Bedroom Eyes EP album cover, courtesy of NOVEMBER — *Bedroom Eyes* EP album cover, courtesy of NOVEMBER

"This EP is about evolving and coming to terms with some of the more beautiful parts of living but acknowledging what can happen during the harder ones." — NOVEMBER

NOVEMBER is the moniker of Ottawa-born, and now Montreal-bound, singer-songwriter and producer Gregory-Yves Fénélon. Today, he graces us with his dynamic EP Bedroom Eyes. Though the album is self-described as pop, Fénélon’s powerful, velvety vocals and signature dreamscape instrumentals masterfully transcend the genre’s expectations to achieve a truly romantic and innovative sound. Leading up to his release, we had the chance to chat with NOVEMBER about reaching out to his inner child while producing Bedroom Eyes, finding solace in silence, and how he excited he is about re-introducing himself to his listenership with this EP. Read our interview with NOVEMBER below!

Zoë Argiropulos-Hunter for Also Cool: Congratulations on the release of Bedroom Eyes, and thank you so much for collaborating with us again, NOVEMBER! To start, how have you been leading up to the launch of your EP? 2020 has been quite busy for you: working with Japanese act Frasco; performing at POP Montreal; and collaborating on a campaign for Sapporo, to name just a few projects. What has been fuelling your drive and sustaining your creativity as of late?

NOVEMBER: I honestly really enjoy what I do, which I think should be the case as much as possible in this life. As hard as the last few months have been, music and art have been my primary means of expression for most of my life, so going forward is very much [a] default. Also, when these opportunities pop up, they’re almost like fun little challenges to me. It’s important that I still have so much fun and get so excited. The Sapporo thing, for example, came during a really stressful point in the summer and pandemic, but getting to collaborate with foreign artists on a track (that had to make us and the-powers-that-be happy), [sounded] like a hill [I wanted to] climb! Yes please! And it gives me something to focus on.

Also Cool: On the EP more specifically, you recorded Bedroom Eyes in your apartment and childhood bedroom. What was the decision behind designating these areas as a studio space? What effects have they had, both conceptually and sonically, on the album?

NOVEMBER: I’ve always recorded in the bedroom I live in from the time I started making music. I think the habit started because when I was a kid just experimenting, it was a place where I felt safe to try things without fear, which I think is really important for any artist. It can sometimes be complicated now because I live in a small studio in Montreal and the walls are thin. But hey, I’ve been here almost 6 years through many sessions and [have never gotten] a noise complaint.

Because the EP was done over the course of a year, some stuff was done before the world stopped turning. I was still going to Ottawa to see my mom and knew I’d be back in my childhood bedroom, which hadn’t changed since I left at 18, and seized the opportunity to do some of the wilder vocals whenever I was there. So it’s all come full circle, and these are still the places I feel the least seen and most free. I was belting my ass off at 9PM last summer for this solo on “Red Room,” and that feeling of freedom is really present vocally. I’ve been to studios before too, and even though I’m recording most of my stuff alone in a studio, it more so felt like the case: colder almost and more cavernous. I think the most important thing I had to learn with this EP though was really designating the space for certain things at certain times. I never wanted it all to feel like one murky room all the time.

NOVEMBER’s home studio, photos courtesy of the artist

AC: Branching off of that, you described yourself as a child as "creative and emotional," with a significant interest in many artistic fields. How has your passion for the arts grown with you throughout the years? Do you find yourself reaching for any modes of expression in particular to connect with, or perhaps soothe, your inner child?

NOVEMBER: I’ve always loved the richness of silence, but as I’ve aged I’ve really come to adore stillness too. Stillness has led me to find new appreciation in genres, artists and even whole mediums I couldn’t wrap my head around even 5 years ago. What I’ve also learned about myself is that my inner child is so curious and ready to observe. So throughout the years I’ve really expanded my possibilities of what I enjoy and it’s led me to a lot of different kinds of rooms. I still naturally reach for music, but I’m all the better for experiencing what others naturally reach for.

AC: You note in your description of the album that you'd like to guide your listeners on a journey that concludes in their own "emotional catharsis." How have you maintained, and plan on persevering, self-care after creating such emotional and vulnerable work?

NOVEMBER: This is a great question. If I’m being honest, I hadn’t really thought about it. The truth is, by the time I make the decision to include something or someone in my writing, I think it’s me acknowledging that I’m ready to talk about it and ultimately surmount it. So a lot of the emotion is still there, but not so much active for me and more so embedded in a line or instrument. This isn’t a rigid rule though. Things come up sometimes when I’ll do a song live or while I’m listening to my music, and I’ll just let them come and go and usually that means tears. In those cases, I remind myself that these songs are fragments of my experiences and feelings, and some catch the light when I look at the mosaic.

NOVEMBER self-portrait, courtesy of the artist

AC: Now for a more light question: If you could perform Bedroom Eyes with an elaborate set design and with 100% creative direction, what would the production look like?

NOVEMBER: I have a background in musical theatre that jumps out in the sense that I really love a spectacle. In a perfect world, the show for Bedroom Eyes would mimic the music and have this story arc with different stops for the audience. Every song is actually set in a different place. It would be cool to bring them to life, since the inside of my head isn’t exactly reality and everyone’s perception of things is their own. It would have dancers, costumes and basically be a big pop show. I’d also love for people to have enough room to dance, move or just do what they need to.

AC: Before we end off, how do you plan on celebrating this release and what are you looking forward to as 2020 comes to a close?

NOVEMBER: Donuts, vegan food, weed and some time doing absolutely nothing. No but really, this EP has been such a long time coming and these songs have taken up so much space in my head that it almost feels like an empty nest. I am super happy it’s a tangible thing, though. I celebrated with stillness since when I’m at my busiest that can be something I only get in limited amounts. It’s only temporary though, and I’m trying my best to figure out a way to get at least one video together throughout everything. I’m really just excited for this to be out and for whomever to be able to hear it. I think it’s some of my coolest stuff and a great reintroduction to where I’m at now.