Snow Strippers, Ducks Ltd., Haruomi Hosono, Kim Gordon & More: Also Cool's Playlist Refresh

Kim Gordon by Danielle Neu

It seems that every musician we like here at Also Cool has released new music in the past few weeks, so we put it all together for you to enjoy.

This edition of our Playlist Refresh includes everyone from Kim Gordon to Haruomi Hosono, and you can listen along via our regularly updated playlist on Spotify.

Snow Strippers and Turnabout - “Luctus Mane (Snow Strippers Remix)”

Snow Strippers (Nice Bass Bro) have permeated the music scene with their signature sound, reviving the nostalgic appeal of late-2000s electroclash with haunting vocals and hyper-pop nods. In their latest endeavour, the Detroit duo step up to remix Turnabout’s “Luctus Mane,” softening its trap metal roots with a celestial touch. Vocalist Tatiana Schwaninger’s hypnotic inflections rise above the distortion and conjure a light all their own.

Allie X by Marcus Cooper

Allie X - “Weird World”

Avant-pop fixture Alexandra Hughes, better known as Allie X, has emerged with her third album Girl with No Face, out today via Twin Music Inc. This new record anchors itself in a swath of ‘80s synth-pop and dark wave—entirely self-produced by Hughes—and “Weird World” marks its latest single. This impassioned track mourns the notion of a past life while erupting with freedom, sprinkling a touch of German musings over eerie instrumentation fit for the likes of Drab Majesty.

Kim Gordon - “I’m A Man”

Kim Gordon has offered the second cut from her forthcoming album The Collective, set to release March 8th via Matador Records. Swiftly following The Collective’s breakout single “BYE BYE,” “I’m A Man” is an equally noisy testament to Gordon’s triumphant domination of post-rock. Awash with a blistering collage of dissonant guitar and an ear-splitting trap underbelly, “I’m A Man” is best played cranked at full volume, with Gordon’s meditations on the disappointments of Western masculinity taking centre stage. While some have argued that Gordon’s reflections harbour passé feminist sentimentality, we wonder if Gordon (now 70) is making space for the music she would have wanted to write in her Sonic Youth days.

Watch the video for “I’m A Man,” starring Gordon’s daughter Coco Gordon Moore.

Hot Garbage by Laura-Lynn Petrick

Hot Garbage - “Look at My Phone”

Toronto psych rock four-piece Hot Garbage barreled into 2024 with Precious Dream, the band’s second full-length on Montreal indie label Mothland. Flush with rippers from front to back, Precious Dream sneers with dark surf flirtations, motorik rhythms, and sinister synth-laden chaos. The album’s second track “Look at My Phone” is a super-charged headbanger for coping with the horrors of this cruel world.

Tyla by Annie Reid

Tyla - “Butterflies”

Tyla hit superstardom after releasing her Grammy Award-winning song “Water.” Quickly after, she dropped her debut EP Tyla via Fax and Epic Records and proved she wasn’t going to be a one-hit wonder. “Butterflies” highlights a softer, almost ethereal side to the singer – let this song transport you to a magical place!

Nick Schofield by Christopher Honeywell

Nick Schofield - “Resonant World”

Self-proclaimed “ambient raver” Nick Schofield (Best Fern, Saxsyndrum) recently 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.

Loving - “Any Light”

Loving has been a longtime staple of Also Cool’s playlists, bringing well-considered tenderness to the Canadian indie music scene. “Any Light” is the title track of their latest album, guiding us into the contemplative world of Jesse Henderson and David Parry. The 10-track album weaves through themes of love, existential uncertainty, and "the psychic consequences of living in an increasingly digitized world."

Max Leone - “Kirkland”

There’s nothing that hits harder than going back to your hometown just to discover that your memories have been paved over and replaced by parking lots and big box stores. California-based Max Leone submerges himself in this flavor of bittersweet nostalgia with his latest release “Kirkland,” which is accompanied by a music video made of home videos that act as a portal into his childhood. Watch the video below.

Moon King - “Go To My Head”

Comfortable in a cold blue light, Moon King brings us yet another slinky synthy single “Go To My Head,” off of his upcoming album Roses (which is set to release later this year on Arbutus Records). Inspired by loops found on ‘future music’ CDs from the mid-90s, FM synths, and 808s, the track rounds out with his layered, pitched-up vocals – perfect for grooving to anytime, anywhere.

Born at Midnite - “*69 (Patrick Holland Remix)”

The great music minds of Montreal have merged to create an absolute banger remix of an already great song. Born at Midnite's “*69 (Patrick Holland Remix)” will soon be added to DJs’ USBs worldwide, and dancefloors everywhere will rejoice.

In the words of Born at Midnite: “If you are anything like me, the second you hear Pat’s remix of *69, the tears will roll, everything you’ve ever heard will suddenly seem irrelevant, tingles will go up your spine and you’ll drop your Timmie’s on your Rick Owens Crocs.”

Ducks Ltd. by Dylan Taylor

Ducks Ltd. - “On Our Way To The Rave”

“Memories I'll barely retain, We're on our way to the rave.” Relatable for almost every party person, and eerily reflective of the theme of our FSR radio show (music ranging from the indie rock show to the rave), Ducks Ltd. have returned with an excellent single off of their recent album Harm’s Way.

Reliably jangly, and always fun, Tom McGreevy and Evan Lewis of Ducks Ltd. deliver a highly-anticipated expansion on the sound they established in 2021. We were able to catch their set at Taverne Tour this year, and are happy to report that the sold-out show was one of the highlights of the festival.

Haruomi Hosono & Mac DeMarco - “Boku Wa Chotto”

Mac DeMarco has teamed up with Japanese legend Haruomi Hosono for their latest release, “Boku Wa Chotto,” via Stones Throw Records. While it may seem like an unlikely pairing, Hosono has long been one of Mac DeMarco’s musical idols and had previously covered his song “Honey Moon” in 2018. For those unfamiliar with Haruomi Hosono, we suggest listening to his 1978 album PACIFIC and the classic track “SPORTS MEN” off of his 1982 album Philharmony as an introduction to the incredible world of Hosono’s Japanese pop music.

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Trevor Sloan Creates A Nostalgic Blend of ‘70s Psych-Folk, City Living and Everyday Imagery in New Album "Dusk Among the Plum Trees"

Trevor Sloan. All photos courtesy of Trevor Sloan

During a cold and dark winter in Toronto, Trevor Sloan—a songwriter, multi-instrumentalist and mixed media artist based in the city—found himself in a cozy room filled with loved ones. His friend started talking about his family’s plum trees and their process of making homemade brandy, and there came the inspiration for his latest album, Dusk Among the Plum Trees, released this spring. 

“I had this picture in my mind of a dusky sky above plum trees,” Sloan says. He went on to write a song by that name, and while it was never finished, the title stuck. “It conjures up images of dusk and night, and I think most of the songs on the album fit with that. I had also been reading a lot of Japanese poetry, which often references plum trees, so that was part of the inspiration too.”

The 11-track record, mixed and mastered by Andy Magoffin at the House of Miracles in Cambridge, Ontario, intertwines simple imagery and everyday themes. With a nostalgic psych-folk sound, the album conjures up images of faded pastel Polaroids, transporting listeners to another time and place.

Sloan explains most of the songs began with simple observations, like how “green grass is after the rain” and evolved from there. He weaves characters and objects into his songs, creating soft, colourful scenes filled with references to “…trashy magazines, singing robins, green steeples, the rubble of a burned-down hotel, coyotes walking on train tracks, and the light under a pigeon wing in flight.”

Many of these observations come from Sloan’s wandering in Toronto’s Junction neighbourhood, where he lives. “The song ‘Panther in a Cage’ is about a guy I see walking around my neighbourhood. ‘Sunset Glow’ refers to people and things from around here as well: ‘Old man and his cane… landlords and panthers, women from the shelter, loners and lovers, parrots and flowers.’”

The latter song closes out the album, paying tribute to its title and portraying the “city folk on their way” as the sun sets. Sloan explains, “It paints a picture of my neighbourhood, skillfully weaving together characters and references from other songs into one final closing piece.”

Sloan's sound draws inspiration from artists of the 60s and 70s, such as Donovan, Nick Drake, Labi Siffre, and Cat Stevens. ”There is something natural and genuine about the music from that time,” Sloan says, also highlighting his recent discovery of the music of British folk duo Chad & Jeremy. Songs like “Willow Weep for Me” and “Before and After” have left a lasting impression on him with their "mellow nature, gentle vocals, nice harmonies, and lush arrangements."

He also draws inspiration from new artists like Sylvie, Evan Cheadle (Fault Line Serenade), Dan Edmonds (Good Fortune Assembly), and Jon McKiel (Bobby Joe Hope), among others. “I am constantly trying to discover new music,” Sloan adds. 

These influences are clear in the album’s open track, “Ottawa 1977”, an upbeat homage to his family. While Sloan never lived in the city, he has strong ties with his parents having grown up in the city. 

“I was inspired to write the song after looking at photos from my parents’ collection. I love the warmth of 70s photography. Many of those pictures had the place name and date handwritten on the back,” he says. That idea of the back of a photo is where the song got its name. “I was thinking about my grandmother’s apartment in Ottawa. In the courtyard, there was a clothesline to hang laundry. If you were in the kitchen, the radio was usually on. In the family room, there were often tabloid magazines on the coffee table. For me, it was a golden place full of good family memories. I would say that side of my family is quite spiritual and believes in magic; that is why I used the line, “My family tree is full of mystical minds.”

Accompanying the album is a zine consisting of ten collages and ten poems, a fitting complement to the imagery presented in the record. “I liked the idea of there being something physical that people could have in their hands while they listened to the music (as it is a digital release),” Sloan says.

Sloan started experimenting with collages around five years ago, finding a supportive community on Instagram. “There is this feeling that anyone can give it a try, even if you don't have a background in visual arts. I feel a great sense of freedom in collaging, as I can try different styles. I love working with scissors, paper, and glue. I love the immediacy of collage, being able to make a collage and share it with the world in one night.”

This immediacy contrasts with the longer creative process involved in making a record. “The process of writing, recording, having the music mixed and mastered by someone, and then planning an album release can take over a year. Collage and poetry provide instant gratification while I work on music projects over a more extended period of time. I believe collaging has helped me be more open-minded with music, more willing to experiment, to have fun, and just focus on making the music that sounds good to my own ears.”

While the album creation process takes some time, the recording process itself is more spontaneous. “When I write a song, I record it right away,” Sloan says, who recorded the album at his home studio. “So, I’m writing and recording continually throughout the year. I recorded about 30 songs and then picked what I thought were the best 11. Generally, I write songs on an acoustic guitar. I start with the music and then write the lyrics. I record each instrument, track by track.” 

From there, using an acoustic guitar, some vintage synths and keyboards, bass and a midi software program called SampleTank, Sloan records and layers each instrument track by track, creating his breezy, mystical sound.

“My Roland Juno-106 keyboard was slightly defective during the recording process, which added some interesting warbly drone sounds to some of the songs. That keyboard would get unbearably staticky after a minute of being turned on, so I would have to record those particular parts within one minute or wait until the next night (I've since had the keyboard repaired).”

The resulting album has a mellow, mystical sound, with each song taking the listener to a different moment in time as a true observer. 

Sloan references Francoise Hardy’s Ma jeunesse fout le camp…, as what he says might be “the perfect album to listen to while making dinner,” hoping listeners find a similar kind of quiet comfort and timeless appeal in this album. “I hope Dusk Among the Plum Trees is the kind of album that people would like to listen to while making dinner,” he says. “I hope they find warmth in the songs and the arrangements and it leaves them with a mellow feeling.”

Trevor Sloan. Photo courtesy of Trevor Sloan

Trevor Sloan

Instagram | Spotify | Bandcamp | Website

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

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Enter Palingenesis: A Night of Independent, Genre-Defying Creative Expression

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To start off 2023, we’re unveiling the lineup of Palingenesis: a night of independent, genre-defying musical performances and multimedia installations animating multiple levels of church-turned-event space allsaints – 330 Laurier Avenue East, on Saturday, January 21st, from 7:00PM-2:00AM in Ottawa. Presented by Congrego in collaboration with Also Cool and Debaser, Palingenesis brings together cutting-edge talent evading the cultural mainstream from the curators’ hometown scene and beyond, including musical acts Pony Girl, Fraud Perry, Treus Jones, Crasher, Lesser Evil, maxime., DJ TRINIDADDY, Dimitri Georgaras and DJ Russ Plus, accompanied by works from local artists SLVR, Cheru Pompey and Andrew Doxtater.

Advance tickets are available for purchase here. Limited quantities available at the door. 

Excited? Us too. Save the date and meet the Palingenesis musical guests below and get ready for the hottest event of the season (on the coldest day of the year)!

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Pony Girl

Pony Girl are masters of artpop, invigorating stages with a prismatic sound that’s all their own. Hailed for their “evocative soundscapes” (CBC Radio), “ability to push the boundaries that define pop-rock” (Mixtape Magazine), and “musical depth quite astonishing to experience in person” (Exclaim!), Pony Girl is a rare gem worth uncovering.

Instagram | Bandcamp | Spotify

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Fraud Perry

“Fraud Perry is a vibe, a don't take shit type. Emerged from her chrysalis to ride a beat like a dick type...”

Instagram | Bandcamp | Spotify | SoundCloud

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Treus Jones

Instagram | Spotify | SoundCloud

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Crasher

“Crasher is a new three-piece electronic punk band fronted by Airick Asher Woodhead (Doldrums, errhead). Crasher formed during COVID while ‘bubbling’ in a shared jam space, and recorded the tape Street Cleaning Machines of the World, which released in spring 2021. They performed it live at Montreal’s OXYGEN outdoor rave event series in summer 2021.” — Suoni Per Il Popolo

Bandcamp

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Lesser Evil

Lesser Evil is Ariane and Christophe, who grew up strangers in houses next to one another in the same small town, met years later and morphed into a haunted two-headed beast of a musical duo as if it was always in the cards. Driven by Ariane's vocals, Christophe's electronics and a shared propensity for refined-meets-broken production, they plumb the depths of sound and mind in ways equally intense, intricate and immediate.

Instagram | Bandcamp | Spotify

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maxime.

maxime., born Maxime Trippenbach, is an alt-pop artist (self-released/AWAL) who writes, records, produces and engineers his music in his bedroom in Montreal. For his live show, he is accompanied by two friends: James Clayton on guitar and Lucas Kuhl on drums.

Instagram | Spotify | SoundCloud

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DJ TRINIDADDY

“DJ TRINIDADDY (they/he) is an Odawa based and Tkaronto-born DJ, musician, & overall multidimensional artist. As a queer & trans Coolie femme boy in the DJ & music community, they aim to make party & gathering spaces accessible & safe(r) for QTBIPOC, and hope to inspire & create community through their sounds. From soca, chutney, & dancehall to afrobeats & sick club edits, there's no way yuh cah free up & feel up yuhself when they're spinning!” — Pique

Instagram | Mixcloud

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Dimitri Georgaras

Ottawa-born composer, sound artist, and instrument builder. Dimitri's compositional voice is informed by deconstructing the fundamentals, limitations, and chaotic behaviours of analog electronics and digital signal processing, creatively exposing their musical potential through composition and performance.  

Instagram | Website | Bandcamp

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DJ Russ Plus

Instagram | SoundCloud

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Palingenesis Floor Plan

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Atta Boy Explores Living In Between Grief and Joy in New Album "Crab Park"

Atta Boy by Sarah Midkiff

Atta Boy’s album Crab Park is an October 2022 release with an autumnal feel. This album was created for two moods: the loving feeling of making dinner for your family when it’s 5 PM and already dark, or the ennui of walking on a secluded urban beach. With an overall alt-country feel—think Gillian Welch or Tonk—the songs are welcoming and homey, but lyrically they interweave themes of conflict and teen angst.

The opening title track “Crab Park” is one of longing, with many seemingly unresolved thoughts and wishes poured into this track. “Well, I never thought it over / And I think that you should drive on over / And I never ever thought it would be / Me and you at Crab Park / With the bittersweet and final spark of Firework Friday.” I don’t know who this song is about, but from the lyrics, I really do not think they deserve a song written about them and the relationship’s ending.  

“Spring Seventeen'' is a song about growth and courage. The staccato tune that is played throughout comes across charmingly –  a little childish, a little mocking. The track feels reminiscent of the space you give people from high school when you're over 25, or of the distance that a teen puts between their parents and themselves as a way to slowly establish the slow transformation of growing into adulthood.

“Alex” was definitely my favourite song on the album. It took a couple listens to really get past the evocative lyrics to engage with the sweet melodies accompanying them. Overall the song  feels like a victim impact statement or a letter addressing traumatic events that the band could only just remember. It’s an important song that addresses consent, memory and time-driven healing. 

Closing with “Twin Flame” was an interesting choice, especially after an upbeat track like “Boys” preceding it. The contrast between the two creates a feeling of emotional dissonance that can't be shaken, leaving the listener eerily on edge. Although a lovely song, “Twin Flame” does not feel like the conclusion that was needed to bring the album back full-circle, and a sentiment of resolve is what remains.

On the whole, Crab Park feels seasonally appropriate, and Atta Boy has concocted the early, sweet onset of seasonal affect disorder before it intensifies. Perhaps, like me, you live in Vancouver, or perhaps you know of a Crab Park in your area that you hung out in as a teen. Regardless, I encourage you to listen to the album, listen to Atta Boy’s sweet tunes and seek to understand a world of new details of decay and regeneration.

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Crab Park

Out October 21, 2022

1. Crab Park

2. Spring Seventeen

3. Blue Moon

4. Steller's Jay

5. We Ran From Midnight

6. Deep Sea Ladder

7. Alex

8. It Goes Away

9. Boys

10. Twin Flame

Written and performed by Atta Boy

Engineered and mixed by Jason Hiller

Additional engineering by Freddy Reish

Produced by Jason Hiller and Atta Boy

Mastered by Lurssen Mastering

Art by Lewis Pullman

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Atta Boy

Instagram | Facebook | YouTube | Spotify

Soundcloud | Apple Music

Esmée Colbourne is a researcher and writer interested in the ties between community, memory and the arts.

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NO WAVES Talk FME, Gatekeeping Hats in Chinatown and Getting into Metal

NO WAVES with Malaika Astorga for Also Cool

At the tail-end of our FME weekend, we were able to catch up with surf garage rock band NO WAVES from Montreal. We covered their show at Bar L'Escogriffe, where they had played alongside Jess X, Piss for Pumpkin, and TVOD earlier this year, and were excited to catch up.

By far the youngest band at the festival, we chatted about their gratitude for the opportunity, who they were looking forward to seeing, as well as their personal style influences.

Malaika Astorga for Also Cool: How are you all feeling about playing your first festival in rural Quebec with Animal Collective?

Sam for NO WAVES: It's really crazy; it's crazy as fuck. I never realized that getting to something like this was actually possible. I feel kind of freaked out.

Also Cool: In a good way?

Sam: Yeah, definitely.

Angel: I don't think it's fully sunk in that we're here, that we're doing this. I feel very excited and grateful to be super far away from home just to play music; I think it's so sick. It felt super silly seeing our name with all these huge artists. It gives me a lot of hope.

Cy: I'm on par with everyone else. It's not freaking out, but it's like, we're really out here, 8 hours away (from Montreal). Especially shows like the one we’re going to play at MTELUS. That is crazy; I can't wrap my head around it. It's a shock.

Sam from NO WAVES

Also Cool: What goes into the outfits you wear, and what's the difference between dressing for a Montreal show and dressing for rural Quebec? What influences your personal sense of style?

Sam: I just really like these shorts, but I was scared of wearing them because of how cold it is here.

Angel: I base my personality around Mick Jones from the Clash. I saw him when I was 16, and I thought it was cool how he was tidy, so I usually try to go for a clean-ish look. 

Sam: Angel's business casual every day. Cy is the one who's the most consistent with his style, though.

Cy: Honestly, I love doing this; I love dressing well. It makes me happy. 

Sam: Cy used to have a school uniform, so on a Friday, when we had a show, we would go straight from school to our show, and he would stay in his uniform.

Cy: Yeah, it started that way, but I realized that I also really liked it. I'm a big fan of uniforms, I'm not great in terms of creative outfits, so this was the most uniform thing I could put on. I can't do t-shirts, but that's me 

Also Cool: The people who go to your shows really dress up.

Angel: Yeah, it's so cool!

Sam: I don't really wear t-shirts anymore because it gets too hot when I'm drumming.

Also Cool: What is the story of your hat? Where did you find it? You wear it all the time.

Cy: He's gatekeeping it, guys.

Sam: I can't remember the store's name, but they're sold out. I even asked the lady at the store to order more for me, but they haven't yet.

Sam gatekeeping his hat

AC: Who are you excited to see at the festival?

Sam: I want to see Hubert Lenoir because that's, like, the homie.

Angel: I would say Hubert, as well as Choses Sauvages and La Sécurité.

Cy: I'm also excited about Hubert, but I think all the metal bands here are really cool too. Metal is cool; I wanna explore it more. I would definitely see Dying Fetus.

Angel: I've been getting into heavier groups like that, and even their soundcheck was amazing.

AC: Anything else you want to touch on?

Angel: I just want to highlight that the scene in Montreal has been flourishing, especially since last summer. I've been interested in this group called YouTube to MP3, who are more hyerpop, and I'm just really excited for what's to come.

Catch NO WAVES this weekend at MTELUS and Entrepot 77 on Friday and Saturday, and stay tuned for another full-length interview with the band coming very soon.

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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Between Frankness and Cheekiness is Eliza Niemi's "Staying Mellow Blows" (Vain Mina / Tin Angel Records)

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Eliza Niemi by Ben Mike

Alt-folk raconteur Eliza Niemi’s knack for sincerity and surrealism make her masterfully endearing. The Toronto-based multi-instrumentalist and singer first found her footing in so-called Canadian indie circles with her former band Mauno and since disbandment, has established a solo-venture defined by striking idiosyncrasy and collaborations. Now, Niemi finds herself with two EPs under her belt and operates an independent record label, Vain Mina, on the side.

Niemi’s deft and illustrious approach is refined on her to-be-released LP Staying Mellow Blows, out August 5th, 2022 on Vain Mina and Tin Angel Records. Between cello musings, folk experimentations and modular synth flirtations is Niemi’s most bountiful collaboration to date—a testament to her talent and creative kinship. Staying Mellow Blows features contributions from 19 confidantes within Niemi’s web and charts a back-and-forth intrinsic to community ties; transcending its pandemic-bound gestation period.

In our conversation with Niemi, we had the chance to discuss how Staying Mellow Blows evolved in passing through many hands, the way she is sustained by innovative relationships, and the experience of getting a tramp stamp of her album name.

Read the full interview below!

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Eliza Niemi by Ben Mike

Zoë Argiropulos-Hunter for Also Cool: You are a prolific world-builder when it comes to your collaborations. How has your creative process transformed from the solitary practice captured on your first EP, Vinegar, to that being realized on your to-be-released Staying Mellow Blows?

Eliza Niemi: With Staying Mellow Blows, I wanted to preserve the solitude and intimacy of my older EPs in the core of the songs, but make the arrangements a joint effort with the other players on the album. I basically wrote a bunch of songs on cello, guitar and keys, and then sent them around to my friends all over North America to build on. Some were a bit more collaborative in earlier stages, like how "Walking Feels Slow" was co-written from the start with Will Statler, or "Sushi California" and "Trust Me" were co-produced by Mike Fong.

This record was my first time fully recording and producing my own vocals, cello, keys, and guitar. That part of the process was quite solitary. It created a cool dichotomy with the deeply collaborative process of all my friends writing and layering their own parts overtop. It was like I leaned even further into the intimacy and introspection of my previous releases—which were recorded by Louie Short in a small studio here in Toronto—and then turned that on its head by completely opening it up to other musicians' perspectives. I think in this way, my creative process has expanded both inwards and outwards. Making this record has been an exercise in understanding myself and in letting go—trusting the people around me.

Also Cool: Branching off of that: Did working with your friends bring about anything of the album that you hadn't initially expected? 

Eliza Niemi: Sending these vulnerable, raw songs to my far-away friends and having them interact with them so honestly was a beautiful way to feel close to them. It was an emotional process receiving everyone's stems over the pandemic. I put a lot of careful thought into whom I asked to play on which songs, but didn't give anyone specific direction. Each friend blew me away with their sensitive and brilliant playing and singing. The odd time when I would send two players the beds of a song simultaneously, they would send back parts that serendipitously worked perfectly with one another. It was pretty magical. Each player expanded their song(s) in ways that I never would have been able to. The album is almost like a web of emotional and musical conversations. 

AC: You and your hive are close-knit in more ways than one. Can you tell me about how these relationships contribute to your label Vain Mina? 

EN: I started Vain Mina as an imprint for my first solo release, mostly to seem more legit to press and industry people, while still being able to own all the rights to my music. "Vain Mina" is adapted from the Finnish vain minä which means "only me,” with a sort of childish inflection. I called it that somewhat ironically because I was setting out to do everything myself, but it ended up being birthed from the efforts of many members of my community.

Mark Grundy (Heaven For Real, Quaker Parents) had been involved in DIY labels back in Halifax, and had been self-releasing music for a decade. He helped me a ton at the beginning. I'd say we basically started the label together. Our second release was Quaker Parents' Our Drawing Club in 2019. Louie Short has been our resident engineer from the beginning and has worked on all of mine and others’ releases to-date.

We all play on each other's recordings as well. I guess we're a collective… Bolstering each other and aiding one another in self-releasing under the label name. We're trying to organically build something with like-minded people and facilitate transparency, artists owning the rights to their music and knowing exactly what's going on at all times. The evolution of the label has felt natural in this sense... We’ve continued to link up with people who share this vision and have gone from there. 

AC: Going back to Staying Mellow Blows: Your leading singles are accompanied by music videos with an uncanny undertone in commonality. What informs your visual and online identity? 

EN: In line with the collaborative nature of this album, I brought songs to friends who make visuals and gave them free reign to interpret them. I've had certain people I like to work with since Vinegar, and they made videos for this album too, like Ryan Al-Hage and Ali Vanderkruyk, as well as some new collaborators like Gart Darley and an exciting to-be-announced artist. 

In terms of my visual and online identity, I gravitate towards things that I find interesting and inspiring. I have an affinity for miniatures, puppets, figurines and outsider-art, which has been present in a lot of the visuals throughout my solo career. I think these things represent how I feel about my music and expressing myself in general. I find making art to always be a sort of clunky, funny, sad, and overall odd representation of the self. Weird little puppets, stained glass, and sculptures convey that well for me.

AC: Speaking of your music videos; can we talk about the extremely rock n’ roll moment of getting your album title tattooed on camera? What inspired this adventure? 

EN: Back in the winter, my friend June was driving me around NYC. At golden hour in Manhattan, we passed a sprinter van with a fun little decal on it. I said, "It looks like a tramp stamp," and we laughed. I then said, "I should get it," and he said "staying mellow blows”—in reference to the title of my unreleased album, which he'd heard every version of for the past two years. We laughed and then I got serious again and said, "That's a great idea!” Over the course of that trip, I conceptualized the music video. I wasn't sure if I was serious about it until it was actually happening. Honestly, I mostly did it to make June laugh and think I was cool, I think it worked. I don't regret anything. It also perfectly encapsulates the sentiment of “staying mellow” being dumb.

AC: In closing, what would you tell your younger self from this moment looking back on your musical career so far? 

EN: What a nice question. I would say: "Don't get the tattoo!" Just kidding! 

It's a hard question because I don't wish anything had gone differently… It’s all led me to where I am now, which is a good place, I think. But yeah, I guess I would tell my younger self to trust your gut, to not be afraid to change gears, and that everything is gonna work out, kinda.

Don’t miss Eliza Niemi on tour!

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Staying Mellow Blows

Out August 5, 2022 via Vain Mina / Tin Angel Records

1. MPF (Movies)

2. Sushi California

3. Tea On A Plate

4. Murphy’s

5. Trust Me

6. Walking Feels Slow

7. Don’t Think

8. Not Killing Bad Energy

9. Leave Me

10. Death I

11. Death II

12. Rolling

13. Staying Mellow Blows

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Eliza Niemi

Instagram | Bandcamp

Zoë Argiropulos-Hunter (she/her) is the co-founder and managing editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, and a radio host & DJ.

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DISTORSION Takes Over Entrepôt 77 with Holy Fuck, Hot Garbage, Petra Glynt & More

Our favourite psychedelic moths are back at it again with DISTORSION > Entrepôt 77. It'll be loud, a ton of fun, and includes Also Cool favourites like Holy Fuck, Hot Garbage, and Petra Glynt. 

The festival runs from July 22th to 24th at Entrepôt 77 (77 rue Bernard), a mythical Montreal landmark located in Plateau Mont-Royal, at the junction of Mile-End and La Petite Patrie.

Ever since the festival's very humble beginnings, the moths organizing DISTORSION have made a point to settle in unique locations to present their psychedelic masses. This year is no different, but there is a slight twist: the event will take place mostly in daylight! Rest assured, though, the moth team has you covered with some of the very best noisy and experimental outfits out there.

Amongst the headliners, attendees can catch transcendent electronic artist Holy Fuck (Toronto, ON), multi-faceted psychedelic collective Golden Dawn Arkestra (Austin, TX), krautrock ensemble Orchestre Tout Puissant Marcel Duchamp (Geneva, CH), plus a selection of up-and-coming post-everything outfits from Montreal and abroad!

Check out the full schedule below:

FRIDAY

9 pm - HOLY FUCK

8 pm - GRIM STREAKER

7 pm -CRASHER

6 pm - PETRA GLYNT

5 pm - DJ SET

SATURDAY

9 pm - GOLDEN DAWN ARKESTRA

8 pm - PANTAYO

7 pm - HOT GARBAGE

6 pm - ZOON

5 pm - KARMA GLIDER

4 pm - EFY HECKS

2 pm - DJ SET

SUNDAY

8pm - ORCHESTRE TOUT PUISSANT MARCEL DUCHAMP *

7 pm - LA SÉCURITÉ

6 pm - MOTHERHOOD

5 pm - N NAO

4 pm - LARYNX

2 pm - DJ SET

See you in Mothland!

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Take a Sip of Cola's Post-Punk Debut "Deep In View" (Fire Talk)

View fullsize

Cola’s Tim Darcy (left), Evan Cartwright (middle) and Ben Stidworthy (right) by Colin Medley

Amidst our post-truth media landscape ablaze with sensationalism, bound by the tirelessness of superficial consumer culture, arrives Deep In View, the debut LP from Canadian three-piece Cola, out this Friday via New York label Fire Talk Records.

Composed of long-time collaborators Tim Darcy and Ben Stidworthy —formally of beloved Montreal band Ought— and Evan Cartwright of U.S. Girls/The Weather Station, the locally-star studded post-punk outfit is void of artificiality, despite its name.

Rather, Deep In View relishes in poetic revelations in a era of lukewarm takes. With an observational tone akin to David Byrne’s commanding Talking Heads personas, coupled with direct, yet animated, guitar-bass-drum arrangements reminiscent of early works by The Strokes, Cola strikes political conversation on modern life with refreshing sincerity.

Chatting with Cola, lead singer and guitarist Tim Darcy attributes the band’s “triumphant honesty” as an outcome of working as a three piece.

“The writing process for this record was pretty nimble and we could workshop things readily,” explains Darcy. “Ben and I have been writing together for a long time, and though there were elements that we wanted to bring into this new project, there were major structural differences; like working with Evan who has such a singular touch, and writing songs separately during periods of on and off isolation,” he adds. “We wanted to keep the band a three piece and see what we could do melodically with sparse instrumentation.”

Since 2019, the trio draws inspiration from each other, whether through in-person sessions or building upon demos sent back and forth during the creation of Deep In View. Drummer Evan Cartwright says the nature of Cola’s experimentation is a welcomed change.

“There is a level of trust in this project that I don’t have in most creative situations. We all give each other so much agency to be able to redirect and change what we’re working on, which doesn’t happen in every band,” he shares.

“I don’t feel an impulse to control. I actually want [Tim and Evan] to change what I’ve written!” adds Stidworthy.

“Mechanically, it’s part of the definition of a band; a chemical reaction that happens when people bring their own idiosyncrasies to the table. What makes Cola Cola is everyone’s individual contributions resulting in this record,” elaborates Darcy.

View fullsize

Cola by Colin Medley

Sonically, Cola’s collaborative patterns aim to compose “worlds or moods that are difficult to pin down emotionally,” explains Stidworthy. Part of guiding audiences through an intentionally off-kilter listening experience is largely driven by Cola’s lyrics, which are often introspective, unfettered and sometimes irritable – yet always graceful.

“I did lean into a personal lens much more on this record than with Ought,” says Darcy. “I tapped into lyrical mindsets and characters as vehicles for my perspective as a writer.”  

Darcy’s arresting performance on Deep In View comes from adopting a more traditional “front-man” personality - quintessential to the band’s post-punk roots.

 “[The vocals] do have a more singer-songwriter, post-punk clunky-ness to them, (laughs). While the sound isn’t totally shocking, to us or people familiar with our past projects, listening to our songs feels different… Much more personal,” notes Darcy.

Rounding off our interview, Cola speaks of keenly of returning to touring and bringing their meditations to life.

“I’m excited to just get up and play our asses off!” beams Cartwright.

“We’re a guitar band and I think, we’ve made a good album of guitar songs. Hopefully people will experience joy and our songs will make someone feel something and experience a pivotal moment,” muses Stidworthy.

“Even when we played our first returning shows, they were amazing. It’s a lot to ask an audience to sit through a whole set of songs they’ve never heard before, but everyone who came out was great! So far we’ve been getting back into the flow and it’s like no time has passed. I hope that everyone gets to experience that very soon if they haven’t already,” adds Darcy.

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Deep In View

Out May 20, 2022 via Fire Talk Records

Pre-order here

1. Blank Curtain

2. So Excited

3. At Pace

4. Met Resistance

5. Degree

6. Water Table

7. Gossamer

8. Mint

9. Fulton Park

10. Landers

Written by Tim Darcy & Ben Stidworthy

Supercollider, Guitar (“Blank Curtain”) & Drums by Evan Cartwright

Guitar, Vocals and Lyrics by Tim Darcy

Bass, Guitar & Keys by Ben Stidworthy

Recorded by Valentin Ignat

Mixed by Gabe Wax

Mastered By Harris Newman

Artwork by Katrijn Oelbrandt

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Cola

Instagram | Bandcamp

Zoë Argiropulos-Hunter (she/her) is the co-founder and managing editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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Enter Panther Modern: NFTs, Community-Building & Half-Life (Sextile / HEAT)

LA2022 cover by Panther Modern

Picture yourself in a dark room, lasers filtering through the smoke machines. The bass cuts through the noise of the crowd and you see a group of people you think you know dancing across the room. Your body is filled with warm static, and the sensory dream of dancing with strangers takes over.

This is the world of Panther Modern, the electronic project of Brady Keehn, an NFT-savvy artist from LA. You know we love community-oriented musicians who make us feel like we’re in a dark room dancing the night away, so we reached out. 

We spoke with Brady about the elusive world of NFTs, his creative career and how he’s been building virtual communities since the 90s. 

Press photo via Panther Modern by Nedda Afsari

Brady is a singer-songwriter in the band Sextile and Panther Modern, his solo project. He explains it as, “experimental in the way that [the project] tests the algorithms of Facebook and Instagram by creating virtual avatars to see how far I can push them. I make dance music, and in the same way, it’s an experiment to see what people will dance to.”

After touring and performing on a stage extensively with Sextile, Brady became frustrated with the power dynamics that exist between audiences and performers, which is partially what led to the creation of his online avatars, JA and JB. Wanting to break that barrier, Brady now only brings a sampler with him to live shows and immerses himself within the crowd so that everyone can sing and dance with him. “It’s way more fun than being on a stage by myself. It freaks me out, it makes me feel like a monkey on a stage saying, ‘Look at me dance!’ I don’t like that vibe, I’d rather be with everyone else.”

Artwork by Panther Modern

These avatars allow Brady to access alternate identities in the virtual world. JB, for example, doesn’t sing, but he might make techno music; while JA does sing and acts more like Brady. Both are trained with all of his movements using MOCAP (motion-capture) technology. According to Brady, it’s all an experiment, while trying to disrupt the status quo. (He’s also been doing some very cool MOCAP work with Reggie Watts -- check it out here.)

To consciously push the algorithm is refreshing, especially when we can easily feel so helpless; trying to appease the robot overlords so that our followers are actually able to see the content they signed up for.

On that note, Brady expands, “The more we appease the robot, the more eyes we get, all to hopefully sell vinyl or a t-shirt. It’s exhausting and unsustainable.” And so the question remains: How can I be myself on the Internet in a way that will work for the algorithm, and won’t burn me out?

Los Angeles 2020 Artwork by Panther Modern

Going back to Brady’s roots, he has always been searching for different ways to expand his reality and to find community via the World Wide Web. Growing up in the suburban farmlands of Virginia, Brady got his first taste of escapism via online chat rooms, and through a video game called Half-Life. Already a fan of sci-fi, Brady started designing his own levels and avatars in the game, gaining interest in 3D animation and world-building. However, Brady’s futuristic escapism was cut short when he was sent to military school, and then Catholic school, and worst of all… art school. (Just kidding, but not really) 

Despite these suffocating environments, Brady looked for alternative ways of being every step of the way. It was difficult for him to accept his reality, which he says made him a big futurist, and developed his appreciation of other people who question systems of value, commerce, and power. 

And so began our conversation around NFTs. We established that the world of crypto is dominated by tech bros and financial experts, who aren’t always willing to share their knowledge with anyone outside their Bitcoin and Ethereum-fuelled worlds. The hoarding of resources and information allows a select few to control this emerging digital space, a practice which Brady is adamantly working against. 

He believes that with any new tech sphere, it’s important for artists and marginalized peoples to get in early to be able to shape their future. Brady has been sharing resources on his Twitter, giving talks with other NFT-savvy artists, as well as his process of creating and minting his own NFTs. 

Drawing from his personal experience with labels, contracts, and their meager trickle-down of funding models, Brady knows firsthand that Spotify cheques are not paying anyone’s rent. This is why he decided to release his music independently with Panther Modern, selling each track individually as an NFT. 

While he’s only recently been selling his songs as NFTs, it’s already proven to be a more viable source of income, rather than waiting for Spotify streams to roll in. Along with his collaborator Cameron Michel, the two have been able to use their income from NFTs to lease a large warehouse space that will act as a home for upcoming Panther Modern, Sextile, and other projects, including an NFT dance-centric company called HEAT. 

When I ask Brady what exactly could be an NFT, he explains that any original work can be an NFT and that you don’t need to be a huge artist to start making them. 

“It doesn't even have to just be digital. For example, say you make a painting. Take a picture of that painting, and then turn that into an NFT. Then, when that NFT is purchased, you could send the painting to the buyer.” 

The NFT market is still largely experimental, and Brady has been working with HEAT to turn dance moves and other unique sets of motion data into NFTs with the help of his MOCAP technology. This could be one way that viral dance moves (on TikTok for example) could be attributed to the original creator, and could secure income for them when those dance moves are replicated by huge artists in their music videos. The examples that come to mind, of course, are the countless Black artists who created viral dances on TikTok, only to rarely receive the credit they deserve. The technology would also allow these dances to be licensed to major video games and uploaded to your avatar there, all while still paying the original creator.

Another NFT avenue could be video game music. According to Brady, video game companies often don’t want to pay for music licenses because it’s too expensive, so they end up making their music in-house, leaving musicians completely out of that market. So, how do musicians get in? One idea he had was to mint loops to video game companies. They would then be able to use the loop (a drum beat, for example) to create their own music, and then mint that music. That way, everyone’s getting paid, and everyone samples each other. 

Then comes the potentiality of buying digital land with Ethereum. Brady actually has his own digital venue that people can explore, and when you click on his merch or NFTs, it takes you directly to his Bandcamp or NFT platform to buy that work. Big brands like Nike have begun to create their own metaverses, while other artists like Skawennati have used the ability to buy digital land in games like Second Life to reclaim stolen land and tell Indigenous histories through that platform. 

Brady got into making NFTs shortly after he started making video flyers for his shows on Instagram. Understanding that the algorithm pushes short video content, Brady took his knowledge of 3D rendering and ran with it, teaching himself everything off of YouTube tutorials. He now uses tools such as OctaneRender, Blender, Marvelous Designer, Substance Painter, After Effects, and his MOCAP suit to bring his creations to life. 

If you’re looking for an entry point to the world of NFTs, he suggested checking out Zora, Rarible, and Foundation. Brady explained that a majority of the crypto-convos happen on Twitter and Discord. He also wanted to emphasize that although the space can be intimidating, the best way to get into NFTs is to start making them yourself, especially if you’re not seeing the representation that you want to see in those spaces. While tech bros unfortunately dominate the news cycle surrounding NFTs, it doesn’t mean that communities that prioritize artists and marginalized groups don’t exist.  

“Start following the people who are creating NFTs, educate yourself, get involved in the communities. Zora requires an invite via an artist (like Clubhouse), so it's not like OpenSea, which is like a whenever, wherever, Walmart of NFTs. It’s not curated at all, which makes it hard to find good work. Marketplaces like Zora and Foundation incentivize members via invites, which then builds the community around the platform. It also reduces the cash grab schemes from investors.” 

And so, in a strange digital cycle, Brady has once again returned to the online community-gathering and world building he thought he had left behind for military school in the 90s. 

If you’re not in the NFT world, you can support Panther Modern by buying one of his very limited-run vinyl, t-shirts, or posters. He has also just released LA2022, a remix EP of his 2019 release Los Angeles 2020, which is available on all streaming platforms.

Panther Modern

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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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Tame Werewolf Releases Italo Disco Inspired Track "5th Wave"

Blast off into the synth-wave world of Tame Werewolf, the electronic artist from Tehran, Iran blending J-Pop and Italo Disco.

Tame Werewolf's discography evokes 80s anime late-night aesthetics, the upbeat melodies of early Nintendo soundtracks, and granular sounds of old-school-style arcade games. He creates a unique retro electronic sound by incorporating space-synth, Italo-Disco, City Pop, vaporwave and Eurobeat influences.

Formed in 2018 by Keivan Hosseini, Tame Werewolf has since released two albums, and now his latest single, "5th Wave." Being raised as an only child, Keivan picked the keyboard as his best friend and began his exploration of music with early Persian pop, Jean-Michel Jarre, Giorgio Moroder and Koto.

He later took inspiration from Yellow Magic Orchestra and the 16-bit-age of Yuzo Koshiro, as well as the indie electro-pop of the 2010s, like M83, Hot Chip and Crystal Castles. The video game influences came in 2017 while playing “Streets of Rage,” sparking a deep dive into 80s inspired genres, eventually leading him to the Synth Wave world.

Tame Werewolf makes easy fans of those familiar with Tatsuro Yamashita, Khruangbin, and those chill-wave compilations on YouTube. We recommend starting with "Phasermania," "Lost in Lush Heavens," and "5th Wave."

Tame Werewolf

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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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Milk Jennings Shares Sombre New Track "Raincoat" Feat. Sam Cohen, Announces Debut Album (Telefono, ORG Music, Modern Sky)

Raincoat cover art via Milk Jennings

The gloomy feeling of stepping outside into freezing rain, hurrying home from the metro because the coat you brought isn't warm enough... These are the emotions summoned by Milk Jennings' (member of Chinese American Bear) latest single, "Raincoat," featuring Sam Cohen.

This is the second single from Seattle-based artist Milk Jennings, who worked with producer Sam Cohen on the release. It's a sombre yet dynamic and bold effort from Jennings, touching on the darker side of life. The song is loosely about self-paranoia and empowerment, and it gets under your skin. It features crisp, soulful instrumentals and backup vocals by Cohen and flute by acclaimed flutist/saxophonist Cochemea Gastelum (Beck, St. Vincent, David Byrne).

Still from Raincoat

"Raincoat" is laced with melancholy using lyrics that Jennings attests are still shrouded in mystery to himself - making each listen uniquely engaging as the wobbly wisps of narrative continue to morph and change.

Jennings is also announcing his debut album titled 'Sleep Talker', out June 3rd via Telefono (Digital), ORG Music (Physical), and Modern Sky (China). Pre-orders for vinyl will be available here.

Watch "Raincoat" featuring Sam Cohen below

Milk Jennings

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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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Tuff Bear Shares Indie Disco Track "Talk to You" (feat. bb sway) via Acrophase Records

via Hive Mind

Have you been craving some indie-disco, perfectly wobbly serotonin-inducing tunes? Introducing Tuff Bear, a Bristol, UK-based artist who has just released his latest track, "Talk to You," featuring bb sway.

Tuff Bear is an easy fix for anyone who's a fan of Mild High Club, 2016- era Jerry Paper, Soft Hair, and Drugdealer. "Talk to You" is the first glimpse of his first EP, Tuff Bear's Picnic, which will be out later this spring via Acrophase Records.

Throughout the pandemic, Vernon developed his sound and aesthetic drawing on 70s disco, 90s dance, and contemporary indie-pop. He started on this first instalment of the Tuff Bear project in April of 2020 before signing to Acrophase Records and began piecing together the collection with label-mate PWNT. 

Speaking about the project and this first single, Vernon says:

"Essentially, Tuff Bear's Picnic is a project centred on themes of self-reflection and optimism in the face of anxiety. I felt compelled to draw on the mixed bag of emotional states that we were subjected to for months upon months, while also investigating and romanticizing memories of pre-COVID normality. 

“During a period in which we were all robbed of our sense of togetherness, I took comfort in nostalgic disco/pop music of the 70s and 80s, where concepts such as this often take centre stage as a means to encourage unity through dance."

Listen to "Talk to You" below

Tuff Bear

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

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Never Better Releases Mellow Tracks Downtown (Feat. Mitch Davis) and Silver Lining

Album art by Jem Woolidge

There's this feeling I get when I enter a new era of my life when I realize that the last chapter is slowly slipping away but not quite gone yet. I feel the change around me but can't see it yet other than the faintest signs that things won't be how they are for much longer. 

This moment usually comes during mundane moments, walking home from the grocery store, waiting for the light to change at Parc and Fairmount. Never Better's (AKA Rhys Climenhage) latest tracks Downtown (feat. Mitch Davis) and Silver Lining encapsulate this feeling. 

Lowkey vocals and gentle guitar take you by the hand, guiding you through an existential crisis that you're pushing out of your mind, walking you home through the rain. Light drums and the occasional instrumental interlude break up the vocals just long enough to gather your thoughts before you get home. You're left feeling comforted yet aware that you'll have to process these emotions sometime soon.

Rhys Climenhage is a multi-instrumentalist originally from Peterborough, Ontario, currently living in Montreal, Quebec, where he performs as Never Better. Prior to his solo endeavours, Rhys was active playing in bands Stacey Green Jumps, Texas Wayne, Frank Mothman, and Sasha Cay.

He draws inspiration from his father, a painter and career musician who taught him his first few chords on guitar. After a few years of fiddling on all of the instruments available around the house, Rhys picked up more technical training in his high school jazz band. Today, he plays every instrument on his recordings in his apartment studio built over the years while working in kitchens around the city.

Never Better

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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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Hannah Lew Shares Inspiration for Cold Beat's Album "War Garden" (via Like LTD)

Driving late at night, blasting your obscurely named Spotify playlist to fit the mood, Cold Beat's new album "War Garden" makes the perfect soundtrack. Hannah Lew's poignant lyrics float about airy synths as she contemplates grief, the afterlife, and rebirth.

The album (released via Like LTD) was made over the pandemic via Zoom calls. "Exploiting the technology for how it could connect us" is how Lew describes Cold Beat's collective embrace of technologies that could potentially alienate otherwise.

We spoke to Hannah about the album, finding closure in dreams, and gardening.

Malaika Astorga for Also Cool: Can you tell us a bit about who you are and where you're from?

Hannah for Cold Beat: Half of us live in the Bay Area, half in LA. The project started back in 2013 with Kyle & I, but when Sean and Luciano joined a few years back, the band really became what it is today, a more collaborative practice with more varying songwriting and less a glorified solo project.

Also Cool: What was it like growing up there? Was there a creative/DIY scene, or is music something that you were drawn to independently?

Hannah: I grew up in a very different SF than the one that stands today. The cost of living was a lot lower, and it was just more accessible. Because of that, there were a lot of people making art and music. 

We all more or less met through the DIY scene in the Bay Area. We had all played shows together before Cold Beat formed. Sean actually played on the Cold Beat demos back in 2012 before it was even called Cold Beat. We've always been music buds, even though he didn't officially join the band until later. Kyle and I had played a few shows together with our respective bands before I asked him to play with me. Luciano worked at Amoeba SF with my husband, Andrew. I kind of eyeballed him for years before approaching him to play synths in the band. 

Though we definitely all came from a scene here, I don't really feel like the band has ever necessarily been part of a community here. We've always been doing our own thing kind of. 

AC: Now that the regular PR questions are out of the way, we can get a bit weirder. 

One of your lyrics, "In a dream, I don't like you," made me think a lot about how dreams are spaces for closure when it's not possible IRL, especially after this year or so in isolation. What's your experience with processing emotions while dreaming? Can you tell us about a favourite dream you've had?

Hannah: I think that dreams definitely offer a place to work out things that might be unattainable within the confines of the conscious mind. I think songs can serve that same purpose. 

For example, that song Weeds you're referencing was a song that Sean had sent as a demo, and I basically wrote the lyrics immediately upon hearing it. I think I sent vocals back 45 minutes after he sent the music. 

Sometimes you tap into this automatic writing where you're channelling directly from your subconscious. Melodies and sounds have a way of describing emotion in a post-lingual way that is often way more expressive and accurate than anything literal explanations can offer. Language just falls short, whereas a song can completely take you over and make you feel less alone. 

My favourite dream is one where I knew I was dreaming, so I decided to fly. It's only happened for me once or twice, but it felt really amazing.

AC: Throughout your music, there's a theme of both accepting and initiating change. What has your experience been like in this cycle of change and rebirth, and how does it tie into processing grief?

Hannah: Songs have always been a format where I like to work out narratives to help me cope with the inexplicable. We've all gone through many changes and dealt with deaths, births, breakups, all the stuff. Music-making has definitely saved my lifetime and time again by giving me a tool to process these things. 

AC: One thing I've learned from the pandemic is the ability to be highly intentional with who I give my energy to, especially in times of deep loneliness. I'm curious to know how you were able to maintain and nurture your friendships (and this album) over the pandemic and what you've learned from it. 

In other words, what have you learned about friendship over the past year and a half or so?

Hannah: Yeah, I hear that. I think many people have had a reckoning with their work and interpersonal worlds, hopefully reaching higher ground going forward. 

Sometimes, when I'm going through periods of heavier depression, I tend to retreat. Sadly, I think I did a lot of that during the pandemic and lost touch with many people. Thankfully we as a band maintained a songwriting practice that had us Zooming once a week and sending song files pretty constantly. That connection has been so vital for me. It kept me synthesizing my feelings and maintaining a close bond with people I love, regardless of how deep in despair I might have been any given day. 

One of the hardest parts of my isolation was losing access to my people, and thus a part of myself nurtured by those friendships. I was in a bubble with my family and only getting to experience myself within my family dynamic. At the same time, the part of my identity I've been fostering for the past 20 years or so since I started playing music was a bit starved. 

I think I really took stock of how important a collaborative process is to who I am as a person. It's been such a relief to be together again, practicing for our upcoming shows. Lots of PCR tests, but so worth it.

AC: What have you learned from gardening? What have the plants taught you that you practice in other areas of your life?

Hannah: Gardening has been such a humbling experience during this time. Watering dirt day after day and not seeing immediate results, yet still pushing on. It's also a somewhat private endeavour, not tied to any social validation. I'm not a naturally patient person, so it's humbled me quite a bit. 

It took almost a whole year to grow this one cauliflower, and I just harvested it and shared it with the band after practice last week. It was very satisfying.

It's optimistic to focus on plants. They lean toward the light and definitely forced me outside a lot, and kept me grounded.

AC: You've spoken a bit about rituals and the practice of being immediately present. Do you have any rituals or practices that you could share with us? 

Hannah: I think the only time I'm truly happy is when I'm in a flow state. Not thinking about the future or past, not looking at my phone while in company, not fractured in my attention span. 

Music-making, gardening, cooking are all things that keep my hands busy and in that flow state. I've been working with ceramics lately, too. It's similar to gardening in that there's a lot of room for error, humility. It requires your body to be in the moment, totally present. I like doing things I'm 'bad' at for that reason. I like to try new things and maintain a beginner's mind.

Cold Beat

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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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Rozi Plain Shares Ephemeral New Track "Silent Fan" (via Adult Swim 2021 Singles Programme)

There's this feeling I get every time I start a new era or chapter of my life. I know it's happening again when I begin to realize that I'm settling into routines. I suddenly have a preferred way to walk home again, and the uncertainty of what comes next begins to mesh with the reality that change has come. It washes over every aspect of life, coming in like a gentle tide.

Rozi Plain's latest track, "Silent Fan" (commissioned by Cartoon Network for Adult Swim's 2021 Singles Programme), embodies this sensation. Gentle and unassuming, preparing us for these upcoming winter months, encouraging us to continue evolving despite the cold. Rozi's airy vocals land between free-floating jazz, guiding us along a cold beach towards a warm fire. "Silent Fan" feels like a dream from a long time ago, yet familiar enough to assure us that we're going in the right direction.

"Silent Fan" features contributions from the Rozi Plain band – Jamie Whitby Coles (drums), Neil Smith (guitar), Gerard Black (keys) and Amaury Ranger (bass) with extra help from Kate Stables (This is the Kit), Danalogue (The Comet Is Coming) and Cole Pulice. Rozi says of "Silent Fan": "I think the song is thinking about encouragement and tension - giving it and receiving and where it is. I was particularly thrilled Cole Pulice was up for contributing to this track - their album Gloam got me through the spookiness of last year".

Listen to the track below

Rozi Plain

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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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Tessa Fleur's "The Hell of It All" is a Slice of Alt-Folk Paradise

Summer’s sun may have faded in the Northern Hemisphere, but time stands still against the honey-soaked harmonies of Tessa Fleur. After Fleur’s debut single “Sunset Melancholy” charmed the likes of triple j Unearthed, Brisbane’s alt-folk songstress is back with “The Hell of It All” – a breezy track that defines her captivating approach to internal transformation.

Produced by Alistair Richardson, “The Hell of It All” mixes the comforts of 70s nostalgia with Fleur’s refreshing lyric vulnerability. Fleur’s angelic vocals glide overtop of a striding beat and the indulgent twinge of slide guitar, evoking hints of Fleetwood Mac. Presenting an effective combination of wisdom and whimsy, “The Hell of It All” makes for a worthy addition to your daily mix.

Heightening the sensations behind “The Hell of It All” is an entrancing music video, directed by long-time collaborators Allisa Tsukimori and Oliver Marshall. Between swoops of vintage lace and Ford Cortinas, Fleur concocts an intriguing story that finds her at the centre of a devoted cult. Viewers are taken on a journey that explores the concept of falling into your deepest truths, an experience that Fleur summarizes as “indoctrinating yourself into your own cult”.

The video took over 12 months to conceptualize and execute, ensuring the strongest realization of Fleur’s vision. Spotted along the way are the artist’s friends, family and fellow creatives – a tribute to the village of support that has carried her this far. Fleur also takes pride in the video’s ethical decisions, with all materials, designs and props made locally sourced or hand-crafted. “Collaborating with local businesses and creatives is something I’m heavily passionate about,” Fleur explains. “More than ever, we need to support our local businesses and creative community.”

Get lost in the dreamy disposition of Tessa Fleur, and figure yourself out along the way.

Watch “The Hell of It All” below!

Tessa Fleur

Instagram | Facebook | Spotify | Apple Music | YouTube

Rebecca Judd is the features editor of Also Cool Mag.

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Kansas City Duo The Black Creatures Release Single "TRUE FRIENDS" In Anticipation of Upcoming Album

If we've learned anything over the past few years, it's that having a good support system makes all the difference in the world. Trusting that your chosen family will take care of you and that you'll take care of them when they need it is what The Black Creature's latest single, "TRUE FRIENDS," is all about.

The track is the first off of their upcoming album By Thy Hand,​ produced by Xavier and written by Jade Green and Xavier. It’s a synth pop ballad that reminds us what true friendship is all about, and carries the same cadence and bubbly but honest energy as early Chance the Rapper tracks.

According to Jade," This song is not only a celebration but an offering of gratitude to the support system that I've been lucky to have in my life. Especially during this time where everybody feels so isolated, so far removed from community and from collaboration, this song is a cheeky way of telling listeners,' you deserve loyalty, you deserve love - did you forget who the F you are?!'"

The Kansas City duo (who we interviewed earlier this year) make a point to blur the lines of genre while maintaining a recognizable cohesion. They blend contemporary pop, hip-hop, dance, R&B, EDM and soul with cinematic and storytelling sci-fi/fantasy elements and themes.

Listen to "TRUE FRIENDS" below & stay tuned for their upcoming album!

The Black Creatures

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

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Sunglaciers Release MGMT-Inspired Indie Pop Track "Draw Me In" (Mothland)

via Mothland

According to our recent Instagram polls and that one guy's TikTok, we've all been missing early 2010s indie-pop in a real way. MGMT, Phoenix, M83, and Passion Pit had held us with a vice grip for a while with their sparkly guitar riffs, upbeat vocals, and slightly dystopian lyrics.

Lucky for us, Sunglaciers (Mothland's latest signing) fill that nostalgic void with their latest single, "Draw Me In." The track is reminiscent of The Postal Service's "Such Great Heights" and embodies the band's self-blurring of dazzling indie-rock melodicism and icy post-punk experimentation genres. It's a departure from their earlier shoegaze sound and delves into MGMT-inspired pop.

Sunglaciers came together as a band in 2017 and are based in Calgary. The track was co-produced by Chad VanGaalen and mixed by acclaimed engineer Mark Lawson (Arcade Fire, Yves Jarvis, The Unicorns). It's also accompanied by a video directed by pluri-disciplinary artist Anthony Lucero.

"I went with the direction I did because the sound and spatial structure of the song was very fluid and encompassing. I found that when messing around with machine learning that flowers and daisies really fit the nature and energy of the song better than anything else could." -- Anthony Lucero

Watch "Draw Me In" below

Sunglaciers

Website | Bandcamp | Spotify | Apple Music | Youtube | Instagram | Facebook

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

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Marilyne Lacombe (Mothland, Taverne Tour, DISTORSION, FME) Talks Music Industry Beginnings and Montreal's Alternative Music Scene

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Image courtesy of Marilyne Lacombe

Live music is back with a vengeance, thanks to hardworking folks like Marilyne Lacombe. If you haven’t met Lacombe at L’Ésco already, you’ve definitely attended one of her brainchild events. For over a decade, Lacombe and her entourage have cultivated pillar projects at the core of Montreal’s alternative music scene, including Taverne Tour and DISTORSION psych-fest, as well as booking agency and indie label Mothland. We had the chance to meet Lacombe IRL at this year’s edition of FME, and catch her in action as a festival programmer and producer. Between sets, Lacombe graciously took the time to chat with us about her career beginnings, starting a label during a pandemic and her must-have essentials for any festival go-er. Check out our conversation with Lacombe below! 

Zoë Argiropulos-Hunter for Also Cool: Hi Marilyne! Thanks so much for chatting with Also Cool. To start, you've been around the block when it comes to the music biz. Tell us about your intro to this career path.

Marilyne Lacombe: I started to book shows in Montreal in 2008 when I was in charge of the music programming at Chez Baptiste sur Masson. Back then, the bar presented shows every week!  I had this idea of doing an alternative “St-Jean” that would celebrate the contemporary Montreal indie scene, in opposition to the nostalgia medley traditionally presented at Parc Maisonneuve. Then, “L’Autre St-Jean” was born. It created a whole media and political circus, as we were criticized for adding anglophone bands to the lineup. In the end, it really helped put the event on the map, and during the course of  five editions, we had close to 10,000 visitors coming every year at Parc du Pelican in Rosemont. We sadly had to end it because of the lack of funding; we were honestly taking huge financial risks for a one-day event.

A couple years later, I founded a multi-venue festival called Taverne Tour with my partner from “feu” L’Autre St-Jean, Pierre Thibault. Initially, it was just about creating a fun festival in the middle of winter that doesn’t take itself too seriously and trying to cure that January depression, all the while supporting small local businesses. The response was so great that it quickly became a staple in Montreal’s festival circuit. Over the years, we’ve presented some of my favorite bands, including: Deerhoof, METZ, A Place To Bury Strangers, Föllakzoid and Guerilla Toss, just to name a few.  

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Image via Taverne Tour

Also Cool: When did Mothland come into the mix?

Marilyne Lacombe: Around the time of Tavern Tour, I joined some like-minded people —gravitating around L’Esco— and together we founded DISTORSION. We wanted to present a well-organized, independent, underground psych festival with modern and diversified art direction.  We quickly gathered a community around the festival and eventually, we decided to start Mothland to help further the bands that we were working with, as no other booking agency would work with them.  Back then, I was pretty adamant of not transforming this into a label… But when COVID-19 hit the music industry, we weren’t all that keen on organizing livestream events, as we felt they would not really connect with our audience… So. starting a label was a great way to move forward with our mission.  I’m not sure how we got here so quickly, but we’re currently working on our 17th release!

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Image via Mothland

Also Cool: That’s amazing! Segwaying off of that, let’s talk about this year’s edition of FME, which was a long-awaited return to live music. Seeing as music festivals are certainly you're thing; what makes FME stand-out and what was your involvement with the festival? 

Marilyne Lacombe: I started programming for FME four years ago. At the time, I would book a handful of weirdo and wild card bands on the lineup. As of 2020, I've been directing the programming with the support of my Mothland colleagues. Since the festival is mainly focusing on new acts and music discoveries, we have almost infinite artistic leeway and are able to put forth cutting edge programming. The festival has been running for almost 20 years now and over the time, has built a solid and trustful relationship with the artistic community across Europe and North America. It’s truly an honour to take on curation duties for such a great event!

I think there is something very magical about FME. Doing the annual 8-hour pilgrimage to a remote mining town, up in northern Quebec, for 4 days of music, is always a highlight of the year. If you compare it to similar festivals in Montreal, I feel like there are so many other distractions. During FME, people really have one thing to focus on; going to concerts to discover new music. There is also something exciting about bringing international acts and inviting them to this northern region of Quebec, as they would never end up there otherwise. I also love that the local community is deeply involved in the festival, making it a communal event where everybody chips in! 

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Image via FME

 AC: What was it like programming the festival this year and what acts were your favourite?

ML: There is something really weird and exciting about programming a festival in COVID times. Usually, you’d see pretty much all the bands live before booking them. This year, we programmed many artists that we’d never seen live!  Though it was a bit risky, I was really pleased with taking the leap overall. I loved seeing Toronto’s kulintang ensemble, Pantayo, for the first time; ‘’mockasin-gaze’’ outfit Zoon; Quebec-Atikamekw grungy indie-folk artist Laura Niquay; Jangle-pop duo Ducks Ltd.; and canadian shoegaze veteran No Joy.

AC: What are your music festival essentials that you can't live without during festival season? 

ML: Well, since we’re talking about FME here, I could not survive without my fall clothing essentials: a lot of sweaters, jackets, mittens, hats, and scarves! Fortunately this year wasn’t too bad, but I always come prepared because it has literally snowed during FME weekends in the past.

Other than that, I always have an iconic Taverne Tour flask in my bag, which also helps with the cold weather!

AC: In closing, are there any other current projects that you're working on that you'd like to shout out? 

ML: Definitely check out Mothland’s upcoming releases! I can’t tell you too much about them, but we really have some badass releases coming down the pipeline! Also, we’re preparing for the return of live music events in Montreal… Stay tuned! 

Taverne Tour

Website | Facebook | Instagram

DISTORSION

Website | Facebook | Instagram

Mothland

Website I Facebook I Instagram

FME

Website | Facebook | 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.

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PREMIERE: Pascale Project's Tonight My Dance (Dir. Antoine93, Released via La Rama Records)

via Pascale Project

It's been a summer of asking, "Where's the party?" From party-hopping from the skatepark DJ set to the secret outdoor rave and then back to the spontaneous park party. The pure bliss of running into your friends on the way to the gig and then finding each other again on the clandestine dancefloor is unmatched. If you know, you know, and if you don't, someone will probably post an Instagram story about it later that night.

Either way, if you like the sound of the end-of-summer dream I'm describing, then you'll love Pascale Project's latest music video for Tonight My Dance. Soaked in the tradition of summer fun in the city, elements of Freestyle and Electro weave into the House beat and are made for having a good time. These sounds evoked by our beloved corner of the world (Montreal) are now broadcast to the global network of party purveyors. The track is one of three off of her latest release, "Where's The Party" (La Rama Records).

via Pascale Project

Tonight My Dance brings the glam of club culture, calling back to glossy Y2K aesthetics and 90s high-fashion commercials. Directed by Antoine93 (another great musician and party-goer extraordinaire who we have previously covered), the video was created on a $0 budget in the true DIY spirit.

Watch Tonight My Dance below

Pascale Project

Instagram I SoundCloud I Bandcamp

Tracklisting:

A1 - Tonight My Dance

A2 - Welcome (Dust-e-1 Remix)

B1 - Welcome

B2 - Go Home

All cut at 45rpm for diverse playing styles!

Music by Pascale Mercier.

Mastered by Nik Kozub.

Artwork & design by Kris Guilty.

Manufactured & distributed by La Rama Records.

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

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