Public Appeal Struts "On The Scene" with New Single

Public Appeal by Pikoi

Montreal pop provocateur Public Appeal steps into her spotlight with new single “On The Scene,” out now via Arbutus Records.

Co-produced with bounce2, the track is a dizzying electro romp that cements Public Appeal as an avatar of indie sleaze’s next wave. Clocking in at just over two minutes, the avant-pop artist flips between slick rap flows and candy-sweet coos, channelling the swagger of Kreayshawn and early Ke$ha. For those tapped into Montreal’s underground, her ascent comes as no surprise — she’s previously enlisted the likes of Babynymph and Ayesha Erotica to sharpen her sound. But this release puts her star on full display.

Said Public Appeal of “On The Scene”:

“I wrote the song two years ago when I was freshly 19 – it's one of those songs that encapsulates feeling like a teenager but having the freedom of an adult with endless possibilities. Even though the song has a fun and playful manner, it also deals with emotions of confusion and insecurity, wanting to disappear and create a new life for myself through a new lens. ‘On The Scene’ is the typical 19-year-old city living.”

Filmed at infamous Montreal haunt Système, the single’s music video captures Public Appeal in full debutante form — decked out in a chunky belt and vintage white frames, strutting through the club in a late-aughts fever dream. The footage flits between chopped-up party scenes and self-assured bathroom confessionals; flash by flash, she’s announced her arrival. With mismatched fashion and irreverent confidence, Public Appeal rises beyond the revival.

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Public Appeal

Instagram | Bandcamp | Spotify

Rebecca Judd is the Editorial & Operations Lead of Also Cool Mag. She is currently based in Ottawa.

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Project Nowhere Round Three: The Best of Toronto's Underground Music Scene

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Photo by Zoë Argiropulos-Hunter

Toronto’s Project Nowhere music festival returned to the city’s west end for its third edition, and we were more than happy to hop on a train to attend—it's now a yearly tradition. 

The festival's multi-venue format spanned six spaces along Dundas West from October 2nd to 4th, including Nineteen Seventy Eight (Expo Vintage Outlet), St. Anne's Parish, The Garrison, The Baby G, BSMT254, and Hank's Liquor, with 3-day passes and an excellent festival app/guide available to anyone who wanted to make the most out of the experience. In addition to providing the festival schedule, the app also included food and shopping recommendations of all kinds along the Dundas West strip, even throwing in a few discounts at select stores. Developed by a fan of the festival who attended from out west, the app helped to support the area's independent business owners alongside the Project Nowhere’s buzzing lineup. 

Night One 

This year, we had the honour of co-presenting one the opening night shows, featuring Montreal’s own 2025 Polaris Prize short-listers Ribbon Skirt, Hawaii-bound rocker Gus Englehorn, and Toronto twee electronica outfit cootie catcher. The venue itself, Nineteen Seventy Eight, was unique in that it's usually a by-the-pound thrift store, but all of the racks and tables were pushed to the back up against a chain link fence, making space for an on-the-floor stage. Enhanced with colourful lighting and live visuals of the bands performing in real time, the room was packed to the brim from start to finish with eager music lovers. 

The night kicked off with hometown heroes cootie catcher, whose kooky musings on the growing pains of daily life could be plucked straight from the Juno soundtrack. The four-piece tightly delivered earworms from their recently released album Shy at first, with each member exchanging encouraging glances as they ventured into performing new material. Leading up to the festival, we interviewed cootie catcher members Nolan and Anita about their affinity for Project Nowhere and what’s on the horizon from the band after their last tour. 

Building on this musical trust fall, Gus Englehorn took the stage, accompanied by his wife and bandmate Estée Prada. Having caught the duo earlier on this tour in Gaspésie, their Project Nowhere performance felt more intimate, with the audience hanging on attentively to Englehorn’s folkloric lyrics. Leading us through the tales of Englehorn’s latest offering The Hornbook, the pair’s tender take on their garage rock repertoire was a welcomed easing-in to the festival weekend ahead. 

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Ribbon Skirt, by Malaika Astorga

Ribbon Skirt tied the bow on the Also Cool Project Nowhere showcase with their laser focused, newfound grit. Falling on the eve of their Pensacola EP release, the band was fully charged and maneuvered poetically about the former autobody garage floor as if they were back on stage at Massey Hall for the Polaris Prize. Zigzagging amongst her bandmates and into the crowd, singer-guitarist Tashiina Buswa jumped up and down with fans, excitedly singing the lyrics of “Off Rez” and “Look What You Did” face to face. Having followed the band since day one, our hearts were full when Ribbon Skirt were summoned back for an encore, performing a lively cover of “New Town” by Scottish post-punk band Life Without Buildings to a thrilled audience of listeners old and new.  

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Miserable Weekend by Zoë Argiropulos-Hunter

Night Two 

Saturday’s events began at St. Anne's Parish, where the setting sun offered respite from the season's final heatwave. Now the home base of music presenting non-profit Wavelength, the decommissioned church's reimagined hall is a breathtaking venue. The Dali-esque psychedelic projections of Oscillitarium were a signature backdrop throughout the weekend, bubbling like the wax of a lava lamp in between the stage's rounded mouldings and high ceilings.

Opening the night, Toronto's own Miserable Weekend filled the room with their new-wave flavour. Wearing matching black and red ensembles with handkerchiefs around their necks, the band's take on Suicide's "Rocket USA" was a standout, with singer Cecil Stehelin gyrating as if powered by an electric pogo stick. 

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New Chance by Zoë Argiropulos-Hunter

From St. Anne's, we made our way to BSMT254. Below soft, blue-hued lights, Toronto multidisciplinary artist New Chance and her collaborator, Johnny Spence, led the attentive crowd into a hypnagogic state. Between New Chance's glossy voice and the rich sustain of Spence's synths, the live renditions of New Chance's latest album, A Rock Unsteady, are akin to a performance one could imagine in the Road House from David Lynch's Twin Peaks. 

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Freak Heat Waves by Zoë Argiropulos-Hunter

The final acts of night two performed down the block at The Garrison. It was like no time had passed since we last saw Victoria, British Columbia duo Freak Heat Waves when they took the stage. Effortlessly cool, the pair's bubbly dub jams kept the crowd satiated (and moving!) in anticipation of New York’s james K. In a flash, The Garrison felt like a tin of sardines as james K took the stage. Accompanying her arresting falsetto, K’s delicate, liquid soundscapes submerged the crowd into a spellbound state. Thanks to the stunning rendition of james K’s newest album Friend, it was as if we all felt we could take a much needed, collective breath that night. 

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james K by Zoë Argiropulos-Hunter

Night Three 

Night three started off outside the tour van of Atlanta dark disco outfit CDSM (video interview coming soon). Along with the band, we piled into Nineteen Seventy Eight upon their recommendation to catch Columbus Ohio punk band DANA. The venue had transformed since we had last been there, clearing the retail floor all the way to the back. The stage was now on top of a half pipe skate ramp, which made room for a much larger audience. DANA were fiercely energetic to the point of blowing the power briefly—effectively warming up the stage for CDSM.

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DANA by Zoë Argiropulos-Hunter

After their set, we hopped on the streetcar to head down to St. Anne's to catch the next show. We made it just in time to hear the end of Toronto’s Luge. The band of doom angels nearly blew the roof off the church with their angular, snakes and ladders sound. 

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Her New Knife by Zoë Argiropulos-Hunter

Up next were Philadelphia's Her New Knife, who were one of our favourite discoveries at the festival. The band certainly lived up to our sonic hopes and dreams with a perfect shoegaze whirlwind of sound. Just as their name evokes, the band conjures the feeling of a sheath being drawn—metallic and alluring—yet somehow warm and familiar. The band’s performance was a welcomed experience for those of us too young to have come up with Duster and Sonic Youth in their heyday. We caught up with Her New Knife after their set for a video interview in the church parking lot—coming soon to our YouTube channel. Afterwards, we caught the tail-end of Water From Your Eyes’ set, who played tracks from both their new album It’s A Beautiful Place, and classics like “Out There,” from their 2023 album Everyone’s Crush. Shimmering, vulnerable, and unafraid to speak out on the atrocities happening back home, the band had us hooked on their every word, despite their signature nonchalant delivery.

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Water From Your Eyes by Zoë Argiropulos-Hunter

We closed out our Project Nowhere weekend with a performance from one of the festival's underground heavy hitters (literally). Making haste from St. Anne's, we descended into percussive fervour thanks to the jaw-dropping talents of Expensive $hit (AKA Paul Quattrone of beloved California garage band Osees). A balancing act between acoustic drums, vintage electronic drum pads, samplers and a spread of distortion and delay guitar pedals, Quattrone had BSMT254 locked into his rhythmic trance.

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Paul Quattrone by Zoë Argiropulos-Hunter

Heading back to our respective cities (Ottawa and Montreal), we couldn’t help but mutually gush over how much fun the festival had been. Project Nowhere truly encapsulates the punk spirit of Toronto, proving for a third year in a row that D.I.Y. culture is alive and well.

We’ll definitely be at next year’s edition, and we hope to catch you there, but in the meantime keep an eye out for our upcoming video interviews, which will be available on our YouTube.

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Project Nowhere

Website | Instagram

Words by Zoë Argiropulos-Hunter and Malaika Astorga.

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From Shed to Stage: Pith Celebrates "Guinevere" Vinyl Release at Happy Goat Laurel

Emily McQuarrie, Cole Emberley, Sarah Bartlett, and Chrissy Love of Pith. Photo by Sandra Bartlett

As the Ottawa summer fades to a whisper, local legends Pith invite you to form some golden-core memories at the Guinevere vinyl release show on Saturday, September 20th at Happy Goat Laurel. Their fourth LP is out now on Bandcamp and all streaming platforms — but this time, it finally exists in physical form, with just 50 copies pressed for the occasion.

The “cosmic country freak-folk” troupe have been slow-roasting the record since lead singer-songwriter Chrissy Love moved back to Ottawa. What started in “the shed” as a cottage-country confessional eventually blossomed, thanks to the interplay of Sarah Bartlett’s smooth guitar and featherlight harmonies, Cole Emberley’s nimble drumming, and Emily McQuarrie’s shrewd bass undercurrent.

Pith by Rob Coslett

While select tracks were soft-launched via Live from the Shed parts 1 and 2, Guinevere pushes things further into studio territory: arrangements layered with additional bass, tighter drum programming, and added textures from Rhodes piano and a swirl of tenor sax. The result—fortified by the efforts of Jake Cataford, Eric Massoud, and Tim Zurakowski—feels expansive without overshadowing the band’s signature whimsy. Across its eight tracks, the record wanders through loneliness, connection, and the transitions in between. Then, just to throw you off balance, Bartlett closes things with “Wednesday Night” – a tongue-in-cheek, bossa nova-tinged anthem about garbage collection. What’d I tell you about whimsy?

Guinevere vinyl release show poster by Chrissy Love

Saturday’s release show at Happy Goat will be rounded out by post-punk shredders Scrip Issue and pop polymath DJ Hibo Lagerfeld, ensuring something for every stripe of Music Enjoyer. Doors open at 8:00 PM, tickets are $10, and if you want vinyl, bring cash and move quickly.

Don’t miss your chance to traverse the sonic plains of Pith and round your summer out, Ottawa-style.

In the meantime, enjoy Pith’s fourth LP Guinevere—and get tickets to the vinyl release show—below!

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Guinevere

out now

1. Biology Drone

2. Party in the Underworld

3. When I Look in Your Eyes

4. I Love You So Much I Could Cry

5. When I'm Not with You

6. Escalator

7. Guinevere

8. Wednesday Night (Sarah Bartlett)

Pith is: Chris Love, Sarah Bartlett, Cole Emberley, Emily McQuarrie

Additional musicians on this album: Jake Cataford (Tenor sax), Eric Massoud & Tim Zurakowski (Additional bass)

All songs written by Chris Love & composed by Pith, except track 8 written & composed by Sarah Bartlett

Special thanks to Andrea Finlay

Cover art: Gerald Trottier, "Canadian Art '59 Cover" 1959 © CARCC Ottawa 2024

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Pith

Instagram | Bandcamp | Spotify

Rebecca Judd is the Editorial & Operations Lead of Also Cool Mag. She is currently based in Ottawa.

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Palomosa 2025: A Weekend of Chaos, Colour, and Camp

Palomosa 2025 by Zoë Argiropulos-Hunter

We’re still catching up on sleep from the buzz of Palomosa. The second edition of the festival delivered a spectrum of performances—from gripping moon-lit shoegaze to blitzing pop perfection—in a whirlwind of a weekend. We stumbled out of Parc Jean-Drapeau dazed, exhilarated, and with a Notes App full of thoughts from Montreal’s it-music weekend – here they are.

Zack Fox by Malaika Astorga

Palomosa’s Block Party (presented by Piknic Électronik) welcomed festival-goers on Thursday. Despite the unrelenting downpour, Tallandskiinny and Zack Fox had the crowd partying hard. The spirit set the tone for the rest of the weekend – upbeat, energetic, and ready to have a good time regardless of the circumstances.

MGNA Crrrta by Rebecca Judd

Learning our lesson, we arrived ready for the official Day 1 rain-boot-clad à la Glastonbury. Friday was defined by the magnetism of cult-followed artists, starting with NYC electro-pop duo MGNA Crrrta. At just 21, the duo comprised of Farheen Khan and Ginger Scott have garnered an international following for their audacious, red-lining dance tracks. Decked out in 2013-esque cross tights and a crystal applique headband, the pair touted a playful stage presence that perfectly aligned with the sun coming out just in time for their set, where their laissez-faire attitude and bubble machine had us nostalgic for the dog days of summer. “Summer is my favourite season in the world!” 

The Hellp by Rebecca Judd

Next up on Palomosa’s Fizz Stage were Los Angeles electroclashers The Hellp. Shockingly punctual, they kicked into gear with saturated pop favourites “Hot Fun” and “Colorado,” which vibrated through the early crowd like the best kind of dorm-room daydream. Noah Dillon doubled over his mic while Chandler Ransom Lucy coolly puffed through a string of cigarettes, locking in without breaking focus. Midway through, “California Dream Girl” morphed into a tongue-in-cheek interpolation of Katy Perry’s “California Gurls,” a wink that drew cheers from the pit. After our exclusive interview with the band (coming soon…!), they confirmed it was their first time in Montreal, but judging by the emphatic reception, the city already claimed them as its own.

MCR-T by Malaika Astorga

Berlin-based international artist collective Live From Earth took over the Scene du Jardin, and resident DJ, rapper and producer MCR-T had us dancing with our entire bodies. He performed some of his original songs throughout his set, singing over top, while also DJing other bangers, with his crew proudly flying the Live From Earth Flag in the background. 

Back on the Fizz Stage, Lower East Side group Fcukers turned the party with their acidic house flounce. Filling out their sound as a four-piece, the live renditions of heavy-hitters like “Like It Like That” and recent heater “Play Me” were electrifying with drums and guitar. Seeing the band’s rave diva frontwoman Shannon Wise skate around her bandmates in real time almost distracted from the unbalanced live mix. The band played it cool as the crowd lost themselves in the bass. 

Cecile Believe by Rebecca Judd

Day 2 arrived with a groggy head, but the remnants of Palomosa’s eclectic roster were enough to shake off the sleepiness. Waking us from our end-of-fest slumber was the hypnotic pull of Cecile Believe. The experimental pop artist emerged with gratitude for the city where she began her ascent before diving into her set. Her crystalline vocals soared far beyond the Fizz Stage, and between the wistful purity of “Ponytail” and the rhythmic surge of “Blink Twice,” her signature blend of experimental textures and pop immediacy kept the audience completely absorbed. Most striking was Believe’s sense of movement, every bit as fluid as her dextrous voice. In our forthcoming interview with Believe, we explore the foundations of this presence and some of the recent projects that have propelled her artistry.

Yeule by Rebecca Judd

Sometime later, Yeule emerged onto the Fizz Stage, their petite frame cloaked in a cropped leather ensemble. As we noted in our Top Picks, their latest record Evangelic Girl is a Gun had marked a turn toward a gritty trip-hop slant, and the size of the crowd suggested its pull was widely felt. While Yeule was characteristically mesmerizing as an entity—wielding their electric guitar with ease, flailing their limbs to the beat—the vocal mix let them down, smothering a voice already fragile in its breathiness. This felt most apparent on songs like “Eko,” its glittering refrain completely dissolved by the backing track. Yet Yeule never lost their grip on the masses, which swelled with awe during their cover of “Anthems of a Seventeen Year-Old Girl.” Closing the show with a cigarette between their lips, Yeule strutted off stage, leaving only the phantom of their sound behind.

Rebecca Black by Rebecca Judd

But the award for most consuming performance of the night easily goes to rising pop legend Rebecca Black – yes, that one. Her mic was unmistakably on—best demonstrated by a cheeky yet nimble cover of “Ur So Gay”—and the camp factor was cranked past ten. Flanked by Westboro Baptist Church-esque signage promoting “homo sex,” Black flashed her turquoise bloomers as she and her dancers snapped through clockwork choreography, spilling into every inch of the stage.  By the time Black descended into a hyperpop fusion of “Friday” and “Sugar Water Cyanide,” the audience was delirious with glee. “If you don’t go hard, I’m gonna kill you!” Black shrieked, crawling onto her dancers’ backs and launching her sunglasses to the side. Something about this climax felt oddly emotional: here was someone who rode the wave of relentless, worldwide bullying into a daringly creative career. All those years ago she was cast as a punchline, and this felt like her metamorphosis.

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Palomosa

Website | Instagram

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.

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

Rebecca Judd is the Editorial and Operations Lead of Also Cool Mag. She is currently based in Ottawa.

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FME 2025 Recap: Baby Berserk, Empanadas Illegales, & More

Photo by Malaika Astorga

We've returned from our yearly pilgrimage to FME (or almost at least, this recap is being written on the very long bus ride back home to Montreal). Despite the distance, the festival remains one of our favourites of the year. Another delegate put it perfectly, FME feels like summer camp, but if you were to swap out the friendship bracelets with secret punk shows and an abundance of beer.

The festival ran from Thursday, August 28th to Sunday, August 31st, and hosted a variety of acts, both Canadian and international. Every year, the festival chooses a theme that takes over the town, and this year, we were greeted by mysterious craters, dinosaur footprints, aliens, and more, with photo-op stands in front of each venue. In terms of the musical highlights, here's the day-by-day summary.

Photo by Malaika Astorga

Thursday welcomed delegates from around the world, and despite the long travel day for many, everyone made it out to the first shows of the festival. Crasher kicked off the night with a shimmering and electric performance, so electrifying, actually, that it blew the subwoofer. However, Bibi Club had it sorted in no time and had the crowd dancing along in the freakiest ways.

Population II at the Bonsound BBQ by Malaika Astorga

The iconic Bonsound BBQ is always hosted on the Friday morning of the festival, and this year's poolside performance was by Population II, whose crusher performance made the perfect soundtrack for our hungover hotdog brunch. We had the opportunity to speak with Crasher at the BBQ on a giant chess set for a video interview, which will be released very soon. Then we grabbed one last sparkling paloma before heading to Meggie Lennon's show. She had the crowd captivated and singing along till the last song. 

Baby Berserk by Malaika Astorga

Baby Berserk followed up shortly after with a killer secret show at the local favourite poutine spot, Chez Morasse. Arguably dance punk, and provenly incredible performers, the lead singer was climbing up street posts and storage units in heels, all while keeping everyone dancing and screaming. La Flemme, a punk group from Marseille, took over Le Petit Theatre, drawing on classic punk references, while keeping the hardcore spirit alive with a wall of death and probably the friendliest mosh pit we've ever seen. 

Poolgirl by Malaika Astorga

Saturday, welcome our own DJ Flleur to the main stage area of the festival, with three diverse sets throughout the night, spinning everything from Fontaines D.C. dance edits to darkwave to Strawberry Switchblade's cover of Jolene. Empanadas Illegales took to the stage first, with an incredible cumbia set. The OBGMs were up next, introducing themselves as a Celine Dion cover band, and demanding the crowd to "open up the pit for Celine!" They also publicly shamed a crowd member's shitty ex-boyfriend, and helped everyone process their emotions. Les Trois Accords closed out the night on the main stage with Quebec classics that had everyone singing their hearts out. Around the corner, Boutique Feelings did a secret show across from Cabaret de la Derniere Chance in an alleyway, and Poolgirl pulled off a killer riot girl-style set down the street, with pool floaties flying through the crowd. 

Les Freaks de Montréal by Malaika Astorga

Empanadas Illegales returned to the stage, or more specifically to the garden, on Sunday with a beautiful secret show at Parc Botanique À Fleur d'eau. Automelodi closed out the festival in the main stage area, with a perfectly spooky darkwave set that had all the local teens dancing like proper goths.

As always, we had the best time at FME, and can't wait for next year. We hope to see you then! In the meantime, stay tuned for video interview with Crasher, Meggie Lennon, and Poolgirl, to be released on the site & our YouTube.

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Maryze Pushes Daring Queer Pop Frontiers with "Versed"

Maryze and Syd Kilroy, shot by Morganne Yambrovich

The taste of LA-via-Montréal pop artist Maryze has long been dubbed “stormy-sweet,” but their triumphant release “Versed” turns up the heat. Six months since its release, the single remains a rallying cry of unapologetic queer passion, signalling an uninhibited new chapter for the ever-evolving performer. Maryze’s X-rated fantasies are delivered with a staccato cadence, riding a classic techno pulse supplied by Siren Mars. And for the visual learners, the Priscilla Mars–directed music video hits like a feverish tableau, showcasing Maryze’s legion of sapphic collaborators – the fishnets, the Pleasers, and the reckless freedom of diving headfirst into desire.

Scroll on to explore how Maryze has settled into their new digs on the West Coast, and what’s to come from their next steps. Bonus: exclusive BTS photos from the “Versed” video shoot, captured by LA photographer (and close collaborator) Morganne Yambrovich.

Maryze and Siren Mars, photo by Morganne Yambrovich

Rebecca Judd for Also Cool Mag: Listening to "Versed," your sound has undoubtedly transformed since the days of 8. Boasting an evocative electro sheen, this new single feels like it's on the verge of a hedonistic explosion. Can you walk us through the personal and creative journey between these two phases of your craft?

Maryze: That's an interesting question. I think that 8 contained a lot of songs I'd been working on for upwards of eight years, and reflected on experiences from earlier on in my life. It was kind of an "up until now" project, whereas what I'm making now is very of the moment. Everything that I'm experiencing, I'm putting back out into music with a pretty quick turnaround. It feels more urgent, and kind of like a teenage level of intensity — taking in so many new feelings and trying to make sense of them. 

Michael Milton, Skyler Cocco, and Reaz Jafri, photo by Morganne Yambrovich

Also Cool: While you’re clearly thriving in Los Angeles, I can say the Canadian music scene feels your absence. What parts of Montreal continue to resonate with you—in art and spirit—and how has LA’s vibrance shifted your approach to self-expression?

Maryze: That's very sweet. I miss Canada, and Montreal specifically. I will keep praising that city, its nightlife, and DIY scene forever — it's truly a mecca for arts and culture. In terms of how LA has shifted my approach to self-expression, it's allowed me to put myself out there more authentically. I know people say it's a fake city, but I've found that creators encourage each other to take risks and squash self-doubt. Montreal's indie music scene has a coolness [that] I never really felt like I fit into, haha. I make and love pop, and that's always who I'll be.

Sadie Scheufler, photo by Morganne Yambrovich

AC: Since relocating to Los Angeles, you’ve immersed yourself in a vibrant community of queer femme creatives, many of whom played a key role in bringing "Versed" to life (like Skyler Cocco, Morganne, and Priscilla Mars). What does it mean to you to forge these creative alliances, especially as a queer artist?

M: I have to thank TikTok on this one, because I met the three artists you named on there! I'm so grateful for the friendships and creative alliances I've been able to make online before even moving to Los Angeles. As a queer artist, it kind of took me until the past few years to form the like-minded community I never had growing up. Montreal helped kick-start that journey. I feel very, very lucky — my close friends/collaborators inspire and lift me up every day. 

Morganne Yambrovich

AC: You’ve spoken extensively about the impact of artists like Peaches, Lady Gaga, and the trailblazing Princess Superstar on this record. What was it like to share the stage with PS at The Saguaro Hotel in Palm Springs – did it feel like a full-circle moment to collaborate with one of your musical touchstones?

M: That was wild. I met Princess Superstar at SXSW and was tripping over my words trying to tell her she inspired one of the tracks I was performing that night. To be invited to perform with her in Palm Springs was an honour! She has a super kind, mothering energy, but is also just incredibly badass. 

Maryze, photo by Morganne Yambrovich

AC: With this raunchy electroclash soundscape that anchors your sophomore album, you’re flirting with evolution – but given how 8 unfolded, we know there are always layers yet to be uncovered. Are there any unexpected genres or sonic experiments you’ve been drawn to, or sensations you’ve yet to explore on this record?

M: Without giving away too much, we're getting into some epic, cinematic drama and embodying new characters. Strings? Operatic high notes? Americana thriller music videos shot in the desert? Coming soon. 

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Maryze

Instagram | Bandcamp | Spotify | TikTok

Rebecca Judd is the Editorial & Operations Lead of Also Cool Mag. She is currently based in Ottawa.

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Side by Side Weekend Marks Five Years of DIY at Club SAW

Ruby Doom, photo by Rebecca Judd

Walking through the gates of the Club SAW courtyard Friday night, palpable excitement weighed in the air just as heavily as the late-July humidity. Though performances wouldn’t start for another half an hour, a line of eager Side by Side Weekend (SBSW) festival-goers smiled ear to ear as they received their neon wristbands—an accessory worn by seemingly everyone in the Ottawa music scene all weekend long. 

July 25th-27th celebrated Side by Side Weekend’s fifth anniversary. This milestone year for the independent, genre-diverse festival saw a lineup of over 30 artists, 70 per cent being Ottawa-area-based. Returning to artist-run centre Club SAW (plus a free offsite show at the Ottawa Pumphouse!), the three days of live music from heavy-hitters and up-and-comers were curated by co-presenters Club Records, Congrego, First Crush, and Fortress alongside the Side by Side Weekend team. 

Bucko, photo by Ming Wu

On opening night, new-on-the-scene band lady grey and the phantoms served up candid, smouldering shoegaze, reminiscent of earlier sounds from fellow Ottawa group Empty Nesters. Next, local legend BUCKO turned a candle-lit performance on its head, premiering a new, dance-driven sound that raised heart rates and spirits. From there, Friday emulated heavier tones, first from Neurotypes. Fronted by multi-instrumentalist Nat Resi, the group stood out for its 80s-inspired sound à la Faith by The Cure, with a playful approach. Noise trio VICTIME engulfed the courtyard into an anti-rock whirlpool, with each member embodying the off-kilter deliciousness of their 2024 return En conversation avec. The cherry on top of Day 1 was synth-punk headliner Slash Need. Along with their entourage of lusty dancers, frontperson Dusty Lee and mad scientist synth maestro Lex Low chewed and spat out the audience with a venomous shadow show. 

Hug Mosh, photo by Rebecca Judd

Day 2 of Side by Side began with Ruby Doom, an electric femme three-piece from Brantford, ON. Uplifted by the scorching snarl of singer-guitarist Cadence Nixon, the group’s alt-punk anthems had bodies grooving throughout the courtyard. Their camaraderie and effortlessness conjured visions of Bikini Kill, leaving the courtyard supercharged for the spectacle to follow. Shortly thereafter, Ottawa hyperpop heroine (and SBSW co-organizer) Hug Mosh took to the stage, decked out in a white lace dress, brown Doc Martens, and earth-toned bolo tie. They flaunted their trademark flow across synthetic new picks from latest EP, coolest girl in the world, before descending into the crowd for beloved rager “Cool Dance.” Closing things out was Afro-rap artist Banggz, who transported Club SAW to Lagos with his skillful flow and roster of dynamic collaborators.

glowveins, photo by Rebecca Judd

Running on fumes, Day 3 of the festival called for sunscreen, shades, and Side by Side x Spark Beer Palsner, as dozens flocked to The Pumphouse for Congrego’s (free!) park showcase. The beaming golden sun grinned on partakers and performers alike, as the afternoon moved through the textured bounce of Nothing Nobody, the discordant drive of glowveins, and the twinkling electronica of Sam Aleums. Most heartening about this magic was the passersby who soaked it in—halting their bikes to linger along the pathway—and the handful of children trying to decode the sonic swirl. The park showcase welcomed not only SBSW devotees into the fold, but curious community members from every walk of life.

The last hours of the day were spent back at SAW, where Side by Side Weekend shared the grounds with Ottawa indie label Club Records. Taking to the indoor stage for her first-ever show was Alyssa Iswolsky, otherwise known as Devoter, who drew listeners in for an emotive acoustic landslide. Iswolsky took time to apologize for her “bummer music,” but her eloquence and vulnerability were welcomed by the crowd. Outside, anticipation simmered for Knitting, the Montreal slacker-rock troupe led by pensive frontperson Mischa Dempsey. Between selections new and old, including springtime release “Nite Lite,” Dempsey took time to spread their appreciation for SBSW and the Ottawa arts scene – a message that lingered in the courtyard air.

Los3r, photo by Rebecca Judd

And to cap the festival off, back in Club SAW, the time had come for Los3r – the Ottawa glitchcore trio whose prolific sincerity has stoked a cult following. Los3r powered through a colourful 45-minute set—at one point teasing the prospect of “100 more songs”—and left every last grain of energy on the stage. Their performance—a sweaty, euphoric freefall—marked not a closing, but a release. It etched the fifth edition of Side by Side Weekend into hearts across the city.

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Side by Side Weekend

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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.

Rebecca Judd is the features editor of Also Cool Mag. She is currently based in Ottawa.

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Sustaining Pique: Debaser’s Summer Success and the Road Ahead

Arriving at Pique, photo by Rebecca Judd

At Also Cool, we remain steadfast champions of Pique – Debaser’s quarterly music and arts festival, staged within the walls of Arts Court in downtown Ottawa. Since its inception, the festival has ballooned in both scale and stature, drawing thousands to experience rising talents and scene fixtures from across and beyond North America. Pique has transcended the realm of party to become a platform for artistic revolution and a lifeline for community-rooted creativity.

The summer 2025 edition of Pique welcomed 1,400 festivalgoers and offered a diversity of performances and exhibitions. Though outdoor programming moved indoors due to air quality concerns, the spirit of summer shimmered throughout the venue for all those who came to play. Standout moments included the Produced by Youth and Pass the Vibes open decks, alongside captivating performances by Silla, Orchidae, Bells Larsen, HiTech, and Also Cool co-founders Flleur and Lamb Fatale.

Aligned with the festival’s ethos of accessibility and inclusion, Debaser offers subsidized tickets to ensure a dynamic experience for all who wish to partake. Earlier this month, the organization shared that nearly one in three attendees accessed subsidized tickets for the summer 2025 edition. Of these, 42% were subsidized by attendees who opted to pay at the higher end of the suggested range, while Debaser covered the remaining 58%.

To uphold these values—and ensure fair compensation for the artists and cultural workers who bring the festival to life—Debaser has launched the Pique Sustainability Fund. It invites those in a position to give to extend the experience, nurturing a vibrant future for Ottawa’s arts and cultural landscape.

As fall looms (yes, already), Pique’s next edition is slated for September 27. While the lineup has yet to be announced, audiences can expect electrifying appearances from both local and international taste-makers. Tickets are now available, with a suggested price range of $45-$75, or at a subsidized rate by contacting Debaser directly.

In the meantime, scroll on for a glimpse at summer 2025 Pique’s highlights, including our co-founders’ delightfully chaotic interview with HiTech.

Silla, photo by Rebecca Judd

Orchidae, photo by Rebecca Judd

fanclubwallet, photo by Rebecca Judd

Bells Larsen, photo by Rebecca Judd

47Chops of HiTech’s birthday cake, photo by Rebecca Judd

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Pique

Website

Debaser

Website | Instagram | Facebook

Rebecca Judd is the features editor of Also Cool Mag. She is currently based in Ottawa.

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Toronto Synth-Punk Outfit Slash Need Announces Debut Album With New Single "Double Dare"

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Slash Need (left Dusty Lee, right Alex Low) via Bandcamp

For those reckoning with the perils of playing nice, Toronto industrial performance art outfit Slash Need dares you to talk back. Earlier this week, the group—composed of leather-clad ringmaster Dusty Lee, electro-synth kingpin Alex Low and their charismatic entourage of gogo dancers—invited us to feast on “Double Dare”, the first offering from their to-be-released debut Sit and Grin, scheduled to arrive this fall. 

An explosive exploration of the emotional turmoil caused by feeling unheard in a friendship, “Double Dare” delivers both bark and bite. Evolving from a drawling lament to a vicious retaliation, Lee’s controlled aggression, paired with Low’s slithering bass-driven modulations, chart a crowded, spiralling internal monologue inspired by a fraught friendship dynamic past its expiration date: “Do you ever just shut up? / Why don’t you let me talk? / I double dog, double dog dare you to!” 

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Slash Need via Bandcamp

“Double Dare” arrives with an accompanying music video, impressively crafted with zero budget in collaboration with friends of the band Katerina Zoumboulakis and Lea Rose Sebastianis, and edited by Chris Levett. In Slash Need’s signature camp meets triple-X style, the “Double Dare” video sees vocalist Lee blowing off steam with shapeshifting insecurities looking over their shoulder. Carrying the weight of their conflict from day to night, through alleys and over highways, Lee eventually summons enough confidence to bare their blackened teeth and apply lip gloss in the face of betrayal. 

Steadfast in their artistic commitment to reclaim personal autonomy, Slash Need asserts that “Double Dare” defines a new era for the group; “one that will demand that people listen.” 

Watch the video for “Double Dare” ahead of Slash Need’s performance at Ottawa’s Side By Side Weekend on Friday, July 25th, 2025 at Club SAW.

Slash Need

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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Maria Somerville Conjures Echoes to Shore with "Luster" (4AD)

Maria Somerville by Cáit Fahey

Irish artist Maria Somerville’s album Luster unfolds with the subtle cool of morning dew upon the grass. Marking her debut on the venerated 4AD, the album walks its own level path – a crystalline dream suffused with spectral texture.

Stretched across twelve tracks, Luster takes deep inspiration from Somerville’s homecoming to the lands of Connemara. Its lyrical imagery is viscous, and at times nebulous—harkening back to natural wonders at every scale—but Somerville cleverly adapts these narratives. “This world will break your heart / I know not to know now,” she sagely opines on the hushed “Corrib” (named for County Galway’s freshwater lake). Somerville sinks into “Violet” with another limber tableau: “Hearts and mind, the sea of change / Veils of vision, offshore birds.” Though thematically anchored to the musician’s surroundings, the album breathes musings fit for any terrain.

Luster also unveils a rich sonic mosaic, elevating the shoegaze and dream-pop genres with gratifying flourishes. Consider the steady drone of “Violet,” accented with uilleann pipe by Ian Lynch, or the ambient shrill of the synth on “Stonefly” as it rises to a crescendo. “Spring,” the last single off the album, swells with an orchestral breathiness akin to Diamond Jubilee before hollowing to reveal Somerville’s shadowy vocals.

Somerville’s sophomore album is imbued with history, yet radiant with growth. Symbiotic in its sprawl, Luster beckons to be witnessed.

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Luster

out now via 4AD

1. Réalt

2. Projections

3. Garden

4. Corrib

5. Halo

6. Spring

7. Stonefly

8. Flutter

9. Trip

10. Violet

11. Up

12. October Moon

Artwork by Nicola Tirabasso and Alison Fielding

Thanks to Jack Colleran, Henry Earnest, Finn Carraher Mc Donald, Margie Jean Lewis, Róisin Berkley, Luka Seifert, Diego Herrera, and Olan Monk

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Maria Somerville

Website | Instagram | Bandcamp | Spotify | YouTube

Rebecca Judd is the features editor of Also Cool Mag. She is currently based in Ottawa.

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Chicago Post-Punk Outfit Oddysseys Share "Heaven Sings Clearly"

via Oddysseys

Shimmering, raw, and cathartic, Chicago-based outfit Oddysseys are back with their latest single, “Heaven Sings Clearly.” The word post-punk gets thrown around often, but Oddysseys play it true to form.

“However you want it, however you need it bad, maybe it's silence, the gift you’ve never seemed to have.” Inspired by Interpol, Bauhaus, and early New Order, “Heaven Sings Clearly” explores isolation and self-discovery with a driving rhythm section, jagged guitar lines, and brooding vocals.

via Oddysseys

Written, recorded, mixed, and mastered by the band’s own Treon, “Heaven Sings Clearly” picks up where their last release, “Cerbie,” left off—bringing the band into a more refined space. It’s the second single from their upcoming album.

Oddysseys
Instagram I Spotify I YouTube

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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Saya Gray, Sextile, cootie catcher, And More: Also Cool's Playlist Refresh

Bakers Eddy by Brianna Da Silva

Somehow, this is the first Playlist Refresh of 2025 – while we’re sorry to keep you waiting, we’re delighted to bring the beats.

Fresh from Also Cool HQ, a plethora of shiny new releases from artists like Fine Food Market, DJ Python, and Bakers Eddy. If something catches your ear, you can browse the rest of our Playlist Refresh series by saving our playlist on Spotify.

Consider your springtime outings soundtracked…

Shy at First by cootie catcher

cootie catcher - Shy at First (Cooked Raw)

Proficient in the realm of smart pop akin to The Moldy Peaches and Alex G, Toronto’s cootie catcher just dropped Shy at First, a melange of earnest deadpan vocals, college rock instrumentation, crochet tutorial samples and field recordings finessed with a melancholic indietronica flare.

I’m afraid to be in love with someone who crashes their car that much by Fine Food Market

Fine Food Market - “Sometimes” (Arbutus)

A gentle first offering from Montreal-based artist Fine Food Market ushers us into springtime. "Sometimes" is off of multidisciplinary artist Sophie Perras' upcoming EP I'm afraid to be in love with someone who crashes their car that much, which is set to release this May. "I'm just trying to figure it out" echoes throughout the song, weaving through cinematic instrumentals and an all-too-familiar feeling.

FILLY

FILLY - “Whatever Happens”

Vienna-based artist FILLY has crafted a stirring, shimmering anthem with “Whatever Happens.” The rising talent flexes her hyperpop proficiencies on this track, baking lacerated vocal melodies into a glitchy nosedive. “Blame it on me like you do all the time / Pressing myself into every shape and every size,” she coos, licking her wounds from the passenger seat of a love gone cold.

Frau Fatal by Das Beat

Das Beat - “Frau Fatal” (Arbutus)

Our favourite Berlin-based duo Das Beat have released their first full-length album Frau Fatal, that's as romantic as it is dancefloor-ready. The title track "Frau Fatal" is a playful take on The Velvet Underground's "Femme Fatale," transforming it with a Berlin club-kid mentality.

SAYA by Saya Gray

Saya Gray - “..THUS IS WHY ( I DON’T SPRING 4 LOVE )” (Dirty Hit)

Avant-garde musician Saya Gray hovers inches from the Earth on “..THUS IS WHY ( I DON’T SPRING 4 LOVE ),” the first track on her sophomore record SAYA. Bright, folky guitars trudge along, punctuated by textured bubbles and forlorn echoes of pedal steel as Gray softly muses on betrayal.

Sextile

Sextile - “S is For” (Sacred Bones)

Hot off their recent North American tour, Sextile shares “S is For”, a hard-hitting synth-driven banger. “It’s not super relevant to Sextile, but with my other project ‘S. Product,’” Scaduto clarifies (for post-punk.com), “I was always asked what the S is for – it’s always really been a Scaduto product to me. But this song is a sassy way to explain how many things the S could be.” 

Watch the music video filmed during their tour with Molchat Doma below, and catch them live in Europe this summer.

DJ Python by Michelle Yoon

DJ Python ft. Isabella Lovestory - “Besos Robados” (XL Recordings)

DJ Python—a.k.a. Brian Piñeyro—will release the highly-anticipated five-track EP i was put on this earth next week, and his scorching collaboration with Isabella Lovestory teases what’s to come. The reggaeton single rides a steady, hypnotic groove, slowly pulling listeners into the lusty undertow. 

The phantasmic music video, directed by studio info founder Bailey Marklew, heightens the vibrations – watch it below.

Bakers Eddy by Brianna Da Silva

Bakers Eddy - “UFO”

We caught Bakers Eddy, a pop-punk band from Wellington, Aotearoa, at this year's New Colossus Festival. Fronted by Ngāti Porou and Ngāti Kahungunu singer Ciarann Babbington and backed by his childhood friends, the band channels the raw energy of 2006-era My Chemical Romance. With their electrifying live show, Bakers Eddy is guaranteed to revive your inner emo teenager.

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Panda Bear, Toro y Moi, and Nourished by Time Set the Stage Aglow at MTELUS

Panda Bear at MTELUS, photo by Rebecca Judd

Tuesday brought a historic triple bill to MTELUS: psychedelic staples Panda Bear and Toro y Moi, backed by rising act Nourished by Time. As I huffed down Sainte-Catherine Street, my feet skating through the dreary sludge of Montreal winter, I pondered what I was about to see and just how it would collide. Hours later, I would make the same trek while lost in reverie, guarding the restorative energy of the evening close to my chest.

The evening began with Nourished by Time, the project of Baltimore’s Marcus Brown. The artist has garnered acclaim for their kaleidoscopic sound, fusing lo-fi pop, R&B, and countless other genres into their compositions. Shortly after 8 PM, Brown’s three-piece flocked to the stage, and it didn’t take long to get bodies shuffling. Brown is a fascinating performer; their fragmented contorsions and rich vocal timbre command your attention with ease. The standout from this set was easily “Daddy,” pulsating and raw in its emotion.

Nourished by Time at MTELUS, photo by Rebecca Judd

Once Nourished by Time had wrapped up, I peered behind me, where I was met with a predictable sea of rolled-up beanies and wire frames. The atmosphere in the room had intensified, and many fans could be heard speculating on the impending sets or gushing about their favourite albums. 

Panda Bear (otherwise known as Noah Lennox) was next to emerge, and there was plenty to anticipate. His forthcoming album Sinister Grift (Domino) has been touted as a rock-forward revelation, sporting inputs from Cindy Lee, The Spirit of the Beehive’s Rivka Ravede, and—a Panda Bear first—the other members of Animal Collective. When Panda Bear and his backing band emerged, they did so modestly – with the exception of bassist Tim Koh’s comically-timed elf sweater. Before long, the venue was subdued by a jangly fog. 

Panda Bear at MTELUS, photo by Rebecca Judd

Panda Bear deployed hallucinatory visuals throughout the show, which were crafted by longtime collaborator Danny Perez. Technicolour terriers, a swarth of chrome masks, and waves of jagged slate awakened the senses while looping with velocity. The band maintained a sharp, unbothered focus throughout the night, allowing these images to heighten the experience in whichever way (if at all) it made sense to the crowd.

But don’t be fooled, I was there for the sound – and what a cohesive sound it was. The Panda Bear setlist included dynamic selections from Sinister Grift along with reworked numbers from the artist’s colourful career. This current band arrangement meant that many of said numbers manifested with an alluring coarseness, such as my personal favourite “Slow Motion.” The new material was similarly engaging, “Ends Meet” dominating the pack with its soothing harmonies (padded by Ravede and Maria Reis) and its percussive clomp. Notably missing was “Defense,” the first single from Sinister Grift, which features a searing guitar solo from Cindy Lee. This was a strange decision, as it would have been warmly received at a Canadian tour stop, but there was still plenty to chew on.

Panda Bear has sustained ample comparison to Brian Wilson in his career, but his yelpy, agile inflections conjured images of Ezra Koenig. There were also pepperings of country in Lennox’s aggressive guitar work, which beckoned intrigue about the stories one would hear on Sinister Grift. Looking back at the crowd revealed furrowed brows and nodding heads, studiously absorbing Lennox’s every move.

Toro y Moi at MTELUS, photo by Rebecca Judd

At this point, MTELUS was ready for Toro y Moi. When Chaz Bear and his crew took to the stage, beaming with pride to be back in Montreal, they were greeted with fervour. The night picked up speed with songs like “Mirage” and “Laws of the Universe,” and Bear sank effortlessly into those vibrations. Making use of every inch of the stage, his charm was intoxicating – he embodies this delicate cheekiness that makes you feel as though you’re the only one on the floor. This furthered the sentiment behind songs like “Girl Like You,” which attendees emphatically shouted back at him.

Wrapped up in such emotion, you can imagine how puzzling it was to hear “Who likes picking up dog poo?”. Bear then tossed out a few handfuls of Toro y Moi-branded dog poop bags with a grin. “Pass some to the back,” he implored at one point, with many stuck on how that merch came about in the first place.

Toro y Moi at MTELUS, photo by Rebecca Judd

From there, the audience was swept away with a selection of tracks from Bear’s latest album Hole Erth (Dead Oceans). This release boasts a sharp emo-trap angle which has provoked dissent amongst the masses: while some view it as noble experimentation, others (particularly earlier fans) have struggled to savour the taste. I found that this crop of songs landed pretty well amongst the crowd; those who were trying to make sense of it were welcome to retire. Bear blissfully carried on, shining through numbers like the punk-tinged “Tuesday” – a track where Bear yearns for the sonic versatility that many refuse to embrace.

The front of the room may have held the most immersive Panda Bear experience, but I came to learn that the reverse was true for Toro’s fans. I shuffled to a staircase near the bar around “Ordinary Pleasure” and caught a vision of limbs waving back and forth to the disco force. Several attendees had assembled a full-fledged dance circle, their hips perfectly synchronized to the beat. There was refreshing connectivity amongst those who surrendered to the sound, unburdened by superiority. Bear closed the night off with a cover of his glittering Flume collab “The Difference” – a fitting reward for those whose hearts had been in it all along.

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Nourished by Time

Instagram | Bandcamp | Spotify

Panda Bear

Instagram | Bandcamp | Spotify

Toro y Moi

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool's Taverne Tour 2025 Top Picks

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Bundle up, Montreal! It’s time for Taverne Tour. From February 6th-8th, 2025, Taverne Tour’s boundless programming will sprawl across the main street venues of Montreal’s iconic Plateau borough. Offering a wide stylistic spectrum from garage, punk and hardcore to rap, electronic music, neo soul and rock & roll, Taverne Tour’s lineup showcases homegrown mainstays and notable touring talent. Aside from the Also Cool showcase on February 7th at O Patro Vys, here are our recommendations for your Taverne Tour musical checklist!  

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Ada Lea by Monse Muro

Montreal alternative singer-songwriter Ada Lea always has us at the edge of our seats, attentively parsing over every word she sounds out in her intimate sets. Known for her melancholic 2022 Polaris long-listed sophomore album one hand on the steering wheel the other sewing a garden, Lea has a third album in the works for later this year, which is rumoured to be her best yet. Her stunning 2024 EP notes leaves us eager to reencounter Lea’s raw, character-focused songwriting in the flesh.

Ada Lea plays Saturday, February 8th at La Sala Rossa.

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Chandra by Kate Young

The 1980 cult album Transportation from NYC-born mutant disco troubadour Chandra is a cherished gem in the Also Cool record vault. Four decades later, interpretations of her pre-teen new wave revelations are still infectiously danceable, and have toured with the CHANDRA band across Canada, the United States, and all the way to Barcelona’s Primavera Sound festival. The current iteration of the CHANDRA band includes members of Bile Sister, Body Breaks, New Chance, MISZCZYK and Blonde Elvis, among others. 

The CHANDRA band plays on Saturday, February 8th at Le Ministère.

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Fraud Perry by Alex Apostolidis

For those who have yet to experience the undeniable star power of Montreal hip hop artist Fraud Perry, you’re in for a treat. Described as the lovechild of Doja Cat, Rico Nasty and Azealia Banks (with the Also Cool addition of a sprinkle of Doechii), Perry’s witty flow and Southern charm commands a room, leaving audiences enchanted and utterly gagged. Hot off the release of her Goodybag mixtape this past fall, we anticipate a class-act performance, complete with Perry’s signature double entendres and punk attitude. 

Fraud Perry plays on Friday, February 7th at Le Belmont. 

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The Gories by Daniel Kroha

Another must-see act from this year’s Taverne Tour lineup is seminal garage rock trio The Gories. Formed in Detroit in 1986, the band’s visceral approach to its signature “punk blues” sound is a beacon of DIY excellence. With an expansive lore (which includes recording in a tin shack, releasing a Spinal Tap cover on Sub Pop, breaking up and eventually reuniting), these forerunners of Motor City noise bring an essential chapter of musical education to the festival. 

The Gories play Saturday, February 8th at Le Belmont. 

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Lip Critic via Taverne Tour

New York City’s Lip Critic intrigues with the amount of sound four people can produce. Composed of two drummers, two samplers and vocals, Lip Critic’s charging collision of digital hardcore, punk and industrial incites head banging and wide-toothed grins. The band’s 2024 album Hex Dealer (Partisan Records), is a totally uninhibited desecration of the powers that be, and a new favourite listen for fans of The Garden, YHWH Nailgun and Death Grips.      

Lip Critic plays Saturday, February 8th at La Sotterenea.

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Ribbon Skirt by Ani Harroch

A live performance from hometown heroes Ribbon Skirt is always on our radar. Formerly known as Love Language, the band is led by musician Tashiina Buswa with support from her close friend and collaborator Billy Riley.  With their debut album Bite Down set to arrive April 11th via Mint Records, Ribbon Skirt’s latest brings a darker, more experimental atmosphere to the indie rock duo’s effervescent energy, exploring themes of memory, grief and Buswa’s connection to her Anishinaabe identity and cultural practices. 

Ribbon Skirt plays on Thursday, February 6th at La Sala Rossa.

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Taverne Tour

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Butterflies, Cuckoos and Vampire Daydreams: The “Flower of the Soul” Experience

Liana Flores by Magdalena Styś

For a few hours on the evening of November 10th, time stopped in Rotterdam’s Rotown club. There was no sold-out show, no merch stand, no warm, starry night outside the venue walls; there was only a stage ruled by a kind forest witch who, armed with a guitar, a band and a delightful sense of humour, invited everyone in the building to forget the miserable mundanities of everyday life and step into her fairytale world.

Flower of the Soul is the first feature-length release of the indie British-Brazilian artist Liana Flores, whose name might bring back faint memories of pandemic-era TikTok – in 2021, Flores experienced a rise in popularity as her comforting and introspective “rises the moon” went viral on social media. While her distinctive style shines through both her previous and more contemporary releases—especially in its romantic lyricism, with nature as a recurring motif—Flower of the Soul is a much more polished showcase of Flores’s artistry.

Flower of the Soul takes the best elements of the genres it derives from – folk and bossa nova – and through its delicate vocals and layered instrumentals it crafts an enchanting experience filled with wonder and tenderness. It’s the definitive soundtrack for an afternoon spent daydreaming by the windowsill, a nostalgic journey back home or a walk through the forest. It’s a painkiller for the yearning soul and restless mind, which is especially clear to those lucky enough to hear the songs performed live.

Flores’ captivating stage presence faithfully mirrors the ethereal qualities of the album. Interspersed with astronomy facts (did you know that on Jupiter, it rains diamonds?) and vampirical daydreams, the performance lifts the audience from their everyday concerns and keeps them focused on the set in front of them. “Hello again,” which marks the beginning of both the record and Flores’ set, is one of those songs that gains a second life when heard live, with the call-and-response chorus building an immediate sense of camaraderie in the audience. “I wish for the rain,” a simple yet devastatingly sincere recount of the end of a relationship, was one of the definite highlights of the album, and its live rendition made the quiet post-breakup agony of the song even more piercing. Other noteworthy parts of the show included “Butterflies” and “Cuckoo”, to which Flores referred as a “double creature feature,” “Nightvisions,” which the Spotify genre algorithm could probably describe as “romantic-novel-protagonist-core,” and “Halfway heart,” the perfect description of complicated relationships.

The supporting act from the hypnotizing Raquel Martins, an absolute hidden gem of the singer-songwriter genre, only elevated the experience. Martins was possibly the perfect opener for the show; her performance, which included the hauntingly beautiful single “Empty Flower” from an EP of the same title, was intertwined with asides about the nature of being a musician and the experience of moving away from home. 

While the album itself provides a wonderful listening experience, the live renditions of the songs gain a new layer of depth and vitality, making it an essential set for any bossa nova fan. Thankfully, Flores has already announced more tour dates for 2025 – right now, you can expect to hear her live in February and July.

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Liana Flores

Instagram | Bandcamp | Spotify

Magdalena Styś is a writer and poet currently based in Amsterdam.

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2024 In Review (Also Cool's Top Albums)

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Listen along with the official Sounds Cool 2024 playlist!

Available on YouTube and Spotify below.

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2hollis - boy
Electroclash has merged with cloud rap, creating 2hollis, the bleach blonde “god boy.” Backed by his SoundCloud cult following, 2hollis gained exponential momentum opening for Ken Carson on tour earlier this year, and will be headlining his own tour in 2025. boy is as aggressive as it is tender, with almost ambient tracks like “you said my name for the first time,” contrasting with 2009-electroclash-pop style bangers like “two bad.” The album was also produced by 2hollis, and feels sonically unafraid – melding genres in a way that’s innovative without being obnoxious. 

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Alix Fernz - Bizou (Mothland)

“On Bizou, Fernz leads us down a drainpipe into an unabashed, palpitating reverie of studded leather, troublemaking and lipstick-stained dive bar mirrors. Produced in the bedrooms of three different apartments, with vocals tracked on Fernz’s iPhone mic, Bizou fearlessly criss-crosses remnants of bratty 70s-punk with new wave romanticism in a blistering 32-minutes.” 

- Zoë Argiropulos-Hunter, From Bartender to Headliner: Montreal's Alix Fernz Turns Heads with Debut Album "Bizou" (Mothland), April 15th, 2024

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Banggz - 4 THE BANGGERZ 

“The sophomore record of Nigerian-born, Ottawa-based Afro-rap vanguard Banggz has been on repeat since it dropped earlier [this year]. Aptly titled 4 THE BANGGERZ, the album 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.” 

- Zoë Argiropulos-Hunter - Also Cool’s Playlist Refresh, August 20th, 2024

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Bladee - Cold Visions (Trash Island)

Evil music is so back. Ice king Bladee is leading the way with his confessionary crash-out album Cold Visions. The 30-track album rips into feelings of paranoia, feeling too old to be in the room, and self-isolation, featuring long-time collaborators including Yung Sherman, Yung Lean, Whitearmor, Thaiboy Digital, and Ecco2k. Lyrically, the album ranges from spiralling mantras (“One second in my bag”) to the kinds of things you tell yourself when you’re too high (“I’m normal / In the club dressed formal”). Overall, it’s an icy dive into Bladee’s mind, leaving drainers everywhere rejoicing.

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Cecile Believe - Tender the Spark (ambient tweets / Supernature)

Cecile Believe is your favourite artist’s favourite artist, point blank. Tender the Spark is introspective and indulgent all at once, and has ushered in the recognition she deserves after years of innovation in the pop sphere. “The world didn’t even, but it feels like it’s gone now / Late stage self-portrait, last ride let’s kill it.” If “Blink Twice” is the invitation, “Ponytail” is a free fall dive into Cecile’s world.

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Chanel Beads - Your Day Will Come (Jagjaguwar)

Lush, hopeful, and gorgeous, Chanel Beads offered Your Day Will Come into the world this year, and was met with mass appreciation for their mystic optimism. “You owe it to yourself, gotta believe in something else / Good people out of view / Soul to bear.” Everything from the reverb of their guitars to angelic vocal treatments feels like it came from another realm – reaching its hand out to try and touch the future. 

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Cindy Lee - Diamond Jubilee (Realistik Studios)

Modestly released unto the masses in early spring, the staggering beauty of Cindy Lee’s Diamond Jubilee has incited a near-universal cotton candy trance. The creative aptitude of the artist otherwise known as Patrick Flegel has reverberated at different frequencies for the past two decades, but their vision for Diamond Jubilee falls perfectly into place. The record boasts a cinematic romanticism that is concurrently enlightened and instinctual. Flegel’s narrative unfurls with rigour (122 minutes, to be exact) – a psychedelic deer-legged odyssey through satin sheets and bleary dreams.

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cumgirl8 - the 8th cumming (4AD)

With their anticipated debut record the 8th cumming, cumgirl8 channels their avant-garde spark into a satisfying collection. The group unabashedly delivers a searing industrial sound with the likes of “uti,” while flirting with softer territory through the dream-pop weightlessness of “girls don’t try.” Inspired by Siouxsie, Ladytron, et plus, cumgirl8 have penned the next chapter on feminist punk.

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The Dare - What’s Wrong With New York? (Republic Records)

From dropping his gig as a substitute teacher to producing for Charli XCX, it's safe to say The Dare made an explosive entrance in 2024 with his debut long-player What’s Wrong With New York? While some thought the Dimes Square trickster on a mission to resuscitate indie sleaze wouldn’t stay relevant post-TikTok virality, the fresh-faced Harrison Patrick Smith remains plastered across tour posters and fashion outlets in his signature black suit and tie. Pumping out certified club hits for the sake of raunchy, hedonistic entertainment, The Dare makes music for those of us who came of age reblogging doe-eyed American Apparel ads with the weight of Web 3.0 looming on the horizon.

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Fontaines D.C. - Romance (XL Recordings)

This album first entered the Also Cool consciousness in Paris this summer, when every bar we went to somehow played Romance all night long. While we’ve been big fans of the band for quite some time and were happy to hear they were getting recognition, but we had no idea how successful the album had become. The innovative, surging yet punchy composition, paired with vulnerable and gritty lyricism, grabs you by the throat and leaves you wanting more. Fontaines D.C. has set a new bar for indie rock (although you can hardly call hundreds of millions of streams indie), and has given the industry a hard shove in the right direction. 

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Khruangbin - A La Sala (Dead Oceans)

Houston trio Khruangbin cast a spell of surfy grooves with their latest album A La Sala. The psych-funk record is assured in its composition, rejecting flourish for atmosphere, and it yields an uplifting result. While there are strutting basslines and loungey guitar licks aplenty, A La Sala is meant to be enjoyed in all its leisure. Every song is another petal swaying in the breeze.

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Kim Gordon - The Collective (Matador Records)

Underground polymath Kim Gordon celebrated her 71st solar return touring her fearless post-rock opus The Collective. Released this past March, The Collective serves up a “blistering collage of dissonant guitar [with] an ear-splitting trap underbelly” (Zoë Argiropulos-Hunter - Also Cool’s Playlist Refresh, February 23rd, 2024). With diaristic meditations on doom scrolling, heteronormativity and the mainstream, paired with noisy, gripping and avant-garde bed tracks, Gordon’s sophomore solo venture proves that she has yet to rest on her (self-taught) musical laurels. 

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Mdou Moctar - Funeral For Justice (Matador Records)

Mdou Moctar continues to dominate psych rock with his 6th studio album Funeral for Justice. On Funeral for Justice, the Saharan desert blues guitarist and singer, alongside his equally impressive band, delivers a masterful denunciation of France’s colonial legacy in his homeland of Niger. Embracing rebellious tones and an accelerated pace— all while uplifting Moctar’s Indigenous mother tongue of Tamasheq from start to finish— Funeral for Justice is an impeccably produced protest album and a steadfast commitment to honouring one’s roots.

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Molchat Doma - Belaya Polosa (Sacred Bones Records)

Molchat Doma have long been the reference point when it comes to dark-wave, post-punk and cold-wave. Their music is the meeting point for goths, vampires, and just about every Eastern European Brutalist video edit on the Internet. Belaya Polosa, released earlier this year via Sacred Bones, expands their universe with new techno-adjacent soundscapes, while staying true to their post-punk origins, and of course, heartbreaking lyrics. The album explores their new reality in Los Angeles and the loneliness that comes with it, having left their lives behind in Minsk, Belarus: “Everyone who I have known for a long time / Everything I haven’t lost / I put it off for years / Pain and resentment of the days – there seems to be no difference / How everyone is so used to it!” The band will continue their epic tour across North America in January.

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Nick Schofield - Ambient Ensemble (Forward Music Group)

“Self-proclaimed ‘ambient raver’ Nick Schofield (Best Fern, Saxsyndrum) [dropped] his third solo sonic venture, Ambient Ensemble, via Halifax label Forward Music Group. Along with a band of masterly local collaborators (Yolande Laroche, Philippe Charbonneau, and Mika Posen), the Hull, QC-based electroacoustic composer achieves otherworldly splendour on Ambient Ensemble. Likened to works by masters Brian Eno and Philip Glass, Schofield's delicate yet profound Ambient Ensemble is a kaleidoscope of lush, instrumental bliss.” 

- Zoë Argiropulos-Hunter - Also Cool Playlist Refresh, February 23rd, 2024

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Trevor Sloan - A Room by the Green Sea

“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.”

- Rebecca Judd, A Lost Season, A Magical Year: Trevor Sloan Releases "A Room by the Green Sea", September 6th, 2024

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VICTIME - En conversation avec (Mothland)

“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.” 

- Zoë Argiropulos-Hunter -  Five Years and Three Cities: VICTIME Unveils New Album “En Conversation Avec” (Mothland), October 25th, 2024

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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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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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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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