Taraneh’s Next Chapter on Rock and Reinvention

Taraneh by Maggie Rossy-Aulman

On September 27th, I made my way down the narrow stairs to the green room at Casa del Popolo and sat down with NYC-based Iranian-American artist, Taraneh, before her POP Montreal show. As Comet played above us, her sound vibrating through the ceiling, we discussed her new album Unobsession, her North America tour, and music influences growing up in Ohio. Taraneh shared her thoughts on change, storytelling, and the new era of rock. 

Maggie Rossy-Aulman for Also Cool Mag: How is the start of the tour going? How is it touring with Comet?

Taraneh: It’s been awesome! This is the second date that we’re doing with Comet. It’s a huge blessing and a treat to be able to tour with your best friends. This leg of our tour is our warm-up for the main one that we’re doing in October so it’s nice to just get on the road and test a few things out. 

Comet by Maggie Rossy-Aulman

Maggie: Have you played in these cities before?

Taraneh: On this leg, every single show that we’re playing is our first time in each city. I went to school in Boston, but I’ve never played there and then same for Western [Massachusetts], Montreal, and Toronto. It’s nice to see cities with fresh eyes and to experience performing in them for the first time.

MRA: What is your favourite song to play live?

T: I would say either “Prophet” or “Only One,” which is a new one off the record we’re putting out on October 10th. But, honestly, all the new songs are really fun. We have—more or less—a set setlist, but we’ll swap in and out a few songs here and there. That’s the benefit of practicing a ton before hitting the road. We didn’t do that last time and we were kind of locked into a setlist every single night that stayed the same, so now being able to do what we’re in the mood to play is a treat. 

Taraneh by Maggie Rossy-Aulman

MRA: You were a solo artist for a while, but now, what’s your collaborative process like as a band?

T: Having a band has changed the whole process—from writing to performing to everything outside and in-between. [Unobsession] is the first album that we’ve written as a full band, so it was a very collaborative process in that sense – whereas New Age Prayer was mostly demos that I brought in and worked on with my friend James [Duncan] who co-produced. We did everything in the studio, more or less. 

This one, we sat as a band in the studio and treated it as our practice space. Being able to play something live that sounds exactly the way we intended for it to sound on the recording is really cool, because when we were touring off of New Age Prayer, a lot of those songs were translated for a live performance. Now, we’re able to just present things as the way they were meant to be presented, which is really fun. 

MRA: Is Unobsession more rock?

T: Absolutely. New Age Prayer kind of skimmed the surface of rock for me. There were a few songs that leaned more grunge or rock, but New Age Prayer was written with programmed drums; there were no live drums on it. That inherently made the album electronic at its core. It was a mix of electronic and this “lo-fi dream pop singer-songwriter” sound that I started out with, but Unobsession specifically is completely rock. I would say it’s hard rock, honestly.

And that really stemmed from the first tour that we did as a band together last year… we just made everything so much heavier, and it felt so much better. It felt like, “that’s the music that we’re supposed to be playing,” and that I want to be making. It happened very seamlessly, too. Me and my band were brought together, and things happened very organically, and you can also hear that in the music. It feels, at least to me, like a natural progression from A Fleeting Feeling to New Age Prayer to Unobsession.

Adam Sosnicki of Taraneh by Maggie Rossy-Aulman

MRA: All of your previous albums have 13 songs. Does Unobsession still have 13 songs?

T: This is the first one with 11 songs. I was again going to do the 13, but I feel like this album—subject matter-wise, energetically, the place that it has in my heart and soul—is about breaking cycles. Having 11 songs was a very intentional shift for me to break that cycle of a boundary that I had created for myself. This being 11 songs is part of that very distinct shift being signaled in the work and in the subject matter, spiritually in my life, and in this chapter of the project. 

MRA: What are some themes in this album? 

T: I think it says it in the name, even though it’s a made-up word. This album is about becoming so obsessed, so deep in something, and then everything falling apart, and then you put it all back together in a new way. This is about breaking things down so they can be rebuilt in the way that they’re meant to. 

Taraneh by Maggie Rossy-Aulman

MRA: Your overall sound is very gritty and has an edge that a lot of recent rock hasn’t had. There are some other artists starting to do this, but I think you’re at the forefront of that. How does it feel to be a leader in this new era of rock?

T: It’s a big responsibility, but also a great privilege, to be a part of this movement. We’ve had this cultural shift to electronic music: the indie sleaze/witch house revival, which is different than the electroclash of the 2000s, coupled with what we’re seeing with this shoegaze generalization, or “newgaze.” These movements have brought people to a place where they’re actually ready to consume rock; their palette has been primed. The way that electronic music fits into that is that we have these big shifts where electronic music dominates, and then rock dominates, and then it goes back and forth in different ways. But I really do think that rock is back up next, and it’s inherently different because culture, the tools, and the mediums have shifted. 

I think rock will inherently have electronic elements, and if not electronic elements, digital artifacts in it. And the spaces that we’re working with have changed. At least in NY, we don’t have a huge warehouse to record in, and you can hear that in the sound of different artists in different cities. The physical parameters have changed—as well as the culture—to influence the sound, so it’s not going to be the rock of the 90s, and it shouldn’t be. But it is going to be a synthesis of our own take on it, and I think that people are going to be ready for that. So I’m grateful to be part of it. It feels like the right time to be doing what I want to be doing. 

MRA: What’s one of your influences that’s a bit more surprising or unexpected?

T: On our last tour, Adam [Sosnicki] my bassist, put on the song “Blue” by A Perfect Circle. That’s Maynard James Keenan of Tool’s side project, he’s also from Ohio. Someone else in the band also put on “Blue” by Acid Bath, a Louisiana sludge metal band. And those two songs that I heard within 30 minutes triggered something in my brain where I was like “this is it.” And I think you can hear that in the music. 

I grew up listening to Teen Suicide, and later Title Fight and Basement – and those Run for Cover bands when I was 13 in Ohio, those were the shows I would go to. We were listening to Basement today, and I realized how that influence seeped into my brain because you can really hear it in this album. It wasn’t intentional, but it’s interesting how those childhood favourites influence our subconscious in some profound way where they come out ten years later.

Taraneh by Maggie Rossy-Aulman

MRA: You were previously a journalist with USA Today. From your journalistic experience, what’s a question you would ask yourself if you were interviewing yourself?

T: I would ask myself if the professional shift feels significant or if my work or purpose feels any different.

My answer would be, it does not feel different. Obviously, the medium I’m working in is different. My background is in investigative journalism, and music is so different from that, but I think that music is a form of archiving and storytelling in a similar way. There is this investigative aspect, inherently; you’re just investigating something else and telling the story of it in a different way. In journalism, you get to the bottom of something and then lay it out in a very specific way for an audience, and similarly in music, you do the same thing, but it’s just different subject matter, and it's a different means to arguably the same end.

---

Unobsession

out now via TYPE YES

1. Unobsession

2. Anything

3. Only One

4. Unravel, Together Again

5. False Start

6. Spinning Out

7. Waiting For The Feeling To Pass

8. Magic 8

9. Next Week

10. Passing Through

11. Noorecheshmam

---

Taraneh

Instagram | Bandcamp | Spotify

Maggie Rossy-Aulman is an American-Canadian writer, photographer, and visual artist currently based in Montreal. 

---

Related Articles

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.

---

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.

---

Related Articles

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.

---

Side by Side Weekend

Instagram | Facebook

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.

---

Related Articles

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

---

Pique

Website

Debaser

Website | Instagram | Facebook

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

---

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.

---

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.

---

Related Articles

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.

---

Liana Flores

Instagram | Bandcamp | Spotify

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

---

Related Articles

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.

---

Related Articles

Debaser's Pique Continues to Shine with Summer 2024 Edition

Alice Longyu Gao by Rebecca Judd

In the three years since its inception, the artist-driven event series known as Pique has evolved with spectacular speed. As you can tell by the AC archives, we (and many others) have come to celebrate Debaser’s creative ingenuity and their collaborative spirit, anticipating this quarterly function with all that we have. Although the summer 2024 edition was threatened by gloomy weather, the collective joy of this season’s creators and attendees proved enough to temper the storm.

Approaching the Arts Court at around 6:00 PM, I first encountered a swarm of art and food vendors sprawling the side of Daly Avenue. The smells of BBQ wafted through the air as people strolled along the sidewalk, browsing a plethora of handcrafted wares ranging from screen printed tees to custom press-ons. The Art Market brought Pique’s magnetic aura to the streets, appetizing event-goers and delighting passerbys.

Moving through the Courtyard entrance, I was greeted by the beginning of the Montreal Steppers’ buoyant performance. Enlisted as part of guest curator Chukwubuikem Nnebe’s musical programming for The Seeds We Carry, the Montreal Steppers use movement to communicate stories of Black history and futurity, ultimately promoting a vision of interconnectedness and justice for all. Performers Kayin Queeley and Shaina Thornhill showcased the magic of step while guiding the audience through several exercises, with Queeley reminding the audience that “...it’s a gift every time we make music with our bodies.”

The Seeds We Carry by Kosisochukwu Nnebe, photo by Rebecca Judd

In the SAW Gallery, conceptual artist Kosisochukwu Nnebe’s exhibition for The Seeds We Carry celebrated its grand opening, and Pique attendees flowed through the gallery with awe and appreciation. As noted by curator Joséphine Denis, the video works and installations that comprise this collection serve as a testament to “the methodologies of enslaved Black women.” Drawing inspiration from her sister Nnedimma’s thesis on the presence of cyanide in cassava, as well as her Igbo ancestry and the displacement of Igbo communities, Kosisochukwu’s work depicts manifestations of anti-colonial resistance and ancestral interlinkage. This exhibition—along with the dynamic musical programming by Chukwubuikem, her brother—stood out as a compelling element of the festival.

Cynthia Pitsiulak and Charlotte Qamaniq of Silla, photo by Rebecca Judd

Back in Club SAW, Inuit throat singers Silla delivered a vibrant and intimate set to a delighted crowd. The duo of Charlotte Qamaniq and Cynthia Pitsiulak exuded warmth as they performed songs such as “Imigluktaq (the Button Song)” and “Kitturiaq (Mosquito).” It was a privilege to learn from Silla about the background of this practice, and to celebrate their cultures through an interactive sing-along.

Tangerine by Rebecca Judd

Upstairs in the Alma Duncan Salon, PURE PULP kept the party going with hours of crowd-pleasing jams. This new dance party series, led by Mars Souleil (DJ Trinidaddy) and CONTRA, uplifts the creativity of South Asian communities by facilitating the sonic expression of artists from across the diaspora. I particularly enjoyed DJ Tangerine’s set, which featured throwbacks from the likes of Kid Cudi and Soul II Soul.

But standing out as the evening’s show-stopper was none other than Alice Longyu Gao. From the moment the NYC-based multidisciplinary artist took to the stage, xe enchanted the masses with xyr command of the harp and relentless enthusiasm. Gao shrieked in sweaty faces and flailed xyr limbs about, performing songs like the electric “Come 2 Brazil” and xyr new release “Lesbians ˂3.” What made the night even more memorable was Gao’s last-minute DJ set, having stepped up to replace Pelada. Many had mourned the missed opportunity earlier on in the night, but something truly shifted when Gao returned. Xe oscillated between remixes of Camila Cabello and Rihanna with ease, searching for a cigarette while maintaining razor-sharp concentration. Switching gears to the enduring power of SOPHIE’s “Immaterial,” Gao held all of the Arts Court in the palm of xyr hand.

---

Pique

Website

Debaser

Website | Instagram | Facebook | Twitter

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

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

View fullsize

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

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

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

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

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

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

View fullsize

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

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

View fullsize

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

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

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

View fullsize

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

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

View fullsize

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

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

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

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

See the full list of winners here.

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

---

Related Articles

The Dandy Warhols Go The Distance at Le Studio TD

The Dandy Warhols’ setup at Le Studio TD

2024 marks 30 years of The Dandy Warhols. The Portland psych-rock group have achieved a truly remarkable feat, with 11 studio albums and two compilations thrown into the mix. But with such a legacy comes the responsibility to uphold it, which poses its own challenges; many musicians hide behind the enduring glow of their greatest hits, while others grasp so tightly onto the notion of reinvention that it slips through their fingers. Where do the Dandy Warhols go from here? 

Last night at Le Studio TD, they attempted to chart this very course. Montreal marked the halfway point of The Dandy Warhols’ Spring 2024 tour, with this stop falling just days before the release of their twelfth record ROCKMAKER. An occasion full of promise for the Dandys and their devotees – and one that fortunately (mainly) delivered.

The Dandy Warhols capitalized on a roaring welcome by settling nicely into “Ride,” dousing the audience with a sea of shoegaze. Keyboardist/percussionist Zia McCabe commanded the stage all night, handling multiple instruments with ease as her auburn hair billowed in the air. Moving through the ROCKMAKER single “I’d Like To Help You With Your Problem” and synth-disco smasher “We Used To Be Friends” felt similarly organic.

Zia McCabe of The Dandy Warhols

Zia McCabe of The Dandy Warhols

Despite the heavy fluorescent haze, the middle of the set is where things hit a slump. For something that boasts such a distinctive distortion, new tune “Danzig with Myself” (a Frank Black collab) felt lost in the shuffle. A string of Dandy classics seemed to melt into each other, though fans who prefer the band at their breeziest may not have minded. I was grateful for the jolt of B-52’s-esque “The Summer of Hate” and the clarity of “The Last High” to lift the spell. At least Courtney Taylor-Taylor’s obligatory French quips proved charming to the crowd, with the lead vocalist joking that he was working his way up to “chewing out a waiter.” Priorities!

Judging by the resounding reaction, it was the seething bite of “Godless” that brought the Dandy Warhols back to where they needed to be. Just in time, too, for the sticky-sweet “Bohemian Like You” deserved such respect. (I am a Gen-Z music writer – I would be remiss if I did not attach great significance to the soundtracks of DreamWorks Animation films.)

Brent DeBoer and Courtney Taylor-Taylor of The Dandy Warhols

17 songs later, many fans would have been content to keep going, but McCabe drew the night to a close on her MS-20. “Let’s not wait so long,” urged McCabe, offering “je t’aime” before she departed the stage. While several people scattered around to try and find Taylor-Taylor’s guitar pick, other groups could be heard eagerly speculating on ROCKMAKER’s sound. 30 years have come and gone, but the Dandy Warhols continue to juggle an illustrious catalogue with that trademark satirical spark.

---

The Dandy Warhols

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

The Ottawa music community holds its own close, so it should come as no surprise that Pony Girl’s album release party at Club SAW was a dazzling affair. Marking ten years since their debut record, Pony Girl has stepped into a complex new chapter with their latest album Laff It Off.

The night began with a charming set from Luella, the musical project of Kingston’s Liv Whitfield. Although her debut album Luna was released just one year ago, Whitfield carried a seasoned air of confidence throughout her performance. Whether she was behind the keys or crooning into a telephone, her dreamy indie-pop melodies wafted through the air, matched with playful lyrics on love (or a lack thereof). 

Leading up to Pony Girl’s set, attendees shuffled in the glow of a custom Laff It Off neon sign, feet surrounded by smiley-face balloons – an inviting scene, complementary to the album’s disposition. The room began to swell with anticipation.

Laff It Off sign for Pony Girl’s album release tour

Pony Girl emerged on-stage to a sea of applause, with band member Yolande Laroche sporting a Luna T-shirt. Within minutes, the audience was swept up in Laff It Off’s lucid narrative, swaying and screaming the words we all know to be true: “I don’t want to be working every day, I don’t want to be working every day.”

The art-pop group has garnered acclaim for their layered approach to experimentation, and even further acclaim for the way that translates so harmoniously into their live performances. The arresting vocoder yelps of Laroche and bandmate Pascal Huot, the mesmerizing proficiency of Mili Hong on the drums – it’s a thrilling experience to watch all the pieces of their puzzle fall into place.

But for a band that has seen so much recent success, including a record-high of five nominations at last year’s Capital Music Awards, Pony Girl has not compromised what it means to be vulnerable. Huot meandered through the crowd during “Wannabe,” illuminating his visage while mutedly pondering his—and our—roles as entertainment. “Age of Anxious,” the standout track from Pony Girl’s previous release Enny One Wil Love You, reverberated with conviction as its distressed musings on the grip of technology rang true.

As Pony Girl continues to find their place in these convoluted times, one thing is certain: Ottawa will be listening.

---

Pony Girl

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

Ten Seasons of Pique – Ottawa's Finest Multidisciplinary Festival (Debaser)

Pique at Arts Court in downtown Ottawa

Last Saturday night, Pique returned to Ottawa’s Arts Court for a triumphant fall edition.

Produced by the renowned arts organization Debaser, Pique has built something of a cult following across the National Capital Region. Each chapter of the underground music and arts festival has seemingly hypnotized audiences, showcasing dynamic rosters of programming across seven stages while maintaining a humble, community-oriented atmosphere. With this most recent iteration of Pique, which marked its milestone tenth edition, this appears to have still rung true.

Dorothea Paas performing on the Terrace stage

The first standout set of the evening was Dorothea Paas, who performed an intimate outdoor set on the Terrace stage. Her chilling vocals and ruminative lyrics, reminiscent of artists like Weyes Blood and Phil Elverum, brought the crowd to a standstill. It was a pleasure to see her return to the Terrace as part of the Marker Starling ensemble, fronted by acclaimed musician Chris A. Cummings. Known for his signature funk and ample Wurlitzer backings, Cummings delivered a soft rock summer sendoff to a delighted audience.

Syana performing in the Alma Duncan Salon

The Alma Duncan Salon hosted luscious techno treats, emerging as the other top stage of the evening. DJ Don’t Trust Ryan drew in an incredible crowd with his magnetic blends of Y2K pop and frenzied electronica. Multidisciplinary artist Syana kept up the momentum, commanding the room with tracks from her album 19 Years of Rage alongside surprise guest Mossy Mugler. Illuminated by Dayglo patterns of all shapes and sizes, the dance floor remained packed with festival-goers for most of the night.

The Ottawa arts scene—the Canadian arts scene!—awaits this festival with bated breath, and for good reason. As Pique continues to outdo its promising reputation, it is difficult not to dream of the next one before fully savouring the last. Its inclusive atmosphere and curatorial boundlessness will be beloved for seasons to come.

Pique event poster by Ajeeb Sir

---

Pique

Website

Debaser

Website | Instagram | Facebook | Twitter

---

Related Articles

FME Take 3: The Also Cools' Return to Rouyn-Noranda

The Festival de musique émergente celebrated its 21st birthday this past weekend, returning to the northern city of Rouyn-Noranda. Surrounded by lush greenery and vibrant murals, the Also Cools unpacked our suitcases and jumped straight into four outstanding days of live performance.

Featuring over 350 artists from across Quebec and beyond, FME sprawled across every sidewalk, and we are pleased to report that it shone as bright as the end-of-summer sun. As we bounced between venues, chilled Sapporos in hand, it became progressively more obvious that identifying our favourites would be no small feat – that every memory of this edition deserved to live forever. 

Our adventures included secret shows with sunset backdrops, car parking lots, chalk drawing late into the night, the Bonsound pool-side BBQ, making toast out of a Darth Vader toaster with Truckviolence, and enjoying some of the best music that the indie scene has to offer. Here are just some of the sets that made the séjour a success.

La Sécurité

Although La Sécurité marked our seventh show of the day on Friday, the art-punk quintet packed a rejuvenating punch. Rocking a pair of gas station visor shades, band member Éliane Viens-Synnott exuded carefree cool from the moment she took the stage. Her eccentric delivery and free-flowing choreography commanded the Diable Rond – as did bandmate and drummer Kenny Smith, whose technical precision was impossible to ignore.

Les Louanges

Emotive yet unserious, mellow and multidimensional – Les Louanges held Rouyn-Noranda in the palm of his hand. The Lévis native has garnered praise at lightning speed for his soulful stylings, and his appearance on the main stage certainly justified the hype. Backed by groovy basslines, howling flutes, and a slew of rapturous Queb teens, the artist floated to and fro with a captivating sense of swagger. Catching Les Louanges at this dynamic moment in his career was nothing short of a privilege.

TUKAN

Without question, TUKAN is the name on every festival-goer’s lips. The Belgian group delivered three palpitating performances over the course of the weekend, taking FME by storm with vivid post-rock arrangements. While their jam-packed set at Le Petit Theatre was a strobey-sweet affair, the magic of TUKAN’s final show will be something to remember. Lining 7ème rue with an air of bittersweet anticipation, a sea of glistening bodies gathered to transcend one last time, folding into each rhythm with the desire to make it last forever. And TUKAN? They did too.

AMMAR 808

We met AMMAR 808 on one of the many volunteer-run shuttles we took from our hotel to the main festival grounds. He told us about his long journey from Amsterdam, and mentioned he would be playing a set “somewhere, sometime soon”. Little did we know, our humble new friend is the acclaimed Tunisian producer Sofyann Ben Youssef. We caught his show at the electronic night at Le Petit Theatre, and were absolutely blown away by his masterful blend of traditional African beats and hardcore techno.

Milk TV 

Another post-punk favourite of the festival was Milk TV, a trio hailing from Brussels. Initially not knowing where they were from, we thought they must have emerged from either the Canadian West Coast post-punk scene (think NOV3L, Pottery, and Crack Cloud), or somewhere from the world of Omni, Deeper, or Parquet Courts. Their no-wave energy was electrifying and had the whole crowd moshing by the end of the set.

Myst Milano

Absolutely slayful, and a new discovery for Also Cool, is Myst Milano. The DJ and multi-instrumentalist captivated their audience with their 90s-inspired beats and hard-hitting lyrics, not to mention killer dance moves. Their album Shapeshyfter, which made the Polaris Prize longlist in 2022, now has a permanent spot on the Also Cool daily Spotify rotation.

We once again had a beautiful time in Rouyn-Noranda, surrounded by good music, new friends, and the most incredible end-of-summer vibes we could ask for.

---

FME
Website | Instagram | Facebook | TikTok

---

Related Articles

Le Tigre & cumgirl8 Captivate Montreal With Feminist Punk Power

cumgirl8 by Malaika Astorga

The collective Also Cool teenage dream was fulfilled last week at Le Tigre and cumgirl8's show at Olympia in Montreal. We've been longtime fans of Kathleen Hanna's projects and couldn't wait to see cumgirl8 live after including them in a recent Playlist Refresh.

The line to get into the show represented every aspect of Montreal's feminist punk community, ranging from cool-looking parents and their children wearing Bikini Kill shirts to excited 19-year-olds sporting local bands' merch. Across the board, everyone shared a collective glow, looking forward finally to seeing the legendary trio onstage.

The merch was also in line with the feminist spirit of the show. A printed sign reminded attendees that "the best way to support your favourite artist is to buy merch at their show - get off the Internet." We at Also Cool agree - the best way to support artists is to show up for your local scene IRL and support your friends' creative projects. 

For those new to the world of cumgirl8, the NYC-based group met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums), and Avishag Rodrigues (guitar), the band started as an art collective in 2019. As reflected in their name, cumgirl8's work pushes against the status quo by satirizing themes in popular culture surrounding femme objectification, social media sensationalism, and capitalism. 

Onstage, cumgirl8 embodied the coolest punk girl energy, with all the members decked out in incredible outfits featuring mesh, corsets, glitter and ripped tights. Chase (the drummer) also seemed to play the entire set in heels, which is incredibly admirable. Their sound was hot and heavy, exuding it-girl confidence. 

Le Tigre was up next with incredible visuals and included lyrics for all their songs at the top of the screen, a sweet touch that made the show-going experience more accessible for everyone. They opened with "The the Empty" and followed with tracks spanning their entire discography. 

Their performance also highlighted intersectional feminist discourse, sharing the backstories of many tracks and starting meaningful conversations around topics like reproductive rights, trans politics, PTSD recovery, and more. The show concluded with playful choreography that ramped up into "Deceptacon," which was received by a joyful and cheering crowd. 

Keep an eye out for cumgirl8's upcoming EP phantasea pharm, which is set to be released on August 18th via 4AD. 

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.

---

Related Articles

100 gecs and Machine Girl Summon All the Wizards in Montreal to MTELUS (Show Review)

Show poster provided via press agent

Last night, 100 gecs and Machine Girl joined forces at MTELUS to summon all of the wizards in Montreal for an unforgettable, high-energy show.

100 gecs recently released their long-awaited second album, 10,000 gecs, via Dog Show Records / Atlantic Records. Standout tracks like "Dumbest Girl Alive," "757," and "Hollywood Baby" quickly seeped into the freakiest parts of the Internet, continuing to elevate the band's cult following.

Walking up to the venue, it was immediately apparent that the show would be special. Multiple groups of wizards with colour-coordinated cloaks and hats filed inside the venue, followed by others wearing elaborate horns, star-shaped headgear, gyaru girlies, and fans wearing juggalo and metal-inspired makeup that could easily land them in any of The Garden's music videos. It was giving "we just left the Dungeons & Dragons gathering to come to the show" in the best way possible.

Showgoers ranged in age from what appeared to be a toddler on a teddy-bear-themed leash with circular glow sticks in their hair, to an overwhelming amount of Gen Zs dressed as every -core that exists on TikTok, to parent-age folks who all seemed a little wary but happy. I also met a friend's mom for the first time who seemed very happy to be there (shout out to Annie's mom).

Machine Girl opened the show with an explosive set, climbing all over the venue and setting the magic for the night. Vocalist Matt Stephenson weaved his way through the crowd, eventually ending up on a balcony looking over the pit, screaming in the loving void of Montreal. The duo left the room feeling electric, with showgoers ready to tear apart the pit.

Photos courtesy of Malaika Astorga

100 gecs entered the stage dressed as starry warlocks, opening with some of their newer tracks and a healthy balance of fan favourites, including "money machine," "stupid horse," and "ringtone." About halfway through the set, Laura announced that Dylan felt like doing 'his trick,' which meant balancing a guitar on his chin. This was received warmly by the crowd. Dylan also took a bite of an onion that materialized onstage before closing out the show with a few encore songs after fans literally barked for them.

Overall, the show was a beautiful congregation of Montreal's freakiest music-enjoyers, all of whom left sweaty and smiling, unable to believe the warlock pop collective experience that had just occurred.

100 gecs continue their tour with Machine Girl into May. You can get tickets here, and check out their Boiler Room set below.

---

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.

---

Related Articles

Homework, Cats, and Rock'n'Roll: An Unforgettable Evening with the Linda Lindas (POP Montreal)

The Linda Lindas by Zac Farro

Festival season in the city carries a potent charm, as it dusts its magic over sticky bar floors and croaking choruses. The venue-hopping antics of last weekend’s POP Montreal returned with a particular fervour, highlighting a stellar showcase of industry fixations both emerging and established. Among these acts were the Linda Lindas – the LA teen punks whose rise to the top has warmed hearts around the world.

As I stomped into Theatre Rialto for their headlining show, my first realization was the number of kids anxiously awaiting the group. This was not a surprise, necessarily, but more of an endearing reassurance; an element that would reinforce itself throughout the show was the Linda Lindas’ earnest awareness of their fanbase’s vast demographics. The show felt like a safe space for fans of all stripes – a place to indulge one’s wildest musical fantasies and learn what’s possible in the world of rock.

From that first note of “Linda Linda,” the band emanated rays of remarkably-infectious confidence. “I want you all to scream as loud as you can,” commanded guitarist-vocalist Bela Salazar, moments before vibrantly flailing during a strobey instrumental break. “I want us to get kicked out of the frickin’ venue.” The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night. Between coordinated sways and jittering struts, the group carried themselves with coolness that felt easy to absorb.

Eloise Wong, Bela Salazar, and Mila de la Garza of the Linda Lindas

Mila de la Garza and Bela Salazar of the Linda Lindas

What arguably felt coolest of all, however, was the Linda Lindas’ youthful sincerity. Guitarist-vocalist Lucia de la Garza rambled about homework with a shyness that felt all too familiar, and Salazar shared two goofy bangers about her beloved cats Nino and Monica. The Linda Lindas are nobody but themselves—Riot Grrrl apostles waiting on high school diplomas—and their authenticity made even the small talk about Montreal’s chilly weather feel charming.

The show came to a close with two numbers that shook the walls. “Racist, Sexist Boy” has garnered pandemic infamy with its rendition at the LA Public Library, but its disparaging grit hit Rialto with an authoritative new sheen. The audience kicked and screamed with bassist-vocalist Eloise Wong and drummer-vocalist Mila de la Garza as everyone slayed their own visions of racist, sexist boys. Closing out the show was a cover of Bikini Kill’s “Rebel Girl”, a mainstay of their shows that made it all the way to Amy Poehler’s film MOXIE!. Wong’s sheer joy in relaying the lyrics hit every heart in the venue. I found myself humming the song and reliving my own memories—juvenile cruises in my high school car, which I named after Kathleen Hanna—the whole way to the Diving Bell.

When the show wrapped, myself and many others lingered to reckon with the force of what we just heard. Gathered at the stage’s edge were many of those same kids, hoping for one last memory of their heroes before they jetted back Stateside. I smiled at one girl’s “Vive les Linda Lindas” sign, which made it onto the stage (with the band’s genuine appreciation) sometime in the evening. Another beret-capped girl was still glowing, swarmed by her friends to touch the guitar pick that Salazar handed her near the end of the night. As the four musicians waved their final goodbyes, Mila de la Garza asked Salazar which child made the “Vive les Linda Lindas” sign. Salazar pointed, and the duo smiled and waved. The pure hope and the punk rock fire in that preteen fan’s soul—two sensations that the Linda Lindas have proven can be compatible—surely never glowed quite as bright.

---

The Linda Lindas

Website | Instagram | YouTube

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

NO WAVES Revive Garage Rock at Bar L'Escogriffe (Jess X, Piss for Pumpkin, TVOD - Blue Skies Turn Black)

As we thaw out from our wintery pandemic slump, we're trying to remember how to have social lives while also asking ourselves, "Who the hell are all these people at the show who I've never seen before??" 

Pre-pandemic, it was easy to find "the scene" if you tried hard enough (and went to events consistently). But that natural flow of new faces was completely interrupted, and now many are left wondering where the scene is, and how to get invited. 

My FYP on Tiktok often features 19-year-olds asking how to get invited to Montreal's underground raves and DIY rock shows, and last summer NO WAVES answered that call. They threw a wildly successful outdoor show, which was heavily documented and shared all over social media. After that show, I heard from a younger neighbourhood friend that they would be the next cool band in town. Promoters supported the claim that they brought a crazy energetic crowd, so I knew I had to see them the next time they played.

NO WAVES played at Bar L'Escogriffe on Thursday, April 14th with Blue Skies Turn Black, and the lineup could easily have fit into any 2015 surfer punk garage rock-inspired playlist. Jess X embodies a punk Cherry Glazerr energy (the Haxel Princess era specifically), while Piss for Pumpkin was described to me as 'Bikini Kill but more metal.'

TVOD (Television Overdose) brought a pure punk energy, hanging from the ceiling, spraying water all over the crowd, and getting them hyped for the headliners. Everyone at the show (who looked like they had just stepped out of my queer alt TikTok algorithm) loved it, encouraging each other to mosh, eagerly looking around for their friends to join them in the pit.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

I was pleasantly surprised that NO WAVES began their set with a zero-tolerance for harassment speech, telling creeps to gtfo and anyone who felt unsafe to tell the band or someone nearby what was happening so that they could help. Their sound is easily comparable to Surf Curse's "Buds," Vundabar's "Gawk" era, The Garden's "The Life and Times of a Paperclip," and of course (perhaps the band's namesake) FIDLAR's "No Waves." It felt like the 2015 Burger Records universe of music that I grew up with but without the reputation of SA and harassment that the label and their artists attained. 

NO WAVES had charming stage banter, introducing one song as "a real song that we wrote when we were 15," another as "a song I always say I won't show my friends and then I do," and their cover of Surf Curse's "Freaks" as "that song you've probably heard on TikTok," which made me feel old but also warmed my heart.

After the show, the drummer Sam shared with me that he was so happy that people were having a great time and emphasized that it's essential for the bands on stage to make sure their audience is as safe as possible. 

I also caught a sweet moment of a girl interviewing one of the band member's dads about the show and other attendees. She said she was making a documentary about the band, even though they didn't know how she was yet.

Uma, a long-time friend of the band and local Montrealer, had this to say about the night, "I feel like I've grown up with NO WAVES, so watching them go from playing in their parent's basements to a show like this is wild. They get better and better each time. Being able to grow up with access to this scene is life-changing. It's really beautiful out here, the crowd, the people, the music, all of it."

If anything, the show gave me hope for the up-and-coming Montreal DIY scene. It's inspiring to see people excited to be at a show, especially in what seems to be a more accepting and safe environment. 

You can catch NO WAVES' tour kick-off at Turbo Haüs in Montreal with Bummer Camp and Last Waltzon on April 22nd.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

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.

---

Related Articles

Yves Tumor Embodies Rock and Roll Energy at Club Soda

I knew that the Yves Tumor show at Club Soda would be a good one based on the conversations I heard while standing in line waiting to get in.

People were overjoyed to be running into each other for the first time in three years, and everyone was dressed in a way that made me feel like I was in the right place. Most notably, two friends were showing each other their bags of crystals, excitedly explaining each one in relation to the other person's astrological sign.

Yves Tumor by Jordan Hemingway

The show was one of Yves’ 47 international tour dates for 2022, and certainly did not disappoint. From the lighting to the generous amount of smoke from the fog machine and even the immaculate styling, Yves Tumor and his band embodied a classic rock and roll energy. There was crowd surfing, fans trying to rip the bass away from the band, and lyrics being screamed back for nearly every song.

You can catch Yves Tumor on tour by checking out tickets here and watch the 90s MTV-inspired promotional video below. Special thanks to Carter from Biz 3 for the press pass.

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.

---

Related Articles