our prophecy / This resurgency / I’m hearing you calling / So I make this offering”

- “Spirit In Me” (Sewn Back Together

Through its exploration of both individual and collective identity, Sewn Back Together reckons with the realities of generational trauma, guided by familial teachings and a connection between Monkman and Sturgeon that transcends their collaborative brilliance. 

In a fortunate opportunity to speak with the band before their set at FME, we discuss how they hold space for each other’s vulnerability in their craft. 

“We put ourselves together in a safe way, so that we can understand eachother,” says Sturgeon. “Touring can be difficult because we go from our studio–a really safe environment–to the road, where we encounter the struggles of the music industry. It’s the reality of what we do, but we always have each other to actively remind ourselves why we’re doing what we’re doing,” he adds. 

On the notion of touring insecurities, Monkman chimes in: “Venturing into unknown territory can be scary. Most people we meet are really kind, but you never know when the convoy freedom flags will fly up… [Being in Quebec], I get caught up in the French language stuff and it’s making me think more and more about how we’re all trying to exist on Turtle Island. Ultimately we have to come together…” 

In a way that almost seems like Sturgeon can read Monkman’s mind, he continues: “Differences between us are our strengths. The more that we collectively acknowledge ourselves, the more we can collectively see each other. Our traditional teachings remind us of that.” 

OMBIIGIZI by Rima Sater

Through embodying a creative mindset that uplifts their shared backgrounds, OMBIIGIZI incite change for future generations. One important aspect of the duo’s shared path is nurturing artists’ sobriety within the music industry, something that often comes as an afterthought when introducing safer space practices. 

“Looking back, how do you feel you set an example for a younger version of yourselves?” 

“Sobriety has been a big inspiration and is a movement within our band,” nods Monkman. “Our families are so important to us and addiction has been a part of our histories.”

“It’s really tough in the music industry,” says Sturgeon. “It’s hard not to want to partake in…desirable things? I suppose. But we keep each other humble and stay grounded.” 

“We don’t have alcohol in our greenroom or on our rider. When I first talked to my dad about sobriety, he couldn’t understand. But now looking back. I’m glad to be in the present with other people who have continued to build a strong foundation for themselves,” concludes Monkman.

It’s through informing the present by looking at the past that OMBIIGIZI cultivates their motivation to inspire themselves and future generations. With a sound, energy and outlook that comes to life on stage, OMBIIGIZI and their aspirations to make change sets them apart from the status-quo. With their first release stirring thoughtful conversation in less than a year of rotation, they’ve set in motion a notable artistic trajectory to keep a pulse on.

Don’t miss OMBIIGIZI at POP Montreal on Saturday, October 1st at L’Entrepôt77 at 7:00pm.

OMBIIGIZI  

Instagram | Bandcamp | Twitter

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.


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Also Cool's Official POP Montreal 2022 Playlist

 

It’s finally here! POP Montreal begins today for an extended weekend of concerts, panels, exhibitions, film screenings and all-nighters in the name of barrier-busting creativity. Whether you’re bouncing between venues in Montreal or experiencing the highlight reels from afar, get in on the POP Montreal spirit with our official festival playlist—featuring 40 tracks from our first and second lineup top picks, as well as Also Cool fixtures and new discoveries.

Bon festival, Montreal! We’ll see you at the show and on the dancefloor.

POP Montreal

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Tune In and Drop Out with The Shivas' "Doom Revolver" (Suicide Squeeze)

 

The Shivas. Photo courtesy of Tyler Bertram

After 16 years of making music and touring, the sound of Portland’s The Shivas is nearly impossible to pin down. That being said, their latest release “Doom Revolver” comes close.

This single marks the band’s first release since their 2021 album Feels so Good//Feels so Bad. Released by Suicide Squeeze Records as part of their Pinks and Purples singles series, “Doom Revolver” embodies the act of letting go. From the opening riff of an electric guitar–which seems to bubble and cascade over itself–to the reverb-heavy harmonies, this EP implores you, after several particularly tumultuous years, to relax and not attempt to struggle against the flow.

Released on May 23rd, “Doom Revolver” is the sonic culmination of nearly two decades’ worth of sonic exploration. The Shivas have tapped into every sound across the spectrum, ranging from the folk-rock tendencies of the Mama and the Papas to punk riffs that are characteristic of the Strokes. Such a fluctuation between sounds may seem inevitable when considering the musical trends and changes that this band has witnessed over the course of its evolution. Formed in 2006 while most of the members were high school students, the growth of The Shivas’ sound has mirrored that of its young members, and arguably the alternative rock scene at large. 


Now in 2022, “Doom Revolver” realizes that nothing in life is expected, and that it's necessary to take things as they come and roll with the punches. Indeed, this single expands on the themes explored in Feels so Good//Feels so Bad—namely, that of enlightenment through acceptance. Born from the chaos of the COVID-19 pandemic, The Shivas’ most recent music has taken on the message of embracing what comes.

The Shivas. Photo courtesy of Kevin Olmedo

“Doom Revolver” opens with an almost-twangy electric guitar, competing with heavy drums and crashing cymbals for dominance of the overture. This cacophony illustrates the chaos that is antithetical to the message of the song, immediately imbuing one with the sense that it would be best enjoyed outdoors with a warm PBR in hand. 

The instrumental intro then breaks. Singer and drummer Kristin Leonard’s vocals harmonize beautifully with guitarist and singer Jared Molyneux to create a quasi-psychedelic experience wherein the listener feels engulfed. As the song enters its first verse, the abrasive guitar riffs fade away—allowing a more psychedelic and 60s-influenced sound to take center stage. Enveloped by these hypnotic vocals, one can not help but find peace in their message, “Don’t run, don't have no fear / There’s nothing you can do, the end is here.” 

If you’re looking for the summer anthem to help you ‘turn on, tune in, and drop out’ after a long hard start to 2022, “Doom Revolver” has you covered.

Stream “Doom Revolver” below!



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Mitch Davis Ditches Hibernation on Sunny Debut LP "The Haunt" (Arbutus Records)

 

Mitch Davis by Richmond Lam

A trip around the sun has passed since we last touched base with Montreal multi-instrumentalist and do-it-yourself aficionado Mitch Davis.  In the meantime, Davis has tied a bow on his debut LP The Haunt and returned to the stage, in both in Montreal and at Austin, Texas’ SXSW music festival. Out April 29th, 2022 via Arbutus Records, The Haunt manifests a spectrum of mediations in both sound and spirit.

Realizing some compositions that predate Davis’ relocation to Montreal, The Haunt celebrates Davis stepping into his own with an entirely solo production: writing all the songs and playing all the instruments on the album, as well as recording much of the work on self-built equipment in his home studio. The result is a soulful and playful blend of jazz, funk and beaming pop; adorned with rhodes, clavinet, synth and drum machines. An album-long ode to themes of isolation and loneliness, as well as looking for love in the dawn of the COVID-19 pandemic.The Haunt achieves both breeziness and brevity for a class-act spring listening experience.

 

Speaking with Davis leading up to his album release, I asked him how the final product came to be, knowing that The Haunt has been years in the making. We started first by chatting about how Davis knows when a song is complete.

 

“It’s a feeling that comes over me once I’ve obsessed over a song. Eventually, I won’t have anything else to add or take away. When I don’t know what to do next [in production], I try to keep at it. I have a lot of friends who will move on to another song in the meantime, but more often I’m obsessively working on one song for like, a month straight, and never putting it down; never stopping, listening to it day and night. Once it starts to lose its novelty and sound like mush, I’ll take a break for usually one day or so.”

 

“Do you have any rituals that you do to get back on track when this happens?” I wonder.

 

“Hmm, I don’t know about rituals,” smiles Davis. “But, once I get sick of a song and I’ve heard it too many times, to the point where it sounds like nothing, I’ll adjust the pitch, up or down. It triggers something in part of my brain —hearing my song in a different key— and that helps me to look at it fresh again.”

With self-reliance being at the core of The Haunt, I wanted to know where Davis finds inspiration when working alone. Unsurprisingly, he is moved by other jacks of all trades.

“I’m inspired by people who, like me, play all the instruments, record themselves, things like that,” he brims. “Though I try to not have influences be a conscious thing and act on creativity in the moment, there are important, multifaceted soloists throughout music history that influence me, like Stevie Wonder, Todd Rudgren and Sly Stone.”

 

On the note of his debut being entirely self-directed, Davis then told me about the narrative structure of The Haunt.

 

“It’s funny, years ago I was trying to get myself to create an album and nothing was working. I imagined having a set of literal hats, or characters in my mind, to embody and portray the thoughts and ideas I was trying to put into music. Nowadays, I don’t have to do that as much and I’m able to just be me. That said, I do feel inspired by holding and interacting with different instruments. Even if there are just drums down on a track, or some scratch guitar. Or, I’ll play bass for 12 hours until I get it just perfect… and then I’m done being the ‘bass player’ forever, and can move on to being someone else.”

 

“Do you have a particular relationship with any of your instruments?”

 

“I have the closest relationship with the piano, one of my first instruments. I never used to be much of a bass player, but now I feel really connected to it. I do feel the most inspired by piano because it’s where I can most easily express chords and experiment.”

 

With the unveiling of The Haunt, Davis looks forward to sharing his music in a live context. To conclude our conversation, he told me about rediscovering the energy of playing with a band and the direction he plans on taking with the project.

 

“Playing with a band opens up the door to a lot of improvisation and extending my songs in a natural way, which is something I can’t do alone. There are really nice surprises that come with a live setting because everyone brings their own tastes to it. I’m looking forward to bringing these experiences into my writing process. I only just started caring about recording… Normally, when I’m writing , half of the inspiration will come from going to shows and connecting with people, like the other bands I play with, like Marci and Sorry Girls. [The Haunt] is a weird record because it was spent in isolation, but I’m grateful that it kept me busy and got me through the tough, curfew-ridden Montreal winter.”  

The Haunt is out on April 29th via Arbutus Records and can be pre-ordered on their website.

Poster by Amery Sandford

Montreal: Don’t miss Mitch Davis’ album-release show at Brasserie Beaubien on April 29th at 9PM with local supporters Night Lunch and Alicia Clara. Pre-sale tickets are available here.

Mitch Davis

Instagram | Twitter | 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, and a radio host & DJ.


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