camoufly and Dazegxd, Scarlet Rae, Safe Mind, And More: Also Cool's Playlist Refresh

Hildegard (Helena Deland and Ouri) by Raiden Louie

While 2024 is coming to a close, our favourite artists show no signs of slowing down – we couldn’t resist dropping a Playlist Refresh to celebrate.

The Also Cools have an abundance of new tunes to share from artists like Das Beat, Hildegard, and Fickle Friends. If you hear something you like, we encourage you to explore the rest of our Playlist Refresh series by saving our playlist on Spotify.

Scroll on to feast your ears!

TUKAN by Joris Ngbn

TUKAN - “Pluck”

Belgian electronic outfit TUKAN have kept us in a spell since their thrilling three-part stint at FME 2023 – so naturally, with the news that their latest album Human Drift will drop next month, we’re riding high. The dark ambience and bouncy synths of “Pluck” indicate a sharp new direction for the group. Trust us: it’s never too late to ride the wave.

Das Beat by Marina Mónaco

Das Beat - “Wrestling My Mind - Salzbauer Edit” (Arbutus Records)

We love a rave edit, and Das Beat’s newly remixed “Wrestling My Mind - Salzbauer Edit” really hits. Perfect for long walks to the rave, or when you’ve been inside your apartment for way too long and now it’s dark out and you decide to go on a mental health walk.

Camoufly by Francesca Mirabile

Dazegxd by @cooly.fooly

camoufly and Dazegxd - “nothing left 2 say / give u everything” (kawaii bounce)

With euphoric new single “nothing left 2 say,” the synergy between the elusive camoufly and Brooklyn “genre-agnostic” Dazegxd will deliver a shock to your system. Follow that up with the slinky garage banger “give u everything” for maximum pleasure.

Your Friend Brennan

Your Friend Brennan - “Figment”

Sweeping, gorgeous, and the right amount of spooky, Your Friend Brennan offers “Figment” off of his latest album Dream Hall. Accompanied by a live visualizer shot in an abandoned church, “Figment” pulls you into through a shimmering veil and into YFB’s world.

Scarlet Rae by Gita Gandelsman

Scarlet Rae - “Bleu” (Bayonet Records)

Scarlet Rae brings a beautiful and glitchy offering into the world with “Bleu,” landing softly for fans of Alex G and Elliot Smith. “This is the most vulnerable song I have ever written,” Rae says of the brooding track. “A reflection of pain, love, and powerlessness that comes with watching paranoia take over someone you cherish.” Inspired by her sister’s name, the track weaves through processing the numbness of dissociation and raw emotion.

Hildegard by Raiden Louie

Hildegard (Helena Deland and Ouri) - “No Other Mind” (Chivi Chivi)

Montreal’s mini supergroup Hildegard (Helena Deland and Ouri) share “No Other Mind,” a gentle follow-up to their most recent album Jour 1596. The track feels like playing with your childhood best friend on a summer afternoon, exploring the grass and running through fountains.

Fickle Friends via YouTube

Fickle Friends - “Dream” (Palmeira Music)

Brighton indie-pop group Fickle Friends remain chronically underrated. Their melodic sensibilities deliver an uplifting radiance, and their knack for lovesick lyricism can dig the deepest memories out of anyone. Following a hiatus, the band is back and brighter than ever, and their new single “Dream” reminds you of the sound that was impossible to forget.

clay pigeon

Never Better

clay pigeon and Never Better - “Ten Holes In Your Tennis Court”

“Everything means nothing to me now.” The latest track from clay pigeon and Never Better feels like warm sunshine, reminiscent of 2016-era Jons’ Serfs of Today. Sparkling guitar cascades through the song, while the lyrics guide us through the beautiful mundane, careful thoughts, and contemplative reflections.

Safe Mind by Yulissa Benitez

Safe Mind (Boy Harsher and LUCY [Cooper B. Handy]) - “6’ Pole”

Although not a super new release, “6’ Pole” by Safe Mind (LUCY [Cooper B. Handy] and  Augustus Muller of Boy Harsher) is a banger that’s been rinsed and repeated on our personal playlists more times than we can count. LUCY appeared on Boy Harsher’s 2021 album The Runner (Original Soundtrack) with his track “Autonomy,” and this feels like the perfect follow-up.

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Dive into the World of Poolgirl

Poolgirl by Alice L’arrivée (from left to right: Laura Clark, Gwenna Pirozzi, Manya Ziemiecki, Miranda Powell-New, and Rachel Bradbury)

At 7:41 PM on June 11th, 2023, classical flute student Gwenna Pirozzi tweeted that they were “very serious about starting band now” and asked anyone interested to hit them up with what instrument they play. Several tweets and Instagram story callouts later, Rachel Bradbury, Gwenna Pirozzi, Miranda Powell-New, Manya Ziemiecki, and Laura Clark came together to form what would soon be known as Poolgirl: an emerging alternative rock band based in Montreal/Tiohtià:ke.

One of the group’s most frequently asked questions is about their name, which happens to be the inverse of Girlpool, a now-disbanded indie rock band. To clear things up, percussionist Bradbury—who has seen Girlpool in concert—says that they “zero percent thought of” Girlpool when brainstorming band names, and were mainly working off of Notes app lists of words everyone thought would sound cool. With T-shirts depicting a woman lounging in a swimming pool juxtaposed with lyrics capturing the joy of “drinking beer and playing pool,” the band says it’s up to the listener to decide what the name means to them.

Nearly a year and a half after Pirozzi’s aspirational tweet, Poolgirl has released their first EP, racked up thousands of streams on Spotify, played the internationally-acclaimed POP Montreal music festival, and developed a loyal following of 20-something-year-olds with dyed hair and facial piercings who shout along with the band all across the city. From the smoke-laden atmosphere of Traxide to the vibrantly graffitied concrete slabs of the Van Horne Underpass, Poolgirl never fails to curate a safe and welcoming concert environment. This is a result of the band’s creation of their own space in a scene that often tends to be dominated by men. Instead of attempting to break into a scene they had no interest in belonging to, Poolgirl has instead forged their own path. This includes booking their own shows, often “with [their] people,” and playing benefit concerts for organizations whose values align with theirs, such as Rock Camp Montréal, a nonprofit organization that empowers girls, trans kids, and queer kids through music.

Poolgirl performing at Batiment 7 by Judy Yun

With only two released singles in their repertoire, the band was selected to perform at POP Montreal, a five-day-long music, film, and visual art festival that invites acts from all over the globe to play at over 50 venues across the city. When Powell-New, who applied on behalf of Poolgirl, broke the good news to the rest of the band, everyone was “screaming with joy.” In addition to delivering an electrifying performance at Mile End’s Quai des brumes on September 28th, being accepted meant seeing their name on the POP Montréal advertisements on the metro and the festival’s iconic beer cans. Balancing festival performances with school and work can be hectic but the band agrees that they “wouldn’t trade the experience for the world.”

Playfully titled I Can’t Swim, Poolgirl’s debut EP is a four-track testament to the band’s artistic versatility. Although the majority of the songs they perform tend to transform every venue into one large moshpit, new tracks “Lucy” and “Pool Party” offer a glimpse into the group’s more mellow side. With the upbeat, anger-fueled tracks “Charity” and “POS,” the EP is an eclectic mixture of rage, queer joy, and somber melodies. Beginning with the cover, a collage designed together by all five band members, the EP is a collaborative effort from start to finish. Although the bulk of the lyrics are composed by Powell-New, the band ties everything together with very open communication, allowing every member to offer their input. With artistic influences ranging from indie duo Wet Leg to riot grrrl pioneers Bikini Kill, and educational music backgrounds including classical voice training and percussion performance, I Can’t Swim weaves these differences together to form a cohesive and catchy EP. 

Along with the new EP, Poolgirl fans can expect new merch and music videos, in addition to a full-length album in the future. However, Poolgirl will be on hiatus from around February to April 2025 to focus on songwriting. The band plans to use this time to jam and work on new music but will not be playing any shows. That being said, make sure to take a dip on January 18th at Batiment 7, which will be Poolgirl’s last show before the hiatus. 

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I Can’t Swim

Released December 6th, 2024

1. Lucy

2. Charity 

3. Pool Party

4. POS

All songs by Poolgirl 

Gwenna Pirozzi - Bass

Miranda Powell-New - Vocals

Manya Ziemiecki - Rhythm Guitar & Background Vocals 

Rachel Bradbury - Percussion

Laura Clark - Guitar

Matt Sagar - Recording

Mixing & Mastering - Sarah Harris 

Artwork by Poolgirl

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Poolgirl

Instagram | Bandcamp | Spotify | Youtube

Maggie Caroddo (they/them) is a lesbian writer and film fanatic originally from Long Island/Lenape Land and currently based in Montréal/Tiohtià:ke.

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Montreal's Prism Shores Unveil Jangle-Gaze Anthem "Tourniquet" (Meritorio Records)

Prism Shores by Alex Apostolidis

Montreal “jangle-gazers” Prism Shores stretch beyond the jagged cracks of late-November sidewalks with “Tourniquet,” out now via Meritorio Records. The single marks the second off of the group’s forthcoming album Out From Underneath, which is set to release on January 17th, 2025.

Prism Shores—comprised of Jack MacKenzie, Ben Goss, Luke Pound, and Finn Dalbeth (Dresser)—are reliably impressive when it comes to crafting meditative indie freefalls, but “Tourniquet” and its cohorts hint at something more. This new era sees Prism Shores breaking out into more ambitious soundscapes, flexing some exponential overdubbing for a pleasing shoegaze wave. It also employs the band’s sonic talents in exciting ways, with each member taking a stab at vocals, guitars, and other instrumentation for a heightened sense of collaboration.

Said the band of Out from Underneath’s latest track:

“The closest we’ve come to a straight-up power pop song. The idea was to make the track sound like first record Teenage Fanclub with MBV glide guitar – I think it’s one of our favourite tracks on the album. Our drummer Luke plays the jangly lead guitar riff on this one, and Ben plays a ripping skronky solo at the end. It also has backing vocals from our friend KT Laine, one of her four contributions to the record. Lyrically, it’s about reckoning with unhealthy self-criticism and dependency on certain coping mechanisms.”

“Tourniquet” nods to the brooding grip of dream pop staples like The Sundays, burning brightly as it flails towards maturity. The single captures an airtight act’s evolution in more ways than one.

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Prism Shores

Instagram | Bandcamp

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Dehd and This Is Lorelei Shred at Foufounes Électriques in Montreal

Dehd by Malaika Astorga

Dehd puts on one of Also Cool’s favourite live shows. Their sets are always memorable and create an atmosphere that makes one feel at ease alone in the crowd. The Chicago three-piece played at Les Foufounes Électriques on a warmer-than-usual October night as the second stop on their Poetry tour with This Is Lorelei as the opener.

The usual indie rock band t-shirt-and-Docs-clad crowd filled the space, comparable to the club in Buffy the Vampire Slayer, and revered by many as “that place where Nirvana played once.” 

This Is Lorelei by Malaika Astorga

This Is Lorelei, also known as Nate Amos of Water From Your Eyes, My Idea, and Beetles, took the stage with his straightforward ballads and equally direct stage banter. “We’re gonna play a song about a lot of things but also nothing, so take what you want from it,” he announced. He subsequently shared similar anecdotes throughout the set, covering everything from Christmas to trash. His set was solid overall and would speak to fans who wish Alex G was a bit more energetic. 

Dehd by Malaika Astorga

Dehd stepped onstage with a brat-green guitar and shared dreams of speaking with horses. They played a healthy mix of fan favourites and songs from their fifth album, Poetry. Almost no phones were in sight as the crowd scream-sung practically every song back at them, dancing as hard as they possibly could. A friend of the magazine referred to their music as “music for biking in the springtime.” Despite it being the middle of autumn, Dehd’s fresh, joyful energy flowed throughout the venue. 

Overall, it was a sweet show, with an equally enthusiastic crowd who made it impossible not to sing along. Catch Dehd on the rest of their North American tour: 

Tickets

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

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

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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!

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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 

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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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VICTIME

Instagram | Bandcamp | Spotify

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Cosmopaark Explores Modern Shoegaze Avenues with "Backyard" (Howlin' Banana Records / Stellar Frequencies)

Cosmopaark by Mathilde Rey

On Cosmopaark’s “Starve,” the static crunch of the drum machine snaps you into focus. “Good enough to be sad but not to come back / Not enough to feed the belly of your eyes,” laments singer-guitarist Clément Pelofy, his tangled thoughts cloaked by soothing melodies. Thus begins the unfurling narrative of Backyard, Cosmopaark’s new EP – out now via Howlin’ Banana Records and Stellar Frequencies.

The Bordeaux-based trio—Pelofy, drummer Baptiste Sauvion, and bassist Wanda Meha—have climbed the ranks of France’s shoegaze scene, turning heads with their sterling debut album and I can’t breathe enough. But the five new tracks that comprise Backyard have barrelled to the surface, promising a progression from what has just gotten started.

Speaking to the sound of this new record, the band shared:

“This EP is, for us, the logical continuation of our artistic evolution. We continue to explore and search for what makes us vibrate. Still introspective but lighter in subject matter than the previous album, this EP is an ode to resilience. Each track speaks of movement and moving forward—taking one last look back and continuing to advance.”

Indeed, Backyard burns with a refined sense of purpose. “Olive Tree” bears a hypnotic, twinkling quality, while “Hole” oscillates between a laidback indie groove and maximal grunge distorsion. Each story toys with a shifting environment—leaves falling from a tree, feet lifting from the floor—and attempts to make sense of what remains. “It’s so cozy in the dark / No one’s watching, it falls apart / For a moment when you think about it / Take a break and see where it’s going,” Pelofy muses, oddly optimistic on the cinematic “Tiny Shelter.”

Deeply attuned to groups like Slowdive, DIIV, and Alvvays, Cosmopaark are leaning into the future with commanding imagery and meticulous production. Backyard serves as an impressive booster pack to Cosmopaark’s curious sonic character.

Backyard

out October 18, 2024 via Howlin’ Banana Records and Stellar Frequencies

1. Starve

2. Olive Tree

3. Pure Intention

4. Hole

5. Tiny Shelter

Music and lyrics by Cosmopaark

Mix by Johannes Buff

Produced by Pierre Loustaunau

Mastering by Alan Douches

Artwork by buvard

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Cosmopaark

Instagram | Bandcamp | Spotify | YouTube

Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool's Project Nowhere 2024 Top Picks (Toronto)

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Also Cool has landed in Toronto! This time we’re covering the second edition of west-end fest Project Nowhere, taking west Dundas by storm with its “cosmic array of underground legends, modern vanguards and exciting up-and-coming talent from Toronto and beyond,” from October 3rd-5th, 2024. Based on this year’s lineup, it sounds like this project ain’t going anywhere. We did a deep dive into Project Nowhere’s curation and have hand-picked a collection of AC-certified top picks. After taking in the first night, discover new music with us and take a peek at just some of the acts that will guide us through the rest of the weekend.

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Leah Singer and Lee Ranaldo, credit Frey Ranaldo

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Leah Singer and Lee Ranaldo, from the archives via S8cinema

Partners in life and music, Leah Singer and Lee Ranaldo have been collaborating on evolving image and sound installations since the early 90s. The pair’s immersive performance sees Singer casting projections of live 16mm film manipulations alongside improvised, droning guitar from Sonic Youth founding member Ranaldo. Cornerstone to the duo’s shadow play is Lee’s electric guitar swinging from the ceiling, suspended like a pendulum.  

Leah Singer and Lee Ranaldo play St. Anne’s Parish Hall on Friday, October 4th. Doors at 8:00pm.  

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God’s Mom, credit Jacopo Paglione

After seeing their electrifying chainmail-clad performance at Le Système in Montreal, we can’t wait to see God’s Mom, especially with new music on the way. Their latest single Maddalena is a taste of what’s to come, playful, dancey, and synthy. 

God’s Mom plays The Garrison on Friday, October 4th. Doors at 8:30pm. 

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Pelada, credit Hendrik Schneider

Montreal’s beloved electro-punk duo Pelada are bidding farewell on their final tour, but not before one last rager. Composed of singer Chris Vargas and producer Tobias Rochman, Pelada just tore up the fall edition of Debaser’s Pique festival in Ottawa this past weekend. Promising to draw you into their world of hardcore, synth-based justice anthems, Pelada will spit you out, begging for more. Hear songs from their Polaris long-list nominated album Ahora Más Que Nunca before the pair’s sweaty sound becomes that of raver ephemera. 

Pelada plays The Garrison on Friday, October 4th. Doors at 8:30pm.

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SORB via Bandcamp

Toronto-based Farsi electronic duo SORB infuses genres of the underground—Industrial Techno, Dub, Gabber and others—with influences from Kurdish and Iranian music to rebel against the powers that be with confrontational rhythms. Channeling their rage towards experiences of exile, police brutality, facism and living under an authoritarian regime, SORB fosters a space to imagine collective hope on the dancefloor.  

SORB plays their final Toronto show at The Garrison on Friday, October 4th. Doors at 8:30pm.

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Moon King via Bandcamp

Between his straight-up excellent curation and hybrid live-DJ sets, Montreal’s Moon King always keeps our toes tapping. Check out his collaborative track “Turning (Inside Out)” with Visors for a taste of what’s to come! 

Moon King DJs Bambi’s, Friday October 4th, 2024. Doors at 9:00pm. 

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Y’KNOW via Bandcamp

Toronto duo Y’KNOW beam us into the silvery universe of Spiritual World with their digital downbeat deliciousness. Featuring Bally and M1_Sound (half of Toronto based dub post punk band UH HUH), Y’KNOW cooks up funky splendor with syrupy vocals, dubby depths, galactic sound effects and an effortless je ne sais quoi that evokes coolness from another realm. 

Y’KNOW plays BSMT254 on Friday, October 4th. Doors at 9:00pm.

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Crasher via Bandcamp

Always powerful and kind of spooky, Crasher is our favourite Bandcamp-only band. Catching this trio is always a treat, blending strange dark wave, leaning on the electronic side, with DIY grunge punk grit. 

Crasher plays BSMT254 on Saturday, October 5th. Doors at 10:30pm.

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Project Nowhere

Website | Instagram

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Popping Off: A Vibrant Dive Into POP Montreal's 23rd Edition

Beverly Glenn-Copeland performing at the Théâtre Rialto for POP Montreal

Another edition of POP Montreal has come and gone. The festival’s 23rd edition had us zooming around the city at top speed hitting at least five shows a night, enjoying the best indie music Montreal’s scene, and its invited guests, had to offer. Experience four nights of POP Montreal in true Also Cool fashion with our post-festival review, covering Bleu Vésuve, Beverly Glenn-Copeland, YHWH Nailgun, Laura Krieg and more. 

Day One 

Our festival opener was none other than hometown hero Amery. In a custom-made gold and fuschia sequined ensemble (complete with her matching sparkly monogrammed white tee), Amery belted the synth-pop standouts from her recently released debut Continue As Amery (Arbutus), with classics like “Boring Potion” sprinkled in-between. The sold-out audience at Casa del Popolo saw Amery confidently strut into the crowd backed by her equally bouncy bandmates to define indie pop perfection. Along with a well-received surprise guest duet with Fireball Kid, the scene support for Amery and co. was palatable, with show-goers unable to resist shimmying along, smiling from ear to ear. Just when we thought the bangers were over, Amery kept spirits high, closing out with a cover of Donna Summer’s 1979 hit “Hot Stuff”.  

In between acts, we caught up with Winter and The Spirit of the Beehive at Foufounes Électriques. Winter is a Brazilian-American artist who recently moved from Los Angeles to New York, and warmed the crowd up with her dreamy shoegaze set. She also had some psychedelic notebooks for sale at her merch table, which of course came home with us after her set. Philadelphia band The Spirit of the Beehive is a longtime Also Cool fav, and offered a solid performance to an eager crowd of indie rockers. 

Next up on the Casa del Popolo bill was fellow local act Bleu Vésuve. A new artist for Also Cool, Bleu Vésuve is the project of Montreal-based singer-songwriter and multi-instrumentalist Camille Rosset-Balcer. Upon Bleu Vésuve taking the stage, a haunting fog settled atop the hushed audience. It was almost as if the band was playing by candlelight, with Rosset-Balcer’s Mazzy Star-meets-Cat Power vocals gently meandering from the glow. Sharing entracing, dusky folk-psych from their first self-titled EP, Bleu Vésuve was a welcomed discovery from this year’s POP lineup.    

Day Two 

Spirits were high on day two of POP, knowing that living legend Beverly Glenn-Copeland would return to his university town of Montreal for a date on his final tour. The stained glass panels of the Théâtre Rialto were twinkling and the hall was filled with warmth from the anticipation of what was sure to be a magical performance. Aptly titled “The Salon Evening”, Copeland and his accompanying musical family shared an intimate performance that transported the Théâtre Rialto’s 1,500 person audience into what felt like a night of storytelling in the living room that he shares with his wife, Elizabeth.

Opening with “Ever New” from his 1986 album Keyboard Fantasies, Copeland’s otherworldly voice and presence kept our eyes glassy for the nearly two hour-long performance. Between poems written by Copeland and his wife, anthems from his latest release The Ones Ahead, and songs of perseverance and survival, Copeland’s playful storytelling and adorable back and forth with Elizabeth reminded us of the power of camaraderie and laughter. We could tell the band felt the same way, as two choir members clasped hands during Copeland’s heartfelt “(Harbour) Song for Elizabeth”. Along with fellow concert-goers, we were awestruck by Copeland’s gorgeous and humorous performance, and felt as though our lives may be forever changed. 

After wading through the post-Beverly Glenn Copeland swarm outside the Rialto, we booked it down to the Plateau to catch Nap Eyes. Shuffling shoulder to shoulder in the basement of La Sotterranea to Nap Eyes’ half-new, half-nostalgic discography felt so right. It’s been nearly a decade since we first encountered the pensive Halifax-raised indie outfit, yet it felt like no time had passed after the band’s three-year release hiatus. Songs that were the backdrop to Also Cool’s teenage years, like “Stargazer” and “No Fear of Hellfire”, were just as full of energy as if they were brand new, with the four guitars on-stage waltzing in harmony and singer Nigel Chapman’s delivery as endearingly earnest as we’d remembered. Montreal-based experimental sage Yves Jarvis joined Nap Eyes on rhythm guitar and synth, bringing welcomed oomph to the undeniably tight set. Having just signed to Paper Bag Records, Nap Eyes’ fifth record The Neon Gate is out on October 18th. 

Cecile Believe closed out the night with a stunning performance, gracing the stage in all white and butterfly wings fluttering around her eyelashes. Friends and fans screamed lyrics back at her as she performed tracks off of her most recent EP Tender the Spark along with classics like “Bitch Bites Dog” and “Show Me What”. Cecile also performed “My Forever”, her collaborative track on SOPHIE’s posthumous self-titled album, which had the crowd in tears. The show kicked off Cecile’s Canada-US tour, where she’ll perform alongside Sega Bodega in the coming weeks. Explore her tour dates here.

Day Three 

Freak Heat Waves kicked off day three at Théâtre Fairmount opening for HOMESHAKE. Set up in the middle of the stage, facing each other, the duo masterfully weaved live samples in with their various boards and blinking machines to create an enthralling set that had everyone grooving. HOMESHAKE started the set with a fake phone call before launching into their beloved stoner-rock sound, keeping cool despite a bit of a rowdy crowd screaming “let’s fucking go” in heavy Quebecois accents. The show began the band’s final tour in its current configuration, and felt like a nice call back to 2017-era Montreal.

We then marched over to Casa del Popolo, where Yves Jarvis put on a predictably beautiful show, before heading to La Sotterranea across the street just in time for YHWH Nailgun’s set. As predicted, the New York quartet quickly became one of our favourite discoveries from the festival, with their chaotic yet tightly controlled experimental set. Zack Borzone’s slightly possessed vocals paired with Sam Pickard’s immaculate drumming made for a captivating, high-energy musical force that had the whole room buzzing.

Day Four 

Laura Krieg opened the night at La Sala Rosa with a spooky dark-wave solo set, and got the room full of goths moving. We then ran downstairs to La Sotterranea for Ribbon Skirt (FKA Love Language), who’s newly-embraced grunge rock sound was amplified by their energetic stage presence. We also made sure to buy an embroidered camo hat from their new merch run before going back upstairs to see Mothland’s prince Alix Fernz, who commanded the crowd with his electrifying Queb-punk set. The night continued with Fireball Kid and Ura Star singing songs of friendship and quintessential partypop antics at L’Éscogriffe. 

We wrapped up our tour de POP with a swift BIXI across the Mile End back to the Théâtre Rialto. Selector and dreamscape conjuror, Nabihah Iqbal flawlessly spun icy, melancholic silk from her 2023 record DREAMER, followed by force of nature Ouri, who sheathed the audience in a transcendental, neoclassical mirage. 

POP Montreal

Website | Instagram

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

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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. 

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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. 

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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.

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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. 

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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.

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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.

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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.

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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.  

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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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A Lost Season, A Magical Year: Trevor Sloan Releases "A Room by the Green Sea"

Trevor Sloan

The music of Trevor Sloan is nothing short of purifying. The multidisciplinary Toronto-based artist excels at penning vivid interpretations of nature, love, loss, and renewal. His folk-pop instrumentation and gentle descriptiveness—reminiscent of artists like Sufjan Stevens—swell with warmth, lifting you to a plane of uncanny familiarity.

On Sloan’s latest self-released album, A Room by the Green Sea, the simple beauty of summer vacations gone by unlocks so much more. Sloan teleports between country fairs and shifting waters, backed by layered acoustics, subtle drum patterns, and field recordings. From the precise memories of “Praying Mantis” to the sober admissions of “Blade on My Face,” A Room by the Green Sea is the embodiment of what you’d hope to hear by picking up a conch shell. It’s the creamy cable-knit jumper that you slip into as the sun kisses you goodbye.

Leading up to today’s release of A Room by the Green Sea, Sloan jumped on a call with Also Cool to detail his latest artistic chapter. We caught up on his poetic inspirations, his adventures out West, and much more.

Rebecca Judd for Also Cool Mag: With [A Room by the Green Sea], you mention that it was inspired by some recent summer travels. Mayne Island – that’s a different one, I’ve never heard of that part of BC before. Can you tell me what it is that brought you out there – what it is you got up to and how that impacted your creative process?

Trevor Sloan: My wife’s family actually lives there, so I’ve been going there for many years. It’s almost like a second home, in a sense. [We’ve gone there for] the last two summers – it’s a beautiful little island, the ocean, the forests. We went to the beach a lot, did some hiking...

We also did a little road trip of Vancouver Island and went to another place called Qualicum Beach, and then Comox, Courtenay, Cumberland… we did this whole tour of swimming, [checking out the] different beaches because we love to do that.

When you’re on Mayne Island, the ocean is just always there. The boats going by, you’re swimming or seeing the waves coming in. I wrote some of the songs there when I was staying there; “Salty Ocean,” for example, and “Island Girl.” And the title A Room by the Green Sea is a room in [my wife’s family home], it overlooks the ocean. Just the feeling of being there and having these memories…

Also Cool: That’s cool that it’s a connection with your wife’s family as well, because it’s a whole different perspective on the notion of family and connectivity to a place. “Ottawa 1977,” [a previous single], that story is related to your family, but Mayne Island must feel familiar yet different.

October Days by Trevor Sloan

In our previous interview (written by Valerie Boucher), you shared that you like to craft characters and immerse yourself in their worlds of these characters – different objects, different settings, different things that you observe. There are a lot of new stories in A Room by the Green Sea: there’s the brokenhearted diarist in “Sweet Lady Jo,” there are teens playing tetherball. How did these new personalities reveal themselves in this chapter? Do they manifest naturally? Do they ever cross over different timelines?

Trevor: I feel like this album is a bit more personal, and maybe there are less characters. It’s more so based on my life and things that I’ve experienced. That being said, even when I’m writing about something that’s happened in my life, it’s still a mix of memory and imagination. Like, I become a character in the story – it’s not necessarily autobiographical.

“Lady Sweet Jo” is an interesting one, because that’s a character – that’s a female poet. The story behind that one is I was reading some poems by Den Sute-jo, but I misread it as “Lady Sweet Jo” because in the book it was written as “Lady Sute-jo.” I thought, “That’s the coolest name, Lady Sute-jo.” The inspiration also came from reading a Chinese poet by the name of Chu Shu Chen, and she writes this very heartbroken and bitter verse. So I came up with this character that was loosely based on these two poets.

AC: All it takes is a little seed. I love the idea of it being a productive misread.

TS: I now have reading glasses, but before then I didn’t… I wouldn’t make that same mistake now, but it was a blessing in disguise.

AC: I’m interested in the stories that don’t make the cut. Are there things where someone or something presents itself as an inspiration, but it doesn’t feel right? Or if [a character or object] is associated with this particular setting or time in your life, does it feel like you need to get those things out on the paper at the same time?

TS: Generally, I will record 20-30 songs and then I pick the best 10. Sometimes songs and characters get cut because I just want to pick the best.

AC: Your music has this delicate and nostalgic quality to it where it feels like a memory in its softness and descriptiveness. But its production is [quite] sharp and meticulous—you work really hard at crafting this vibe that is quite comfortable—so I feel like calling your music “nostalgic” might be a bit reductive when it is so detailed. I’m interested in knowing the ways you may have experimented or tried to do something different with your sound on this new album. 

TS: I really appreciate you saying these things, and the concept of not wanting to call it just “nostalgia.” That’s a word that gets thrown around with my music a lot. I do feel like I try to keep things interesting and modern, I’m constantly discovering and listening to new music. I’m very much inspired by the 60s and 70s but I’m also inspired by new artists. I want my music to sound “of its time” – it’s not just a rehash of [those decades].

In terms of experimentation: in the last interview I did with Also Cool, I talked about my defective [Roland Juno-106] keyboard, and that’s now fixed! [laughs] I was able to use it more, and it was an enjoyable experience. The Juno is an analog keyboard from the 80s. There’s a particular sound on it that has a 70s lounge vibe to it, and I used that on a few tracks, so that’s a thread throughout the album.

I also used more electronic-sounding drums on a couple of the tracks, like “Praying Mantis” and “Island Girl.” That was a new thing for me.

And the sounds of nature…I use water sounds—waves, rivers—and the crackling of a fire.

AC: [Those choices] lend themselves well to what it was you were trying to capture. I love it when musicians take advantage of what it is that’s around them and use that to enhance a story.

Free… Free! by Trevor Sloan

You collaborated with Andy Magoffin, who mixed and mastered some of this album. What was it like to [work] with him again?

TS: Andy’s awesome. I love working with him. I’ve worked with him on maybe eight albums, and so we’re very much in sync now. I can give [my music] to him and let him do the mixing and mastering – there’s always a bit of back-and-forth, but it’s been so long that he just knows what I like and he makes it happen. I really appreciate what he does, because he brings a brightness and a spaciousness to the sound so it all sounds like it’s in a room with the instruments coming from different places.

He also played horns on “Don’t Waste Your Time” and “Lady Sweet Jo.” That was a new thing [for me] – I would love to have more instruments on my records, but I don’t know a lot of people. [laughs] It was nice to have that extra touch.

AC: I took particular interest in “Don’t Waste Your Time.” Going back to common themes in your music, I found that that track really spoke to me as I read the lyrics. It takes a certain turn where it feels like it’s focusing on how to forget more than how to remember. That stood out relative to the rest of the album. Where does that track fit into the album’s narrative, and how did it come to be?

TS: [Many of my] songs can be introspective and concerned with little details, but I would say that [Don’t Waste Your Time] is a bit more universal. It’s about a heartbreak from youth, and how heartbreak changes over time. As time goes by, as you get older, you start to look at it differently and maybe it loses some of the pain that was associated with it. You get to a point as you get older when you can smile at it.

It’s also giving advice – “if you can’t tell what’s on their mind / don’t waste your time.” You’re better off being with people that make you feel good, people who you know where you stand in their eyes.

AC: It’s nice to have that balance of [universality], amidst songs that concern themselves with putting one in the shoes of a character or the emotions of a particular place. For people who want something that presents itself in a different way, it’s definitely powerful to connect the escapism with something more relatable.

For the cover for A Room by the Green Sea, [you’ve added] some unique shapes to it. I want to say one of them is a scythe…? Even just the [muted] colourways. I’d love to ask more about the album art and how you created that collage.

TS: I created maybe four or five collages, and they’re all in the same vein. I wanted something more abstract [for this album], and mysterious. A lot of the collages that I was doing, there were these “ghostly figures.” When you mention the scythe, there’s this green thing that looks like the top of a ghost.

My source material was different paintings from the 1700s, and I cut them up and rearranged them. I wanted the green to be very prevalent. When I collage, I just start cutting and see where it all comes together.

AC: What are your upcoming plans for the release of A Room by the Green Sea?

TS: The most exciting thing is I decided to get vinyl done for this record. This doesn’t make any sense in some respects, but I’ve always wanted to do vinyl and have the physical thing in my hands!

Vinyl Giveaway

To celebrate its release, we’re giving away one vinyl copy of A Room by the Green Sea! Enter today for your chance to win this mesmerizing new album.

To enter the giveaway:

• Follow us at @alsocoolmag and @trevorjsloan 

• Like the post on Instagram

• Tag your go-to friend for music recs (1 comment = 1 entry, no limit!)

Terms and Conditions:

The giveaway closes on September 9th, 2024 at 11:59 p.m. ET. You must reside in Canada to participate in the giveaway. The winner will be selected at random, announced, and contacted via DM on September 10th, 2024. Should the winner fail to respond within 24 hours of being notified, another winner will be selected. The winner of this giveaway will receive one vinyl copy of A Room by the Green Sea shipped at no extra cost; please note that any damages incurred while in transit are no fault of Also Cool or Trevor Sloan. This giveaway is in no way sponsored, endorsed or administered by, or associated with, Instagram. 

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A Room by the Green Sea

out September 6th, 2024

1. Introduction

2. Salty Ocean

3. Praying Mantis

4. Don’t Waste Your Time

5. Faded Towel

6. Green Rivers, Green Summers

7. Sunlight through the Window

8. Blade on My Face

9. Island Girl

10. Purple Starfish

11. Black Water

12. Lady Sweet Jo

All tracks written and recorded by Trevor Sloan

Horns on tracks 4 and 12 by Andy Magoffin

Mixed and mastered by Andy Magoffin

Cover art by Trevor Sloan

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Trevor Sloan

Instagram | Spotify | Bandcamp | Website

Rebecca Judd is the features editor of Also Cool Mag.

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Sunflower Bean, Molchat Doma, Coco and Clair Clair, And More: Also Cool's Playlist Refresh

Coco & Clair Clair by Nicole Steriovski

Don’t let the shorter days get you down – our latest Playlist Refresh is here to shake things up.

The Also Cool team has compiled some recent treats from the likes of Shower Curtain, Chinese American Bear, Sunflower Bean, and other artists. As always, we encourage you to add our regularly updated Playlist Refresh on Spotify to stream along.

Now let’s get to it!

Sunflower Bean by Yulissa Benitez

Sunflower Bean - “Teach Me To Be Bad” 

NYC indie rock veterans Sunflower Bean return to their roots on “Teach Me To Be Bad.” The self-recorded and produced single is the trio’s second offering off their forthcoming EP SHAKE, out September 27th via Lucky Number. Exploring “a chance meeting with a special person [that] can change your life forever,” “Teach Me To Be Bad” is just as heavy-hitting as SHAKE’s self-titled lead single. With a delivery reminiscent of The Runaways, singer Julia Cumming growls atop grungy riffs and headbanging percussion, courtesy of bandmates Nick Kivlen and Olive Faber. Following the band’s 2022 pop-leaning record Headful of Sugar, the sonic direction of “Teach Me To Be Bad” nods to Sunflower Bean’s psych-rock coming-of-age, this time with a newfound maturity after a decade of gigging worldwide side by side.

Watch the Isaac Roberts-directed music video below.

“Goblin” by Shunk

Shunk - “Goblin”

Towing the line between playful and unruly, Montreal punk band Shunk has released their first single “Goblin.” The anticipated debut comes after a year of the band cutting their teeth in the underground music scene, making their mark with energetic live sets. A pulpy hint of what’s to come with a self-titled LP on the horizon, “Goblin” entrances with cutting vocals, zigzagging riffs and ostentatious lyrics inspired by Christina Rossetti’s poem “Goblin Market.”

Belaya Polosa by Molchat Doma

Molchat Doma - “Ty Zhe Znaesh Kto Ya”

Post-punk outfit Molchat Doma has shared the 90s-EBM inspired track “Ty Zhe Znaesh Kto Ya,” off their upcoming album Belaya Polosa (out on Sacred Bones September 6th). A starkly-upbeat contrast from the rest of the album, “Ty Zhe Znaesh Kto Ya” is accompanied by a surrealist black and white music video. The main character becomes overtaken by an infectious urge to dance at a dive bar, quickly acquiring an audience and a companion with an alien-looking infection.

“[This single] explores the pain and despair of feeling misunderstood by a loved one,” the band explains, “and the endless guilt that ensues, even though you don’t realize how you yourself contribute to this pain.”

The band has announced North American tour dates for 2025, following their extensive European announcement earlier this year, so be sure to catch them in a city near you. Watch the music video (directed by Maxim Kelly) below.

Girl by Coco & Clair Clair

Coco & Clair Clair - “Kate Spade”

Shortly before the release of their latest album Girl, alternative rap baddies Coco & Clair Clair dropped “Kate Spade” to tease the masses. This spunky two-minute track makes a strong impression with its sharp wordplay and cloud-rap stylings. “Write a hit song then I read a big book / I'm all about the lovin', you can call me Bell Hooks” sighs Clair Clair, impossibly chic yet amusingly inspiring. Coco & Clair Clair might be riding their own high, but they invite you to sit shotgun.

Take a peep at the “Kate Spade” visualizer below.

“wish u well” by Shower Curtain

Shower Curtain - “wish u well”

Shower Curtain, the four-piece NYC band led by Brazilian-American artist Victoria Winter, recently released “wish u well.” This track will be featured on their upcoming debut album words from a wishing well, set to drop October 11th via Angel Tapes/Fire Talk Records. The track is accompanied by a music video that captures the sonically-swirling but complex echo chamber of early adulthood through a saturated digicam world.

On creating the video, director Trevor Scholl says: “It’s an ode to the mentally healing aspect of going for a walk and how stepping out invites the unexplainable. I wanted to capture the sense of exploration found in fantasy films while capturing places we frequent and not relying on overtly ‘magical’ props.”

Chinese American Bear by Eleanor Petry

Chinese American Bear - “Take Me To Beijing (一起回北京)”

C-pop group Chinese American Bear have commanded our playlists all summer long, as they share snippets of their bubbly forthcoming album Wah!!! (out October 18th via Moshi Moshi Records). On their latest single, “Take Me To Beijing (一起回北京),” musicians Anne Tong and Bryce Barsten conjure up colourful memories from the summers of Tong’s youth. Her soft inflections add to the hazy appeal of Barsten’s synth-laden production, embodying a warmth that complements Wah!!!’s message of cross-cultural joy and longing.

Get lost in the imagery of “Take Me To Beijing (一起回北京)”’s music video (directed by Barsten) below.

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Also Cool's Palomosa Top Picks (Yung Lean, Jai Paul, Snow Strippers, and More)

The Montreal team behind Igloofest and Piknic Électronik, have treated us to what is possibly the best lineup we’ve seen since TIME Festival in 2015. From September 5th to 7th, Parc Jean-Drapeau will host the first ever-edition of Palomosa, where every act could be their own festival headliner. Oh and not to mention, there’s a block party on September 5th at the SAT, and an iconic after party on September 6th and 7th. 

It’s overwhelming in the best way possible, so we decided to break it down for you with Also Cool’s top Palomosa picks. Listen to our playlist at the same time to get a taste of what’s to come

Friday September 6th - Top Picks

Yung Lean - Iconic Swedish rapper who defined the 2010s vaporwave Tumblr era, perfect to listen to with some Arizona iced tea and your cloud rap fanatic friends.

Yaeji - Making it rain(gurl) since 2017 with her dance floor-ready tracks, Yaeji is an artist, producer, vocalist, and musician born in NYC and raised in Seoul.

Snowstrippers - Did someone say indie sleaze revival? Crystal Castles fans rejoice, this Detroit duo’s electro sound is straight out of the 2010s.

horsegiirL - The world is her barn and we’re just living in it. Horsegiirl gained mainstream popularity after her hit single “My Barn My Rules” went viral, cementing her icon status as number one horse pop star.

Also Cool’s Afterparty of choice:

Saturday September 7th - Top Picks

Jai Paul - The mysterious British songwriter and record producer from the UK is finally playing live shows, years after his demo “BTSTU” made waves across the music industry in the 2010s.

Yves Tumor - A true rockstar, Yves Tumor shifts, alters, and plays with the boundaries of contemporary art and culture. Always a treat to see live, you can count on an electrifying performance.

BADBADNOTGOOD - As previously mentioned, the Also Cools who are writing this article saw BBNG at Times festival in high school, and proudly learned to mosh during the contemporary jazz group’s many performances in Ottawa and Toronto in the mid 2010s.

SHYGIRL - British star has a club all to her own this year, with LSDXOXO, Nick Léon, and Angelita joining her for Club Shy.

LSDXOXO - We saw LSDXOXO perform at the most recent Montreal Boiler Room and it was very demure, very mindful, but most of all one of the hardest sets we’ve heard in a long time.

Also Cool’s Afterparty of choice:

Get your tickets for Montreal’s best end-of-summer party, Palomosa, here. 

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

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Lumi Athena, Banggz, Tinashe, 2hollis And More: Also Cool's Playlist Refresh

cumgirl8 by Charlie Knepper

Also Cools, we’ll cut to the chase: lots of stellar tunes are making the rounds and we’re here to help you find them.

This edition of our Playlist Refresh boasts forward-thinking releases from musicians like Lumi Athena, Banggz, Tinashe, and plenty more. You know what to do – save our regularly updated Playlist Refresh on Spotify today and scroll on to hear our takes.

Banggz via Facebook

Banggz - “1ST THINGS 1ST” 

The sophomore record of Nigerian-born, Ottawa-based Afro-rap vanguard Banggz has been on repeat since it dropped earlier this month. Aptly titled 4 THE BANGGERZ, the anticipated release delivers hit after hit along with a star-studded cast of featured performers, including City Fidelia, Asuquomo, and Jahmeema. 4 THE BANGGERZ sees Banggz ambitiously craft a “sonic escape,” fusing West African rhythms, futuristic soundscapes and energetic anthems of resilience, identity and camaraderie. To celebrate the album’s release, Debaser hosts the 4 THE BANGGERZ live show on Friday, August 23rd at Club SAW. The lineup features special guests Chyme, Queeny, Mo the Pro, and an immersive installation by MvB. 

Get your tickets for the 4 THE BANGGERZ album release show here. 

Veranda Liv by Seren Pritchard-Bland

Veranda Liv - “Mammoth”

2018 Montreal is calling with Veranda Liv’s latest single “Mammoth.” High-energy and always post-punky, the track was originally recorded in 2020 by Val Ignat and brought out of the archives last week with a tease towards 2025 show dates. Throw it on, grab a beer at Bar L’Escogriffe, and reminisce.

Quantum Baby by Tinashe

Tinashe - “When I Get You Alone”

Summer 2024 has been dominated by the meteoric rise of many women in pop, both emerging talents and seasoned tastemakers. Among these chart-toppers is Tinashe, an artist who has long uplifted the scene with her subversive sound and confident lyricism without enjoying recognition from the masses. But with earworm “Nasty” serving as a catalyst for some overdue love, the release of Tinashe’s new album Quantum Baby holds the potential to anchor her in the spotlight.

The whole album sizzles with sensuality, but “When I Get You Alone” flaunts a particular breathiness that’s easy to devour. Its two-part trap-R&B composition keeps you on your toes while showcasing the talent that Tinashe has always delivered.

Ribbon Skirt by Kenza

Ribbon Skirt - “Cellophane”

With the wind in their sails after announcing their new band name, Montreal indie outfit Ribbon Skirt (FKA Love Language) recently shared their latest single “Cellophane.” The track unveils a heavier, haunted tone from the band and offers the first glimpse at their debut full-length. Set to arrive sometime in 2025, Ribbon Skirt’s next release was produced by Scott ‘Monty’ Munro (Preoccupations) and Marlaena Moore, and mixed by Greg Saunier (Deerhoof). 

Jagged and metallic, “Cellophane” hears an ever-poignant delivery from singer Tashiina Buswa. Charting the pain and grief experienced after losing her grandfather, “Cellophane” has Buswa confronting death’s impact on preserving her cultural connection to her Anishinaabe heritage. 

Watch the video for “Cellophane” below.

CHRONOS: XIX 0024 by Lumi Athena

Lumi Athena - “NOIR’S THEME”

Are you going to and/or DJing a vampire rave any time soon? Krushclub sweetheart Lumi Athena has your set covered with his latest album CHRONOS: XIX 0024, with “NOIR’S THEME” acting as an especially cold rave opener. Following his viral hits “ICEWHORE!” (which inspired the mewing trend), and “SMOKE IT OFF!”, the album is a deeper dive into the Lumiverse. It’s best enjoyed early in the morning in an underground venue with all your coolest chronically-online friends.

"trauma" by 2hollis

“trauma” - 2hollis 

New gen internet-core musician 2hollis perfectly captures a pixel-crunched dopamine-inducing sound with his latest single “trauma.” The track follows his 2024 album boy and accompanies his opening slot for Ken Carson’s Chaos Tour. For fans of Snow Strippers, DJmegan23, and Drain Gang, 2hollis hits a sweet spot mixing cloud rap and electro-clash.

Watch the official video below (CW: flashing lights).

cumgirl8 by Charlie Knepper

cumgirl8 - “Karma Police”

As documented fans of Manhattan punks cumgirl8, the Also Cools can’t begin to describe the depths of our excitement for their debut album the 8th cumming. cumgirl8’s glittery extraterrestrial edge is both hard to explain and easy to understand; they scale absurdism and materiality with mesmerizing agility and feminist gumption. Their lead single “Karma Police” recounts a tour date gone awry, depicting burglary and mental fatigue. The darkwave stylings of “Karma Police” pulsate with intensity, ping-ponging you from the airport terminal to the pit and somewhere in between.

Watch the self-directed music video below.

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

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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”.

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“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.

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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

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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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Slice Casts a Dreamy Sheen on Sincerity with "III" (Selenite Records)

Megan Magiera, Barbara Barrera, and Alex Hattick of Slice by Debbie Cho

Mellow yet moving, flowing yet focused, Long Beach’s Slice have long been crafting their unique indie spell. Comprised of spouses Megan Magiera (guitar and vocals) and Barbara Barrera (bass), along with keyboardist and vocalist Alex Hattick, Slice’s thoughtful artistry has gained favour with women and LGBTQ+ communities across Southern California. The trio masterfully employs motifs of jazz, post-punk, and dream pop, honouring their respective backgrounds without compromising artistic growth.

Their latest EP, III (out August 9th via Selenite Records), carries that compelling torch. Its captivating melodies are enhanced by earnest lyricism, navigating the waters of mental burnout and the demonization of homelessness. Slice touches on pervasive issues with cohesion, turning moments of isolation into cause for unity.

Late last month, Megan, Barbara, and Alex sat down with Also Cool to chat all things Slice.

Rebecca Judd for Also Cool: The band is coming up on its tenth anniversary. I’m interested in hearing how Slice's story first began, and looking back on the first chapters of the band.

Megan Magiera of Slice: It was kind of just me and Barb. Has it been ten years? Or is it-

Barbara Barrera of Slice: It’s coming up. You [Megan] would jam with your looper and you recorded [debut EP SLICE] – remember? All by yourself.

Megan: Yeah.

Barbara: But then we would also jam in your room – I would play bass, you would play guitar.

Megan: The beginnings are just in a bedroom. I thought it would be fun to play a show for my birthday, so we [Megan and Barbara] played a show, and I thought that was really fun. We met Alex and Kelsey [Landazuri, producer and engineer] through the music scene and… I feel like those beginnings are just in a bedroom, you know? Just making-

Barbara: Lo-fi.

Megan: Yeah, lo-fi…

Barbara: Bedroom pop.

Megan: Yeah, there you go…pop? [laughs]

Also Cool: So what were some of the previous bands you were in?

Barbara: I was in a band called Gaze with Lily Stretz from Meow Twins.

AC: Alex, you came into the band a bit later. What was your experience like before joining Slice?

Alex Hattick of Slice: I was a music major turned psychology major. I started playing guitar…in my early 20s, I guess? And then I started my own project, Hellgal, that Meg was in too. I was playing in three bands at one point.

So I saw Slice play, and there were a couple of songs that got stuck in my head, which is pretty rare when I go out and see bands. Usually, it’s like, “Oh, I like this!” but I don’t remember anything.

But I remembered “Sick,” and it always – I could sing “Sick,” and there’s no lyrics to it. There’s this little melody [that] would get stuck in my head. I remember hearing them play as a three-piece, and just being a little fangirl for a while. And then Michael Williams of Sanguine Knight was like, “You should be in Slice! You should have Alex in Slice!” [laughs] He was the little bird in everyone’s ears.

AC: So it was like a [crowdsourced] fusion of the minds coming together? It was just a matter of time before you joined forces?

Alex: Yeah!

AC: Jumping off of that – you’ve mentioned some of these smaller bands in the scene. Here in Canada, you hear about the music scenes in Orange County, LA, and across the West Coast as some kind of entity. A lot of what I’ve learned about the band is that Long Beach and the OC are important to your identity. I’m interested in knowing how your music reflects the sounds and the vibes of the West Coast, of the OC, and how you think it differs as well.

Megan: It’s hard to say stuff about Orange County – Long Beach is LA, technically, but I don’t know much about the Orange County scene. I know you [gestures to Barbara] were involved in it.

Barbara: I mean, I was in the Orange County punk scene as a teenager. But I feel like [being from the West Coast] adds to our chill sound.

Megan: There you go, there you go! [laughs]

Barbara: People say life over here is very laid-back and chill and I feel like our sound reflects that. What do you think, Alex?

Alex: I feel like Long Beach is a mini-LA in some ways. There are some really good venues here – some well-established venues that are dedicated to local music, which is cool. I’ve never lived in Orange County—Long Beach is right on the cusp, it’s like the last stop before you get to Orange County—but a lot of people from LA have started moving down here. I’ve run into multiple people who say they’ve moved here from LA and they’re like “It’s weird here, everybody just says hi! Everyone says hi when you’re walking down the street!”

I think there’s been a shoegaze-y or a 90s resurgence in stuff [here]. There are also little pockets of post-punk resurgence in the area too. So I think it’s been interesting watching who we parallel and relate to music-wise.

Slice by Debbie Cho

AC: Getting to the new EP, III, a lot of it shifts around some dark subject matter. There are songs that deal with anxiety, and “Depleted” deals very specifically with burnout – I’d like to hear more about the greater inspirations at play here. Did you set out to make an EP inspired by something you were working on [or dealing with], or did you feel like the songs kind of came together organically?

Megan: I would say it happened organically, for sure. There was no concept – I strived to do that later on. But all of these songs were written so far away from each other that there wasn’t a “theme” or anything. It just kind of [came back to] everyday struggles that we deal with and were inspired by. The subject matter is something that we [all] see probably every day. Dealing with anxiety and things like that, it’s just our everyday lives. The ebb and flow of life, you know?

AC: What would you say are the time frames through which you were working on all of these songs?

Megan: 2018 to 2020, maybe?

Alex: “Depleted” and “Shopping” are the most recent songs. Those are 2020, 2021, I think? Time passes so quickly!

I worked on the lyrics for both those songs and the lyrics came up during specific moments of feeling my own burnout from working as a therapist; of just feeling those feelings of the world, the nature of our political climate, and things like that. Holding all of that is a lot – for everybody, for lots of different reasons! I work with clients on [those subjects] too, so it’s something I encounter really frequently.

Also, as a social worker, I’ve had several jobs working with lots of different populations, so the lyrics for “Shopping” were inspired by some of the political pieces I’ve been following around the unhoused population and the treatment of those folks in our culture.

AC: Yeah, “Shopping” was one I particularly picked up on. It felt very charged, very riot grrrl in that sense of boldness to it. That’s really interesting to hear more about its connection to the unhoused and other [therapy clients] you’ve worked with.

Learning more about the band, it seems like the band consciously refrains from overproduction and you want to replicate the essence of your live shows. Painting the picture of these live shows, what do they look like? What is the connection to your community in those shows, and how did you come to value this in your sound?

Megan: That’s a good question. Have you ever been to a concert where the band didn’t sound like the recording – in a good way or a bad way?

I guess it’s just more authentic and we feel like we’re being ourselves. There’s nothing that we’re hiding behind. It’s an expectation that we set.

Barbara: When we’ve recorded, it’s always felt like taking a picture of what we sound like at that moment in time…rather than making a painting…if that makes sense? We added some [stronger] production to the new EP though.

AC: I like the visual imagery of that – that does make sense!

Alex: Yeah, and I think with how we seem to jam together, we almost work better together with simplicity and a certain amount of minimalism. Between the bass line, the guitar parts, the [keyboard] parts, there’s this natural flow that they have together and there’s three different melodies all happening at the same time.

So in order to hear that, for that to come out, I like that it doesn’t have so much “background noise” that blocks that out. It has that balance that reminds me of Grass Widow, and how they recorded too.

AC: It’s warm and fuzzy, and you can associate it with the memory of being at one of your shows. It sounds like the community really shows up for you.

Slice by Kelsey Landazuri

Speaking of shows, with the EP coming out on August 9th, I’ve heard there’s a big release show on August 10th. I’d love to know – what can fans expect? Are there any other shows planned, or other tricks up your sleeve?

Barbara: Kelsey and Val[eryee Jimenez of Selenite Records] said that we should record another 3-4 songs, and press that EP and this EP together on a 12-inch. So we’ve been talking about doing that. I’ve also suggested we could press all four EPs on one 12-inch, like this one punk band – Subhumans.

But we’ll see. We want to press a 12-inch, press another record for sure.

Megan: We’re also definitely playing more shows. Whenever a friend hits us up, we usually say yes… we have one more show booked in September.

Barbara: The August show, we’re playing with Coleco Club. It has members of the band Baus. They’re really cool, I can’t wait to play with them!

Megan: Angela Jane Bachman…

Barbara: Angela Jane Bachman!

Alex: I’m a big fan.

Barbara: Yeah, Alex is a big fan.

Alex: We’re going to be playing at our “home base” in Long Beach, which is called Vine. I think it became a thing when I was in college – so maybe not quite 20 years.

It’s now owned by Dustin Lovelis, who’s been in the music scene for a long time. [Dustin] has a recording studio, and he’s really involved in booking musicians. They have music pretty much every night of the week. The shows are also always free, so it’s a hub for music in Long Beach. Honestly, the main hub, which is funny because it’s one of the smaller venues. But it really is – if you’re a musician in Long Beach, you know about it. We wanted to play there because it’s the home base.

AC: Feels like a “return to form” of sorts.

Would those other shows also be in Southern California? Are there any plans to tour out-of-state?

Megan: We have no plans for that right now, but we would love to! We’ve toured the Pacific Northwest a few times, and we’ve even gone the SXSW route. We’d love to play more on the East Coast – Canada! [laughs] We would love to.

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III

Released August 9th, 2024 on Selenite Records

1. Depleted

2. Don't Overthink It

3. Painfully Aware

4. Shopping

Megan Magiera - Guitar/Vocals
Alex Hattick - Synthesizer/Lead Vocals
Barbara Barrera - Bass
Kelsey Landazuri - Drums

Mastered by Nick Townsend
Produced by Kelsey Landazuri
Album Art by Alina Kano

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Slice

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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From Backwoods to Big City: Truck Violence's Debut is a Brazen Fusion of Hardcore and Folk

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Truck Violence by SCUM

Recent heavy-hitter Violence by Truck Violence rips all the bandages off the skin of country living, exposing the raw, gritty wounds underneath. Released July 5th on independent label Mothland, Violence is the Montreal band’s debut record.  

From backwoods to big city, guitarist-banjoist Paul Lecours and singer-poet Karsyn Henderson moved to Montreal by way of Alberta in 2021. Joined now by Chris Clegg on bass and Ryley Klima on percussion, Truck Violence’s dark griefcore folk is embracing the more dire side of quaint, oft-romanticized backcountry life, tackling the realities of addiction and dysfunction that creep into the cracks of remote Western Canada. 

Lecours and Henderson are all experimental, all the time. Previously releasing a seriously twisted, probing electronic hardcore rap artpiece under the moniker No Cru5t (Hinterlands, 2023), these two know how to serve up gallant gloom on a platter. For this project, Lecours wraps banjo-tinged licks into an infernal hardcore burrito, swapping out experimental electro-beats for a dash of dulcet, melancholic folk.

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Truck Violence by SCUM

But this album isn’t dark for the sole sake of darkness. “The album should inspire hope, just as much as it creates a sense of shame,” Henderson notes. Violence isn’t senseless. Deep inside those agonizing screams, sweet pangs of healing can be heard. “Through this project, we’ve recognized many shameful things in ourselves. These have been let go with much kicking into the music and the art, itself. This isn’t about accepting our faults, the way we hurt the people we care about, there is far more beauty in an honest bettering.” Henderson’s lyrics stretch out a hand to the community, hoping not only to be heard, but to grasp palms; binding together in solidarity. 

Underneath rattling blast beats, driving dissonant riffs, and dirty poetic shouts, the band’s opening track video, “Undressed you layn’t before” showcases this violent unity very literally. Shot on a fisheye camcorder—a possible homage to skate culture and a definite nod to DIY punk—the video exhibits a crowd egging on two humans slamming boxing mitt fists against each other. Under the nose of their charming, shit-eating grins reads the yellow lyric subtitle: “Tell me I’m good enough.” As the band begs to be part of something, to be interesting, to be written about—Henderson utters in anguish: “Ultimately, that’s my goal / to be written about”— bloody-toothed smiles shine on the faces of hugging friends. 

Fundamentally, that’s what it’s all about, isn’t it? Facing that human desire to feel “good enough” in a distorted dystopia does require a little bit of a fight. Being honest in this day and age requires a fine-tuned focus on the fissure of our fucked up reality. Truck Violence utilizes the sound of Violence to dig into their upbringing, fleshing out rural Canadian roots, but ultimately beckoning broader solidarity. Violence is not about violence. It’s about honesty and healing. It’s about family, be that blood-binding or chosen. It’s about community. And if I can be part of that greater reach, Truck Violence, here I am: writing about you.

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VIOLENCE

Released July 5th, 2024 on Mothland

1. Undressed you layn't before

2. Lecture

3. Guns buried in the front yard

4. Drunk to death

5. The gash

6. He ended the bender hanging

7. I bore you now bear for me

8. Along the ditch till town

Credits:

All songs by Truck Violence

Chris Clegg - Bass

Karsyn Henderson - Vocals

Paul Lecours - Guitar & Banjo

Ryley Klima - Percussion

Production: Paul Lecours

Mixing & Mastering: Noah Baxter

Artwork: Truck Violence

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Truck Violence

Instagram | Bandcamp | Spotify

Starly Lou Riggs is a queer agender visual artist, writer and musician from the United States, currently based in Montreal.

Instagram

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Birds to the Front: A Conversation with Montreal's Birds of Prrrey

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Birds of Prrrey via Facebook (from left to right: Grace Spitzley, Noelle Inniss and Clarence Tremblay)

In a 8 x 8 music space in Verdun, Birds of Prrrey (yes, the 3 Rs are important) are getting ready to rehearse for the night’s show. It's small, hot, and stuffy, but time is money and they don’t have any to waste. Grace Spitzley, the band’s bassist, is dutifully looking over their schedule. Noelle Inniss, the drummer, is reminiscing on funny anecdotes. Clarence Tremblay, the guitarist, is setting up their gear, while explaining that this was the first room they've ever played in, and that the other rooms are much better.

There’s a direct contrast between the playful atmosphere of this rehearsal and the focused recording sessions that Birds of Prrrey had in the studio gearing up for their first EP release. Those days were characterised by missing equipment, sound malfunctions, and delays. “Personally, I almost cried,” says Noelle while explaining their initial difficulties. Old equipment required the band to adapt quickly and be flexible when unexpected things happened – things like having to record a song while not being able to hear yourself, or your fellow band members, at all. 

Though the Birds of Prrrey had a rough start, the band fondly recalls sharing a hug with their producer Ben Rowland during their last session. “Our last take, it was so easy,” says Clarence. Noelle chimes in: “[If you] think about it too hard, that’s when you fuck up.”

Released in early July, Yet, we’re still growing in place features only songs that have been performed live, so the band’s family, friends, and everyone who regularly hits up MTL’s thrift shops will finally be able to stream to their hearts’ desires!

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Graphic by Winie Coulanges

The creation of this EP served as a way for the band to let go of the past and look forward to the future – a time of transformation and new beginnings. It granted the band members an opportunity to embrace new memories and to escape negativity. As for how they feel now that the EP is out? Grace describes the feeling as cathartic. “Finally, we’re getting it out there for the world, and it’s our first big thing!’’ She hopes listeners will be able to recognize themselves in the songs.

Written over the course of 2023 while the band was going through growing pains, the EP touches on themes of love, power, self-reflection and independence. “Training Wheels”, the band’s favourite song, is an assemblage of all the qualities that make up Birds of Prrrey, such as humour, friendship and perseverance. Symbolic of the journey that brought them to this point, this track also serves as a reminder that their music is not a silly pastime or hobby but a real passion. “It’s such a beautiful song, we made something so beautiful and legit,” Noelle says.  “I have never felt more proud.”

Clarence recalls performing the song “Hatemail” at a show—a song they wrote about an unhappy relationship that was about to end—and locking eyes with an older man in the audience. “I was singing lyrics to a new song, and I saw an adult man who wasn’t there for us, he was there for the other band. Truly, listening to the lyrics and nodding his head like I was saying his truth. That gave me so much more confidence in what I was saying, like I wasn’t crazy.”

If Birds of Prrrey songs are intense and poignant, their social media presence is the opposite. Well-curated, it features many images of birds, memes and photos of the band. They don’t take themselves too seriously. Used to promote upcoming shows and document their evolution, the colourful images along with the funny captions invite everyone to feel welcome to dive into the universe that is Birds of Prrrey. Grace says, “I find that living in the city, performing at the same five venues, some bands take themselves way too seriously.” 

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Graphic by Winie Coulanges

Clarence describes it as a method to connect with their audience outside of live shows and to express themselves. Their openness and camaraderie not only makes the band unique and approachable, but it grabs the attention of potential collaborators. They’ve been able to work with artists of many different disciplines like animators, textile artists and graphic designers in their short career. Recently, they collaborated with an animator and artist named Sherry (also known as @Aecolyte) on the cover of their EP. “ They have a softness to their artwork but also deal with dark themes, it fits perfectly with our EP, ” explains Clarence. 

During a small break in their rehearsal, the band reminisces on a time someone compared them to The Beatles; the band, finding it hilarious, immediately jumped into an impromptu rendition of “Blackbird”. As for their actual musical inspirations, the band lists the Breeders, Hole, Mitski and Bikini Kill. At first glance, you might mistake them for riot grrrls. Despite their name and grunge aesthetic, complete with drawn-on Converse sneakers, Clarence clarifies: “We don’t think we are riot grrrls – to be a riot grrrl is to be political. We are just uplifting the movement.” They’re also not punk, Clarence explains: “ I would never say we’re punk – people call us punk, but I think they just use it as an umbrella term for those who make loud music.”

Debuting in the male-dominated Montreal music scene, it was a bit daunting for Birds of Prrrey to find their place. However, they quickly found an audience that was waiting for a band like theirs to come into the scene; young women and queer people taking up space and expressing themselves on their own terms, not wanting to confirm. While their initial demographic might’ve been fellow early 20-somethings, it’s clear that Birds of Prrrey can appeal to anyone. “There’s a part of our audience who we would've never thought would be interested in us, and it goes to show that it’s truly about the music,” Clarence shares. 

If you’ve never seen Birds of Prrrey live, a typical show might be prefaced with sentences murmured in the crowd like “This isn’t Birds of Prrrey” and “All the good bands are in Brooklyn.” Quick little quips as well as inside jokes serve as transitions between songs and each member shines in their own unique way. Noelle’s explosive drum solo at the end of “Noelle’s emo song” is captivating and full of emotion. Grace’s electric vocals over their fan-favourite cover of “These Boots Were Made for Walkin’” makes the crowd go wild. Clarence entertains the audience with their cool and charming personality. With a sea of moshing and bopping heads listening carefully to every song, Birds of Prrrey puts on a remarkable show. Towards the end of the night, you’ll usually find the members floating around the venue socializing and giving out handmade stickers to anyone who asks. 

Catch Birds of Prrrey at La Sotterenea on July 26th hosting and performing Bird Ball, their EP release show with a pop-up vendor market.

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Graphic by Winie Coulanges

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YET, WE’RE STILL GROWING IN PLACE

Released July 6th, 2024

1. A Man Invited Shoelaces

2. OMGCROWSEVERYWHERE.COM2003$

3. Hatemail

4. Noelle’s Emo Song

5. Training Wheels

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Birds of Prrrey

Instagram | Facebook | Spotify

Writing and graphics by Winie Coulanges

Winie Coulanges (she/her) is an emerging writer and artist living in Tiohtià:ke/Montreal. Her art is informed by her identity and her desire to dissect the environment she lives in with care, consideration and humour.

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PREMIERE: Ura Star Teams Up With Fireball Kid and mememe for "Hanging Out" (Music Video)

Fireball Kid and Ura Star. Photo by Ana-Maria Espino Trudel, logo designed by Cole Yearwood & Holly Craib

The sun is shining bright in Montreal, bringing grassy parks, cold drinks, and blossoming feelings along with it. Here to vibe through it all is Ura Star, who joined forces with Fireball Kid and mememe (Nap Eyes’ Seamus Dalton) for the easy-going earworm “Hanging Out.”

“Hanging Out” marks the first single from Ura Star’s forthcoming record Heartracer, which promises to deliver a stacked compilation of new wave-inspired jams. This album follows Ura Star and Fireball Kid’s two previous collaborations, Gas Station and Emotional Bros Hotline, and will carry their torch of synthy wholesomeness that makes the heart soar.

Produced by Zack Bruce, this latest release has Ura Star navigating the thrill of the “talking stage.” Ura Star, Fireball Kid, and mememe’s upbeat vocal harmonies sweep you away in a sugar rush, leaving you no choice but to keep the track on replay.

Even sweeter? The “Hanging Out” music video, which was directed by Ana-Maria Espino Trudel and Cody Lee. In the vid, the trio of artists exude a top-tier summer aura as they jump around on a vintage yellow sofa in the middle of a soccer field. Tapping their toes and sipping their brews, they conjure up the same innocent joy of a budding summer fling.

Watch the video for Ura Star’s “Hanging Out” below!

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Ura Star

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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

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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!

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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

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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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Seattle-based Chinese American Bear Touch on Growing Up in “Feelin' Fuzzy (毛绒绒的感觉)” (Moshi Moshi Records)

Chinese American Bear by Eleanor Petry

There’s a certain thrill that comes from staying up late with friends, giggling over bubbly drinks, and riding the sugar high of eating sweet treats. Seattle-based band Chinese American Bear really tapped into this feeling with their latest pop banger “Feelin' Fuzzy (毛绒绒的感觉),” released May 29th, which sports an uplifting cotton-candy sound. Composed of duo Anne Tong and Bryce Barsten, the bilingual Mando-pop outfit is both cute and profound; and now, this single is out to make the world feel… well, fuzzy. 

The track kicks out with a seriously pleasant riff evoking a sort of old-school grit that pulls colour out of each lick. Barsten’s playful guitar sets the tone before Tong’s fun-loving vocals chime in alongside with the lyrics, “I want to stay up all night making red bean mochi / I want some fizzy sugary bubbles in my belly.” This track might seem simple at first, but it’s more than an average fun-time song about wanting to play—Tong’s lyrics really hit home, drawing on her experience and tapping into the experience many first-generation kids may remember. 

In context, “Feelin' Fuzzy (毛绒绒的感觉)”—sung in both English and Mandarin—touches on a childhood of longing. “I wanted to lean more into my experiences growing up in a Chinese immigrant household,” Tong explains. “When I was a teenager, I was never allowed to go to friends’ homes after school, never allowed to go to parties or school dances on weekends, and definitely not allowed to date. My days were strictly focused on studying, practicing piano, and preparing for exams.” While the English lines hit on the things Tong wishes she could have done in her youth, the Mandarin subtitles read: “Do your homework!” “Play piano!” and “No playing!”

“This song is about what I longed to do during my teenage years instead of the upbringing I actually had,” Tong says. “I wanted to capture that repetitiveness in this song. I'm hoping other kids of immigrants can relate to this song!”

Tong and Barsten make a stellar team. Sonically, they’re locked in, combining forces as a true powerhouse of funky, psychedelic noise. After the release of their self-titled album, Barsten found himself exploring depths of ‘60s and ‘70s songs from Asia. Barsten notes that the grit of the track can be attributed not only to their inspiration, but also the attention to detail in the recording process. While the single was primarily recorded at the duo’s home studio, Trevor Spencer tracked the drums at Way Out in Seattle. “For the production nerds, yes, we used a blown-out knee mic!” Barsten excitedly explains. 

“Feelin' Fuzzy (毛绒绒的感觉)” really feels like that first pop-fizz, cracking open a soda can in the summer sun, and behind that sugar glaze comes something sweet and meaningful. The only thing left is to crack open that summer drink, get lost in the sound, and sing: “Oh man… I’m feelin’ fuzzy.”

Pssst – we’ve got the scoop! Chinese American Bear will release their album Wah!!! on October 18th via Moshi Moshi and Modern Sky.

Wah!!! is now available for pre-order on vinyl.

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Chinese American Bear

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Starly Lou Riggs is a queer agender visual artist from the United States, currently based in Montreal.

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