La Sécurité and Hot Garbage Talk Influences, Experimentation, and DISTORSION PSYCH FEST (Mothland)

DISTORSION PSYCH FEST poster by Tiny Little Hammers

Before plugging in the synths and warming up the fog machines, we were able to chat with two bands on the bill at this year’s DISTORSION PSYCH FEST leading up to their rollicking sets in July.

La Sécurité by Marc-Antoine Barbier

The first group we had our eyes on was La Sécurité, a newly formed art-punk supergroup featuring members from iconic Montreal bands such as Choses Sauvages and Jesuslesfilles. In the spring, they treated audiences to a delightfully frantic and groovy dual single release – “Suspens/Try Again” via Mothland. DISTORSION was the band’s first live show together, and it was a gig for the books. 

Sofie Milito of Also Cool: I'd love to hear a bit about your group's beginnings. How did La Sécurité come together?

Éliane Viens-Synnott of La Sécurité: The band initially started with Félix [Bélisle] and I noodling around during the pandemic to pass the time. We had fun mixing up all our influences — him having more of an electro/disco background, whereas I'm more into punk and new wave myself. We then invited three friends to join. I met Melissa [Di Menna] in Vanille, this other band we played in together. We realized quite quickly that we were very compatible creatively. Laurence-Anne [last name unknown] is a good friend and has collaborated with Félix a couple times on other projects, so it kind of seemed like a no-brainer. We met Kenny [Smith] in the past couple years in and around the music scene, and we clicked really quickly as well. He has lots of natural taste and talent. Long story short, we all came together in a pretty organic way. 

Also Cool: With members from a multitude of different bands and musical projects, is there anything you were (or still are) curious about experimenting with as a group?

Éliane: It's fun to switch up who is composing which part and to take in everyone's ideas. The first few songs were mostly written by Félix and I, but the more we go along, it's more of a collaborative effort. I guess that's the direction we are interested in experimenting with. It's kind of fun to be kept on our toes and it's a good project for that purpose.

AC: What was inspiring the band in the making of your first pair of singles (“Suspens / Try Again”)?

Éliane: I wrote those singles during the pandemic, so there are allusions to that for sure. We found our groove arranging the musical aspects of the songs together and they helped us to figure out our work dynamic.

AC: There's a voltaic energy to those songs that seems like great fun for a live setting. What's most exciting to you about playing this first live show at Distortion?

Éliane: I'm excited to break in our live performance in general, and to present news songs that were composed in a more collaborative way. You can't really know what it's going tobe like until you do it!

AC: If La Sécurité were stranded on a desert island, what would be your top media picks?

Éliane: See The Whirl by Delta 5, [Miyazaki's] Howl's Moving Castle, and Please Kill Me [by Gillian McCain and Legs McNeil].

AC: On the heels of your first studio recording, is there anything on the horizon for the band that you can tell us about?

Éliane: We’ve got a couple more shows planned before the end of the year. An album is in the works as well…

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Hot Garbage by Alex Carre

Combining krautrock and psychedelia, Hot Garbage has been releasing spell-binding tunes since 2017, coming out with their first full-length album RIDE via Mothland in 2021. Hailing from Toronto, they trekked over to play DISTORSION amid a series of US gigs. Catch them on their fall tour this November!

Sofie Milito of Also Cool: How did Hot Garbage come to be?

Julianna Carkevaris of Hot Garbage: Alex [Carlevaris] and Mark [Henein] had been playing in bands together since their early high school days. I joined in on bass when this project was getting going—around 2014—then Dylan [Gamble] joined on keys shortly after. 

Also Cool: What are you experimenting with these days?

Julianna: We're currently working on a new record, and for the past couple of years we've been exploring new approaches to the songwriting process. The pandemic forced us to work on things while being apart from each other, which had advantages and disadvantages. I think now, we're finding a new balance between that and the synergy and spontaneity of getting ideas out by playing together in an improvised way.

AC: RIDE takes us on a scorching, swirling journey from minute one to its trippy finish. Can you tell us a little about the album’s world and what was inspiring you in the making-of?

Julianna: I think the inspiration is quite varied throughout the record, but generally, we draw a lot of ideas and moods from imagery and photos, cinema, books, mysterious phenomena — both worldly and otherworldly ["RIDE is all at once dread, beauty, wonder, horror and mystery"]. 

AC: As a band, what’s your favourite part about a live gig?

Julianna: The give and take, and the exchanging of energy.

AC: If Hot Garbage were stranded on a desert island, what would be your top media picks? 

Julianna: [The film] Goodfellas. It is a marvel of cinema with a great soundtrack. RIP, Ray Liotta.

AC: What’s the hottest garbage you’ve come across?

Julianna: It's pretty hot right now actually, so I probably walked by some today… and it will probably just keep getting hotter. Enjoy it while you can.

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La Sécurité

Bandcamp | Instagram 

Hot Garbage

Bandcamp | Instagram

Sofie Milito

Bandcamp

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Crystal Eyes Release Soaring Indie Track "Don't Turn Around" (Bobo Integral Records)

Crystal Eyes. Photo courtesy of the band

Perfect for the pastel wistfulness of spring’s earliest days, Calgary-based psych-rockers Crystal Eyes offer you one simple message – “Don’t Turn Around”. This single marks the second to be released from the band’s upcoming album The Sweetness Restored, out on April 22 via Bobo Integral Records.

Gravelly and nostalgic, “Don’t Turn Around” soars with intensity, toying with notions of surrender overtop of a textural indie haze. The track warmly complements the guiding narrative of leading single “Wishes”, guaranteeing a sense of longing for what’s to come.

In the days following “Don’t Turn Around”’s release, vocalist and guitarist Erin Jenkins sat down with Also Cool to deconstruct her plethora of personal touches to the creative process, along with the stacked lineup of Canadian musicians who helped to craft its sonic depth.

Rebecca Judd for Also Cool Mag: This single packs a heavy thematic punch, and the upcoming record promises to as well – described as a "feel-good self-help record for the age of existential dread". Tell us more about the darker themes to "Don't Turn Around", and which external forces inspired this direction from Crystal Eyes.

Erin Jenkins of Crystal Eyes: My songwriting mostly comes from a subconscious place – so I guess this is inspired by whatever anxieties are secretly lurking down there *laughs*. I don't really set out to write songs about anything specific; I try to stay open to the possibility of what the song could be, and then analyze what it means later.

The songs on this record are equally inspired by external influences – the people I'm playing with, music I'm listening to, or music I've loved, aesthetics I'm trying to interpret as a melody or a rhythm. It's a very collaborative process that everyone contributes to. When I listen to “Don't Turn Around”, I think it's definitely about memories, the weight of years added up, how we measure our worth by what we build and the years by what they take. There is pain in caring too much, but there is beauty too.

Also Cool: "Don't Turn Around" marches forward with grungy vocals and a steady beat, harkening back to the indie rock grit of the 2000s. Which artists and projects influenced the makings of this single?

Crystal Eyes: To be honest, I wasn't necessarily thinking about early 2000s music when we were working on this, but I totally hear it now that it's been pointed out. It makes a lot of sense because I love music from that era – I grew up on it!

For “Don't Turn Around”, I was mostly thinking about stuff like Echo and the Bunnymen, The Chameleons and New Order – post-punk rock that is super pop, but still really organic-feeling.

Crystal Eyes. Photo courtesy of Walter E. Neuman

AC: Contrasting the depths of this track is the music video, featuring breezy vintage footage of parasailors on a beach. How did you put this video together? Was there any intentionality in choosing this footage to complement the sound?

CE: This is some old family footage I discovered one Christmas. I love home movies. I thought the footage really reflected the music, it just felt right. There's kind of a vulnerability in the video and a sense of it being a memory that seemed to work.

I took a stab at a first edit of the video, and then Joleen (Crystal Eyes’ synth player) came in and really sharpened it up and tightened the narrative because we really didn't have much footage to work with!

AC: This record marks your latest release since "Radical Softness" in 2019. How has the band evolved since then, and what more is to be expected from The Sweetness Restored?

CE: I'd say the band has evolved a lot since then, because I've collaborated with so many different people over the years. The recording process for The Sweetness Restored was really amazing. We went to Montreal and recorded at Breakglass Studios – this was shortly before the pandemic.

My friend Andrew Woods produced and engineered the record, and his spirit and vision brought everything together. There was just such an air of creativity and generosity – and silliness. Andrew got the idea to add a string quartet (we were thinking big), so he brought in Eve Parker Finley and Zou Zou Robidoux to add string arrangements to a number of the songs.

Basia Bulat was also a big part of the process, lending her wisdom – especially for the vocals. She sat in the studio while I was recording vocals and would run in between takes to shout suggestions – “try it like this!”. Monty Munroe played bass and just killed it, and is, like, the hardest working person ever. We also got to use some amazing instruments like a Therevox and a Hammond C3 with Leslie Speakers.

Past Crystal Eyes member Kenny Murdoch played drums, and current members Jordan Tettensor played lead guitar and Joleen Toner on synth. There's even a choir on one track (Hermitess and her Witch Choir on “No Heaven”). Mark Lawson mixed the record. We threw him probably 1,000 tracks to work with, and he was somehow able to wrangle it into a cohesive, really beautiful sound.

The album covers a lot of ground - genres, moods, etc., but I think it flows really well together. It's definitely something where I hope people can listen to the album as a whole.

AC: Thanks for your time – we're super excited for The Sweetness Restored to be released in all its glory! Aside from dropping this record, what else is in store for Crystal Eyes for the rest of the year?

CE: We have a couple upcoming festival shows at Big Winter Classic in Calgary and Winterruption in Edmonton. We're looking forward to playing a lot more shows and getting back to touring.

We're also writing a lot of new songs, and I anticipate we'll be starting plans to record more again soon. It's been a weird time to be a band, I'm just trying to be patient with myself and everyone else and do the things we want to do, not things we feel like we have to do. No need to force the universe.

Stream “Don’t Turn Around” below!

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Crystal Eyes

Website | Instagram | Bandcamp

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Julia Daigle Shares Glittering New Album "Un singe sur l'épaule" (via Lisbon Lux Records)

Julia Daigle (member of the duo Paupière) has released her album "Un singe sur l'épaule" via Lisbon Lux Records. The album is a collaboration with producer and multi-instrumentalist Dominic Vanchesteing. Drawing on Kate Bush, Charlotte Gainsbourg, and even some krautrock, glittering psychedelic melodies carry Julia's latest body of work. 

The song Nanette was inspired by the biography of Nanette Workman and the energy of New York City. Julia whispers, "Fifth Avenue dans l'infini Sous les néons, les dieux sourient." It's the perfect soundtrack for your weekend adventures and your "I'm The Main Character" playlists. 

The video for Nanette is inspired by The Star, Arcanum XVII of the Tarot de Marseille and the work of Henry Corbin. It's an excursion into a haunted landscape, an emotional labyrinth that has become physical, where a figure retraces, in an infinite ring, the path of her inner wanderings. In this liminal space between night and dawn, she wanders through strange - and unexpectedly familiar - places in search of a sign, a key. Territory without landmarks of the exile of the heart. 

For fans of Melody's Echo Chamber, Wild Nothing, and TOPS, Julia's Daigle's "Un singe sur l'épaule" is for you.

Julia Daigle by David Cannon

Julia Daigle

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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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Meggie Lennon's Debut LP "Sounds from Your Lips" is a Psychedelic Dream Pop Wonderland

Album art via Mothland

Are you in need of a 60s-inspired psychedelic soundtrack for your cottagecore botanical gardens date? Yeah, we thought so. 

Meggie Lennon's self-described "make-out-dream-pop" album “Sounds from Your Lips” is the perfect mélange of shimmering psychedelia and sensual chamber indie-pop. Released on one of our favourite local labels, Mothland, the record was produced by Samuel Gemme (Corridor, Anemone, The Brooks). It features the guitar-playing of The Besnard Lakes and Elephant Stones' Gabriel Lambert and additional contributions from her longtime friend and collaborator, Jules Henry (Super Plage). 

If you're a fan of Weyes Blood, Charlotte Gainsbourg, or Melody's Echo Chamber, we can guarantee you'll fall in love with Meggie. We got to know a bit more about the singer's world over email, and after meeting IRL at FME earlier this month, we can guarantee that the singer radiates as much sunshine and kindness in person as she does on her record.

Dive into Meggie's world below

Meggie Lennon by Mélissa Gamache

Also Cool Mag: From the mellow sparkle of 'Night Shift' to the unapologetic seduction of 'Long Time,' this album is wrapped up in a sense of pleasure and hedonism. How did this thematic inspiration come to the surface, and what does it mean to you to create with indulgence? 

Meggie Lennon: I am very easy to please. Simple pleasures are the best, from a nice warm espresso to a gentle kiss on the neck. My songs are inspired by my own life. I like to have fun, eat well, and listen to vinyl. I am very fortunate to have the life I have and am very thankful.

AC: This album is the perfect fit for the heat of summer's haze, timing brilliantly with a reopening world and further avenues for exploration. If you could describe the perfect scene meant to be soundtracked by Sounds From Your Lips, what would it be? 

Meggie: It would be in a natural setting, where a couple would lay in the green grass and kiss passionately under the warm sun. Water would be nearby, ready to welcome these warm bodies in love.

AC: The music video for 'Night Shift' is such a dream, balancing kaleidoscopic sensations with coyness and intimacy. Tell us more about the process of creating this video. 

M: I am lucky enough to be surrounded by really creative friends. I had jotted down all my ideas and showed them to my friend Marielle Normandin Pageau. She really dug it and called her other friend Samuel to operate the cameras. We shot everything in two days. Four locations were needed: a parking lot, a lake, a bathtub and my basement. It was a lot of fun but was quite intense since it was in October and the water was crazy cold. Marielle is a real magician when it comes to editing. She really succeeded in conveying the psychedelic feel we wanted through her shot selections and image superpositions.

Meggie Lennon by Mélissa Gamache

AC: How do you nurture yourself creatively and inspire artistic reflection? 

M: As I said, what I see around me and do every day inspires me greatly: a walk in the park, a feeling of depression or happiness, my flowers and plants growing, a crazy bar hopping adventure with my friends, a live show, anything. I like to keep it simple and straightforward. I am not a poet though I enjoy poetry. Leonard Cohen is amongst those I enjoy. And the music, always more music, passionate musicians like Weyes Blood and Kevin Parker greatly influence my writing.

Catch Meggie Lennon live at POP Montreal & DISTORSION’s showcase with Hot Garbage and ALIAS on September 25th! RSVP on Facebook

Meggie Lennon

Facebook | Instagram | YouTube

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of a studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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Neo-Psych Rockers Hot Garbage Share Spooky Video for "Sometimes I Go Down" (Mothland)

Artwork by Derek McKeon

Are you in need of some brain-melting psychedelic rock? Well, you've come to the right place. Toronto-based psych outfit Hot Garbage, who are newly signed to Mothland, meld their shiny metallic melodies with gritty krautrock and post-punk rhythms to bring us along on a gaseous neo-psychedelic trip. 

Their latest single, “Sometimes I Go Down,” takes inspiration from the sounds of Sonic Youth, and gives us a taste of their upcoming album Ride. The track is accompanied by a spooky music video featuring mysterious calls in parallel universes, tarot cards, and more

We caught up with the band in anticipation of their set at FME on September 3rd to chat about their music and what's to come in for Hot Garbage in 2021.

Photo by Alex Carre

Malaika Astorga for Also Cool: Hi! It's nice to meet e-meet you. I'm interested to know how you all met and how that friendship turned into Hot Garbage.

J: You too. Alex is my brother, so I've known him since birth. He was putting a band together with Mark, who he had played with in bands throughout high school. I jumped in on bass, and Dylan, who I'd recently met through friends, joined shortly afterwards to fill things out on keys/synth.

A: Thanks for having us! That's pretty much it, yeah. We were hanging out and going to shows and listening to music together in Toronto. So we started experimenting with writing and playing together, and it was fun! We started doing little gigs and stuff around the city.

Also Cool: Your sound is unmistakably psychedelic. Can you give us some insight on where your inspirations are coming from and what those different genres' scenes are like?

J: Our musical inspirations are pretty varied. I think for this record we're putting out now, we delved into a lot of krauty / noisy territory - inspired by stuff like CAN, Gary Numan, Sonic Youth, Exploded View. We also draw a lot of inspiration from the local scene. There's a ton of quality music coming out of Toronto. Even without hanging with those people and seeing them at shows, I'm listening to amazing record after amazing record that people have been putting out during the pandemic.

A: Yeah, I think all of us really enjoy a lot of different types of music. From a writing standpoint, psychedelic is a great access point to play with musical ideas. The human experience can be so psychedelic, mysterious or strange at times, and those feelings are also so hard to put into words. So I often feel like psychedelic music is just music that is relatable in that way. We're extremely lucky to be a part of a great music community here in Toronto!

AC: Psych shows are often accompanied by crazy visuals that enhance the overall experience. Do you have any memorable/favourite psych shows that you've been to?

J: Definitely. Anything the Oscillitarium has done visuals for is memorable. They have this magical way of transforming any space. A Place To Bury Strangers at the last Crystal Lake was pretty amazing and intense. I've seen Black Angels a bunch, and they always have great visuals by the Mustachio Light Show. There are also a lot of sets that stick with me from Levitation and Desert Daze over the years, like Iggy Pop, 13th Floor Elevators, Jesus and Mary Chain, John Cale. The installation art and visuals are always really well done at those fests; it's clearly factored into the experience.

A: Yeah, it's interesting to see this live collaboration between visual artists and musicians! Oscillitarioum light shows in Toronto rule. With buds like Possum, Kali Horse, Vypers, Mother Tongues, and so many more. I also remember having a pretty profound experience seeing John Cale at Desert Daze a few years back. The visuals and music hit me so hard. It was such an expression.

AC: I'm curious about the mysterious phone calls in your most recent music video. Can you give us any hints of who the mystery caller might've been? I'd also love to know a bit more about the tarot symbolism in the video.

A: Good question... We were playing with the idea of these kinds of gross dudes (Dylan, Mark and myself) talking on the phone and maybe being warned about something and not taking it seriously. While we're being gross, we meet our demise. Juliana maybe heeds the warning and challenges fate by pulling the right card (mystical tarot magic). She's "in touch" with the caller.

Also for the record, we made this video like a year before the pandemic, so any parallels there were not planned… Last year, when the band could only talk on zoom, we were joking about how it looked just like our music video!

AC: We're very excited to see you play IRL at FME. What are you most looking forward to at the festival?

J: Thanks, we're really stoked to play. I'm looking forward to seeing Paul Jacobs and OBGM's for sure. There are a bunch of friends going who I haven't seen in a while, so I'm excited to just hang out and see some shows. I am going to try and catch Cadence Weapon on Thursday if we get in in time. 

A: Thanks! Yeah, I know Paul Jacobs and the OBGMs have such great energies, and I can't wait to soak that up! Also just to be able to play again and be at a show feels so good. This will be our first indoor gig since the pandemic started.

AC: Lastly, what are your plans for the next year, now that shows are happening again?

J: We will be playing shows around the release of our new record - fall/winter will be mostly local-ish but hoping to make it back down into the US to do some touring in the spring. There is also new material being passed around, so we're going to be working on putting that together for the next thing. 

A: Exactly, finally tour this record! We'll go to the USA again and play some shows as soon as we can. But we've been writing tons during the pandemic, so we'll also be working on new material.

Watch Ride below

Hot Garbage

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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Evan Wright Shares Mellow Indie Psychedelic Album Sound From Out the Window (Solitaire Recordings)

I don't know about you, but I tend to have a soundtrack for each season, something to guide each mini-era of my life. The latest era has been defined by the way the sunlight filters through my windows in the afternoon, the cicadas chirping outside, and constant questioning of how the summer slipped away so fast. 

Evan Wright's latest album Sound From Out the Window (Solitaire Recordings) has been the perfect soundtrack for my end-of-summer-existentialism, with his twangy psychedelic melodies guiding the season's change. The New York-based musician's smooth vocals take us on a melancholic stroll through nostalgia, a pained longing for past times that can never come back, but one that doesn't wallow in self-pity. 

The album evokes warm and calming tones, bearing a likeness to the work of Andy Shauf, Kurt Vile, and early HOMESHAKE. Mellow guitars and gentle lyrics explore themes of friendships ending and relationships falling apart, yet leave the listener feeling comforted and almost uplifted by the coziness of Evan's sound.

Listen to Sound From Out the Window below

Evan Wright

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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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Spaceface Ponders Alien Life, Alternate Realities & More With Disco Track Piña Collider

Irresistibly funky and incredibly charming, the Spaceface crew are back with their latest summer track, "Piña Collider." The track fuses funky psychedelia with the upbeat energy of a classic summertime bop, making it the perfect anthem to keep your party going all night long. 

The track was inspired by a cosmic experience frontman Jake Ingalls had at the CERN Hadron SuperCollider.

"I was playing a show nearby, and CERN has a whole outreach program to bring artists in to show them what it's all about. After the show, I learned that the crew who showed us around are, in fact, in their own band, which we named the song after. Everyone who works there has to live on campus, and they had formed a group to play functions and holiday parties, etc. I decided to write a song and asked them if they'd like to be on the tune. They said yes, so the next free day at Blackwatch, I set to writing a disco tune about a mythic drink you can only get at CERN."

This track feels like the perfect dose of escapism that we're all craving right now, so I caught up with Spaceface about their own ideals of escapism, aliens, and a whole lot more.

Photo Credit: Erika Mugglin

Malaika Astorga for Also Cool: Spaceface tends to create entire worlds with each track. If Spaceface had its own planet, what would it be like?

Daniel: If Spaceface had its own planet, I imagine it would be like the music video for our song "Sun Kids." Vinyl Williams created this 3D computer-generated world full of giant purple and green plants and far-reaching meadows under blue skies. Then sprinkled in between the greenery are several structures and buildings with mind-bending, borderline impossible architecture. Some of the buildings were floating in the sky. The structures all had some version of ancient greek or roman influence, but with some mid-century modern architecture influence too. Kinda like if Javier Senosiain had re-designed the Parthenon.    

Eric: My planet would be a small party and leisure destination retrofitted with futuristic interpretations of 50's and 60's dream architecture. We have the technology to portal jump between hemispheres depending on your mood. There's plenty of pools and nightlife. Also, plenty of daylife, but it's chill. 

Jake: I think they both pretty much covered it. All peaceful beings are welcome.

Katie: Agreed, Daniel and Eric nailed it. But I'd like to propose we build an Ewok-style treehouse village where we can all live.

Also Cool: Do you think aliens exist, and if so, what do you think they're doing right now?

Daniel: Well, yes, I think aliens exist. It's a kinda numbers game. If there are so many other galaxies besides ours, then I imagine there are lots of different kinds of other life out on other faraway planets. It might be rare, but I feel like there probably is some. Not to mention the US Government fessed up that UFOs are real earlier this year. 

As far as what aliens or lifeforms on other planets are doing right now, it's kinda hard to answer. Just because there is other "life" in the universe doesn't mean it is anything like a human. I don't think that space is really like Star Trek. The other alien life out there could just be bacteria or microorganisms. Maybe some might resemble animals, but I fear they might be more like monsters like in the Alien movies or otherworldly beings that we can't understand, like in Arrival. Although it would be really cool if they moved through time and space differently than us.

Eric: I do believe in life beyond our own 100%. It blows my mind that people think we're the one and only. Life unimaginable to us exists, has existed and will exist endlessly through the cosmos. I dare not try to describe it more.

Jake: I'd imagine that the vast majority of what we call "Alien" life is a different form of what we've named consciousness and likely aren't really aware of us and thusly do things that are beyond our own comprehension. If they are aware of us, I'd imagine they look at humans with a mixture of pity and carnal envy - the way some angels/gods are described in old myths.

Katie: Contrary to my strict Christian upbringing, I've always believed that life exists outside our planet. If you haven't seen Close Encounters of the Fifth Kind: Contact Has Begun or the other films by Dr. Steven M. Greer yet, do so as soon as possible. His theory that all life on Earth and outside is connected through collective consciousness is very compelling. As for what they're doing right now? Probably having mischievous fun with some US Military pilots or hopefully coming up with ways to save Earth from its own inhabitants.

Photo Credit: Erika Mugglin

AC: You created a custom drink to go along with the release of the song. What was that process like, and do you have any tips/tricks for the people making it at home?

Daniel: A few of the band members are bartenders, so making up new drink recipes is just as enjoyable as writing music. It's always fun to imagine where you would be or what mood you would be in while listening to some of the Spaceface songs. Then thinking about matching a certain style of drink or liquor to that mood and location. The low-key goal is for each song to have a drink recipe, and we want to include a lil recipe book with the album. Each song has a different mood or feeling, and each song can take you to a different place in your mind. So naturally, each song needs a drink to match. 

As far as tips for making drinks at home, just make sure you have a shaker, a strainer, some ice, and know where your best local liquor store is. We can give you all the recipes you'll need. 

Eric: This drink was born by literally colliding a piña colada with a contemporary classic dubbed the "Trinidad sour" (equal parts, rye, citrus, mango, and orgeat (almond milk syrup).

You'll be best off getting proper tools: A shaker, jigger, and strainer. Make sure you have Angostura bitters and get some Coco Lopez for this one.

Jake: When we know we want to pursue a batch of songs, typically Eric and I talk for a while about how we want them to fit together in a cinematic way. For instance, "Sun Kids" was meant to be Earthy and evoke a feeling of what it was like to spend the day with us in Memphis. With this new batch of tunes, we wanted to evoke this imagery of what a party in the future would sound and look like through the lens of someone in the past. Sort of like those wacky images you see made by sci-fi artists in the '20s imagining what the year 2000 would look like. This lead us to imagine a sorta afro-futurist ecotopia where you can order a drink that reminds you of humankinds' oneness and thusly deciding we should make a cocktail for every song. Plus, Eric and Daniel are fantastic drinksmen, so we thought it best to share their other talents.

Katie: Jake, Daniel and Eric are the geniuses behind the drinks, so I leave that all up to them but timidly ask that they leave the cilantro out of the equation whenever possible. :) 

AC:. The music video is pretty much the definition of the retro-future aesthetic. What were some of your visual references or inspirations for the project?

Daniel: The song is about a drink that you can only get at the CERN Hadron Collider. So the idea was to have some scientists singing the song in a sort of educational TV setting, like Bill Nye, The Science Guy. The Scientists in the video act like they are filming for a PBS segment, and each scientist is from a different period in scientific discovery. It's fun and cool to showcase different types of science like Astronomy, Chemistry, Anatomy, and Botany. 

Eric: Mad scientists shuffling through notes and staggering through experiments. Beakers and lab coats with sparks.

Jake: When I stumbled on Maris Jones' IG in January of 2020, I just KNEW I wanted to get her team on board bc it was the perfect fit. Once we began emailing with The Jones Family Retro Show, we were sharing clips from this silly fake science education program called Look Around You and VHS rips of old actual Sci-Fi learning channel clips and lots of pseudoscience book covers. I knew they were gonna knock it out of the park. When they started texting me pictures of the sets they were making with the guitar, the star gazer's gear and Molly's excellent claymation, it began to feel like we had truly mind-melded.

AC: Now that shows *might* be happening again, will we be able to experience Spaceface IRL any time soon?

Daniel: Nothing is officially on the books yet, we have some offers in the fall, but they are not confirmed. The idea was to put lots of singles out this year, and after releasing the full album in early 2022, there will be a big spring tour. 

Eric: Yea, but no. .. maybe... but yes. 

Jake: I like Eric's answer the best, but if you wanna find out more and truly stay in the know, freed from the shackles of the algorithm - text us at the official Spaceface number to find out :) 901.519.2202

Katie: We definitely miss the thrill of performing live. Taking over a year and a half off of touring and performing has been hard on all of us. But, to elaborate on Eric's answer, yes, if certain members of the population *cough* get their heads out of their butts and get the vaccine, infection rates decrease and stabilize, we'll be back on stage soon...ish.

MAKE YOURSELF A "PIÑA COLLIDER"!
Spaceface's take on the classic Piña Colada

Ingredients:
• 1.5 oz Clear Rum
• .75 oz Lime Juice
• .75 oz Simple Syrup
• 1 oz Coco Lopez (Coconut Cream)
• .75 oz Pineapple Juice

How to make it:
◦ Combine all ingredients in a shaker tin with some ice and shake;
◦ Double strain over ice into collins glass, larger glass or coconut;
◦ Garnish with pineapple stems or wedges and a lime wheel;
◦ Add a dash of cinnamon.

Spaceface
Website | Bandcamp | Spotify | Apple Music

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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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Singapore's Shoegaze Sweethearts Kekko Share Their Love Story on Debut EP "Dreaming Life"

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Kekko, Tim Kek (left) and Cherie Ko (right), shot by Jared Rezel

The devotion between Kekko, Singapore’s shoegaze sweethearts, fully materializes on their debut EP Dreaming Life, released on Californian lo-fi pop label Spirit Goth Records this past June. If not already evident by the band’s namesake —which combines the last names of the husband and wife duo, Tim Kek and Cherie Ko— Kek’s lush atmospherics intertwined with Ko’s ethereal vocals manifest a radiance unique to a soulmate connection. 

The couple first met in 2009 as teens while working odd jobs at their local mall. Then, Ko was covering My Bloody Valentine and Air on Youtube and Kek was blossoming in the Singaporean music scene. The pair stayed platonic friends for over 10 years while carving out separate paths in the music industry, with Ko performing with her former bands TOMGIRL and Bored Spies, and Kek founding his music promotional agency Symmetry Entertainment. In conversation with the band, they explain that the beginnings of Kekko were a natural progression from falling in love because of their similarities in music taste and creative sensibility. 

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Kekko, shot by Jared Rezel

Ko tells me that working with her husband nurtures her musical approach; allowing her to embrace an artistic outlook that feels more genuine. “With all my previous brands and musical projects, I felt the need to put on a persona to write music. With Kekko, I have grown into my own person and I’m now able to tap into a deeper and more authentic space in the writing process,” she shares. 

The level of intimacy at the core of the project is also crucial to Kek’s conjuring of sublime  instrumentals to compliment Ko’s dream-like voice. He articulates that following intuition is crucial to building their tracks layer by layer and that he “finds what sounds right not just with [his] head, but with [his] heart as well.” This songwriting technique, which Kek refers to as “world-building,” was devised on Dreaming Life with Kek’s masterful playing of his right hand vintage Yamaha keyboards and microKORG. Kek hints that on Kekko’s upcoming LP, he plans to “explore the possibilities the legendary Moog can offer.” 

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Kekko, shot by Jared Rezel

The duo describes Kekko’s aura as a “hazy, surrealistic dream,” which comes alive just as much in the band’s visual identity as their sound. The artwork for Dreaming Life was illustrated by visual artist Alexis Jamet, who’s vivid and playful florals, according to the band, resonate with their essence perfectly. 

Knowing every aspect of Kekko’s output is cherished, I was curious about the fan-made music video for their song “Within You.” As it turns out, the video is set to cuts from Kekko’s favourite film Picnic At Hanging Rock. Kekko informs me that the music video, made by I’m A Cyborg By That’s Okay, came to be purely by coincidence, and that they love the film because of its “beautiful and enigmatic mise-en-scene, and [they] love a good unsolved mystery.” 

Despite their fascination with whodunnits, the band doesn’t leave us hanging on their plans for the coming months at the end of our chat. “The scene in Singapore is really tight-knit and supportive, however we are planning to make Canada our new home in the near future! We’re starting to write our first LP and hopefully we can release it next year and start doing some live shows.” 

Listen to Dreaming Life below

Kekko

Instagram | Facebook

Bandcamp | Soundcloud | Spotify

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

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Spaceface and KWKA Bring Escapist Psych-Rock to the Masses

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“Experiments In Escapist Infinities” cover

Jake Ingalls is a creative soul who makes psychedelic masterpieces with his bands Spaceface and The Flaming Lips. Both groups are known for creating unique, unparalleled stage sets,  light shows and performances. If you’re lucky enough to attend one of their concerts, it will be  an experience you’ll likely never forget. If The Beatles’ Magical Mystery Tour, CAN and the  grooviest bass lines ever had a lovechild, it would be Spaceface.  

Spaceface is a retro-futurist dream-rock band that was formed in Memphis, Tennessee in 2011. Currently, Ingalls is based in Los Angeles. They have released some phenomenal feel-good psychedelic albums and singles such as “Sun Kids” and “Panoramic View.” The band just dropped  a new single on April 1st titled, "Experiments In Escapist Infinities” with Mike Fridmann AKA KWKA. Their forthcoming album is on its way as well. Expect amazing influences on this record, like Nina Simone and Superorganism. Spaceface’s latest offering will be paired with kaleidoscopic visuals and new music videos to create a sublime musical experience.   

We got the chance to connect with Ingalls and Fridmann to discuss their thoughts on collaboration, creative processes, and the theatrics of their live performances.

Sierra Kaylen for Also Cool: Jake and Mike, thank you for taking the time to talk to us today. Can you tell us a bit about who you are and what you love? 

Jake Ingalls: My name is Jake Ingalls, I'm the frontman/bandleader of Spaceface. I also play guitar and keyboard in The Flaming Lips. That's usually  where people know me from but lately, we've been getting more and more folks just finding  Spaceface on their own, which is exciting. I always feel a little grotesque dropping the Lips' name when we're talking about this project, but they were my favorite band from 6th grade to college… and now I get to play with them, which is still kind of mind blowing to me.  

I've also recently embraced being a nonbinary person. I'm from Memphis and I've lived in L.A. for about five years now? I love cooking, rollerblading, and collaborating with new artists. I love a fresh new notebook to scribble ideas/drawings/ tasks and lists in. The list of things I love could go on forever. It'd be easier to list things I don't like… for instance, when you can hear someone eating on the other end of the phone.

Mike Fridmann: I’m Mike, I make music under the name KWKA, run a tiny record label called Nonexistant Records and work as an assistant engineer at Tarbox Road Studios. I’ll name-drop the Flaming Lips too, because Dave Fridmann is my dad… So, I’ve known the Lips my entire life and that’s where I know Jake from! Unsurprisingly, I love to work on music and that’s kind of what I do all the time. In the last year I’ve played a lot of  video games and taken a lot of walks too. And I got a cat, I love cats. 

Also Cool: Your band Spaceface, meshes retro psych and modern pop together creating  unique and magic sounds. Could you tell us a bit about the creative process that went  into the new single?  

Jake Ingalls: Well that's a great compliment! There are usually four of us that write what I'd call “the core” of most of the tunes; so there's almost always a big push and pull or tug-of-war vibe when it comes to where the song should "go.” A lot of times, we'll sit and discuss what scene a new song would be setting in a movie, and try to approach the arrangement cinematically; talking about camera angles that shift focus with the entrance of new parts and what feeling we want to evoke.

I then take the new full-band demo into the studio and tear it apart and re-record almost everything. It started simply out of necessity that I'm the guy who goes into the studio with an engineer/producer to fix it all up and get a good mix going, but now it's just an understood part of the process. Jake, when are you gonna take this one into the studio? I'd love to hear what it's gonna become and wanna make sure you don't ditch my favorite part here. 

I'm lucky that my band trusts me to take what we've worked so hard to create and mess with it to great lengths. There's truly a freeing feeling having the full song done so you can reference anything you particularly loved about the original. But, going into the actual recording process completely unattached to what the song can become, adding new rhythms, instruments, and samples that can completely change the feel of the entire tune.

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Jake Ingalls of Spaceface by Blake Studdard

AC: I’ve noticed that your band often pairs music with trippy visuals. Your stage production features light shows that match your song’s themes and overall vibe. What kind of  experience are you trying to give your audience when performing live?  

JI: Firstly, we're aware that most folks that are coming to a Spaceface show likely don't know our music. With that in mind, we've always felt like the "show" element is a nice added treat for fans, and a little reward for people who took the risk, who got out of their warm apartments, and paid $5 to come to check us out. So when we started the band, I immediately went out and bought a fog machine, cheap lasers, and Christmas lights.

I was about 16 when I realized that not everyone sees vivid colors or visuals when they hear music, and always craved adding some sort of obvious queue for people. At first, you can only afford or find easy things like glow-in-the-dark bubbles, fog machines, or work lights with different colored bulbs in them... But it's gotten easier to find ways to incorporate better and more impressive elements into the show that set the mood we're trying to provide. 

Growing up, we'd drive miles and miles to see bands like Of Montreal, Man or Astro Man, and Octopus Project because they made cool music and their shows were fresh and different. I remember we fell in love with this group from Nashville called The Protomen. They wrote and performed rock operas based on the stories within the Megaman video game series. I was just enamored with the idea that you could sneak into a dive bar and have this grimy place be transformed: just because folks took the time to make costumes, coordinate visuals, and get their goofy friends to hop on stage and play along. We want people to leave feeling as happy and joyous as we get to feel playing for them.

AC: What was the process like collaborating together for this single? Do you think collaboration furthers the artistic process or stunts it?  

JI: I'm a firm believer in collaborating as a form of growth. I like to look at myself as the opposite  of Shel Silverstein's story, The Missing Piece. Each new idea is a giant ball of malleable clay  that's rolling down a hill and every person you work with on it gets to chip and chisel away until  it's a fully formed marble statue. Plus, everyone works differently and sometimes your circumstances dictate the process, forcing you to discover new ways of creating. Working on this project with Mikey was a particularly new, delightful and fun experience.

MF: We started working on this sitting in the room together then finished it over the internet. I think at the time I wasn’t too experienced working long-distance on music, so it was a good experience to have. I think we both just wanted to have some fun and try to make something that sounded fun!

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Mike Fridmann AKA KWKA by Jonathon Graves

AC: Was it difficult for you both to find your sound, did it come naturally to you? Or, do  you think your sound is always evolving with time?  

JI: At first, we wanted to be a surfy psych-punk band. Each tune was noisy, fast and we relished being out of control. I think we still like getting loud and raucous, but our tastes are constantly changing and evolving. I find my only regrets are when I make choices that are avoiding what comes naturally for each tune. It might be slow, but you gotta let it grow. For this song in particular, we set very few limitations and really tried not to question what was coming out, just to go with it.

MF: I don’t really focus on cultivating any sound in particular, I just usually make what I want to  hear in the moment. If I’m working on one project there’ll be common threads because I was in a particular headspace at the time. 

AC: What are some of your favourite albums? Have any of them influenced the current music you’re making?  

JI: Talk about always changing! I'll go with my current vinyl rotations: Petit Prince's Les plus beaux matins, Superorganism's self-titled album, The Avalanches We Will Always Love You, Charli XCX's how I'm feeling now, Elbow's Little Fictions and Nina Simone's To Love Somebody. I can't say anything but Nina, Elbow, and Superorganism influenced the upcoming record since the album is done and those are the only ones we all had before we finished it.

MF: Honestly, most of my listening for the last few years has just been whatever I’m working on or whatever we’re doing at Tarbox. As far as just listening for fun, Gazing Globe by Outer Spaces is one of my favourites. Before that, my obsession was Sweatbox Dynasty by Tobacco. Those are some extremely different sounding records, but I think they’re both really emotionally transporting, which is something I aspire to. 

AC: Speaking of albums, what was a project you worked on that had the biggest impact  on your life?  

JI: I mean, I'd say getting to work on any of the Lips’ stuff early on had a big impact on how I  looked at the arrangement of a song. The Lips' ability to be unprecious about stuff is… sometimes frustrating but ultimately creatively inspiring. 

MF: I’d say pretty much the same thing, ha! 

AC: Tell us about your plans for 2021! Are you excited?  

JI: Plans for 2021 include: putting out a new single and video once a month leading up to our record release February 2022! I actually really enjoyed some of the down time in 2020, it gave me the space and time to grow, learn and figure out the best ways to make videos and art for the new record.

AC: How can we (and your fans) best support you in your future endeavors?  

JI: Keep your eyes on our page, sign up for our text community, and be prepared! Like I said, new Spaceface every month all year! New record coming soon! Thank you so much.

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Jake Ingalls of Spaceface by Blake Studdard

Spaceface

Instagram | Bandcamp | Spotify

KWKA

Instagram | Bandcamp | Spotify

Sierra Kaylen

Instagram

This interview has been condensed and edited for clarity.

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Enter La Femme's Neo-Maximalist Nightclub "Paradigmes"

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Paradigmes album artwork by Polygon

Paris-based psyche rockers La Femme are keeping listeners on their toes in anticipation of their forthcoming record Paradigmes, out next week on April 2nd via Disque Pointu and IDOL. The LP marks a milestone for the band, being their first release after five years of touring extensively, adding several musical accolades to their trophy shelf (including the coveted Victoires de la Musique award and Gold certifications in France for their first two releases), as well as playing major international music festivals, from Austin Psych Fest to Glastonbury. Formed in 2010 by Sacha Got and Marlon Magnée, La Femme has seen a rise in success comparable to the greats, but remain humbled by the everlasting centrality of their DIY roots. 

The band has already given us a glimpse into the sultry and psychedelic smoking-lounge that is Paradigmes, through teaser tracks “Paradigme,” “Cool Colorado,” “Disconnexion,” “Foutre le bordel,” “Le Jardin,” and most recently “Le sang de mon prochain.” From what we’ve heard so far, we’re intrigued by their clever use of horn sections, DEVO-esque wind-up rhythms, and a sprinkle of cool, laissez-faire nostalgia à la Serge Gainsbourg to present a sound best described as Neo-Maximalist. 

As the title of the album implies, Paradigmes’ narrative is as complex as its grandiose musical arrangements. While the lyrics throughout unpack the many anxieties and frustrations with cultural norms and expectations within Western culture at large, it equally tackles personal afflictions within the human experience — like love and heartbreak, sexual and gendered exasperations and general feelings of depression and nihilism. The band explains that they managed to touch on both existential and intimate themes by tapping into their intuitions, noting: “Maybe it’s easier to write when you are sad or plagued with negativity? The record took on a life of its own when reflecting on our own experiences.” 

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La Femme by Oriane Robaldo

Speaking on how the record fell into place, La Femme says that the development and production of Paradigmes was a culmination of experiments, rather than a deliberate realization of a heady think-piece from start to finish. “After we toured Mystère in 2017, the band took break from music. We reunited in 2019 with the hopes of finishing a record, and brought together a bunch of material collected in our hard-drives and chose 15 songs to build Paradigmes. It’s taken a lot of time for us to finish because we are picky on the details.” 

Knowing the band gained popularity by exclusively touring North America before they were picked up by European audiences, I was curious to know if their experiences of the United States informed the cultural critiques within Paradigmes. “Really, we just toured and traveled throughout the US a lot — so yes, the influences and experiences from those memories are definitely present throughout Paradigmes. We specifically commemorate places we’ve visited like Colorado, New Orleans and Los Angeles. But the album also features influences from other countries like Spain and Turkey, as well as three different languages (French, English and Spanish) — so, it’s a world music record in that way. We like the folklore of places and what comes out of them.” 

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La Femme by Oriane Robaldo

The ambition of the Paradigmes project is topped with a particular aesthetic crafted by the band. Of the six singles they’ve put out so far, three are accompanied by a music video that takes place in the futuristic “Paradigmes” nightclub. Frequented by a collection of eclectic regulars, such as go-go dancers, cyborg songstresses and intellectuals with an uncanny resemblance to Michel Foucault, you get the sense that Paradigmes is a hang-out where all are welcome. The band expresses that the album’s title track and their song “Disconnexion” were the inspiration behind their fictitious venue. “The song ‘Paradigme’ sounds like a generic, 70s TV show and ‘Disconnexion’ like an intellectual radio show. Combined, these concepts created the set of a fake TV show where all the video clips are connected. At the end, when you watch them all together, it’s going to be a full-length film.” 

At the end of our interview, La Femme lets me in on how they plan to celebrate their release in the most fittingly over-the-top way possible. “We’re going to have the biggest digital party and eat popcorn in front of our computers! The best way our fans can support us is by dropping out, tuning into our record and movie and starting an orgy.” Ça marche, La Femme! 

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PARADIGMES

Out via Disques Pointu and IDOL on April 2, 2021

1. Paradigme
2. Le sang de mon prochain
3. Cool Colorado
4. Foutre le bordel
5. Nouvelle-Orléans
6. Pasadena
7. Lacher de chevaux
8. Disconnexion
9. Foreigner
10. Force & respect
11. Divine creature
12. Mon ami
13. Le jardin
14. Va
15. Tu t’en lasses

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La Femme

Instagram | Facebook | Website

Spotify | Apple Music | Youtube

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

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Wanna Be My Daddy? Mystic Peach Talks Sexuality, Creative Process & More

Via Mystic Peach

Heavy-hitting and spellbinding, Mystic Peach's track "Wanna Be My Daddy" is a grunge-rock reminder to not give a fuck about what others think of your sexuality.

It's an anthem for every small-town kid who wants to feel comfortable and confident with their identity, despite the judgements of others. We got the chance to chat with the band about the track below.

via Mystic Peach

Malaika for Also Cool: Hi! Hope you're all holding up the best you can. How would you describe yourselves to those who don't know you?

Curtis for Mystic Peach: I don't think we've ever sat down to think about it, but here's a list we've gathered in the past few years- Melodic Pop, Psych Pop, Psych Rock, Space Rock, Noise Rock, Dwayne "The Rock" Johnson, Grunge and some others. So take your pick, but, at our last show, the sound engineer called us Psych-Punk, which we like.

Also Cool: Let's get into your origin story. How did you all become friends and get into music? 

Mystic Peach: Curtis and Joe went to the same school and had worked on a few projects together throughout the years. We went through many phases that were all enjoyable, but looking back, it was all very confusing. One minute we were recording loud droney stoner music, and then the next week, we'll be recording Mac DeMarco-Esque guitar pop. I don't think either of us knew what we wanted. 

I just felt like we were going nowhere, and I wanted to actually find the strengths in my voice and guitar playing. I vanished for a while, and not many people could get hold of me unless they actually came to my house. 

Shortly after the vanishing trick, Jimi and I met down at the pub through mutual friends and started talking about music and bands. I was astonished that Jimi wasn't in a band. We both knew of each other through previous bands, so it was a chance to woo him with my songs and get things going. After two years of not really speaking, I got in contact with Joe to ask if he wanted to give this project a go. To my surprise and with little reluctance, he said yes. 

Now we're all friends doing some pretty cool stuff and playing music that we like. We're very lucky that we actually like each other.

AC: What's the local music scene like where you're from, and what role did it play in getting you into music-making? Were there any venues or spaces in particular that made you want to be a part of the scene?

MP: I would say it's healthy, there's plenty of interest, and locals are willing to give bands a listen. I wouldn't particularly say there was a specific local scene we wanted to be part of; perhaps we just wanted to shake the whole thing up a bit. I think as long as you get on with fellow bands and those in the music community making things happen in the city, that's all that matters, really. 

We have venues like Joiners, Heartbreakers and The 1865 in Southampton, and Wedgewood Rooms in Portsmouth. We wanted to play them after seeing some of our favourite bands perform there. The promoters are always looking for new music, which keeps the city's music scene in a good state.

AC: I've noticed during the quarantine that people seem to be more and more comfortable with their sexuality and sense of self. You've mentioned that the track tackles the discomfort that others can feel because of your sexuality. How did you come to terms with your personal identities and find confidence in that part of yourselves?

MP: I never really thought I was doing anything that grown adults would need to comment on. It seems that some people bring that 'school kid mentality' into adulthood. But at the end of the day, who cares? You do you. If someone has a problem with whatever it is about you, let them simmer in their own discontent. We all have a very honest set of friends that like each other because we connect... Not because we have a mutual hobby of being a dick head.

AC: How do you find inspiration for your music? Who and what are you inspired by?

MP: We've all put our two pence in on our sound through individual influences. Anything from shoegaze (My Bloody Valentine, DIIV, Slowdive) to punk (Sex Pistols, Black Flag) and 60's garage to 70's rock. More recent influencers are the likes of Yak, FIDLAR and Peace. 

As for subjects, it seems to be based around mental state and social commentary. Sometimes it comes from personal experiences, what we've read, or sometimes just people-watching. Cult films (The Warriors, Pulp Fiction, Clock Work Orange) are a big part of this band too!

AC: Delving into some pre-pandemic nostalgia real quick, what's your favourite memory from playing live/being on tour?

MP: Our most recent and last pre-pandemic memory was our tour with Temples in France in March. It got cut short after three shows, but we all loved it. It was the most fun we had, and we savoured every moment. Playing in Paris to 1,000 people was a highlight and definitely something that brought us closer together because we're cute like that. 

But all in all, just being able to rehearse when we want. Going to the pub, going away to random places together, and getting drunk in hot tubs or in the middle of a field. We miss each other, and I'm sure that's the case for most bands.

AC: Who are some local artists or creative friends who you think deserve more hype?

MP: Defcon Lawless. Unreal talent, fantastic lyricist and incredible music taste. We could talk to him for hours about music and life. Originally from America, but he's ours now; they can't have him back.

Also, our long-term friend and talented artist, James Digweed. He's done art for our last two singles and for our upcoming EP. A true weirdo, a visionary, and we truly love him. 

AC: What are you looking forward to this year? Any upcoming projects?

MP: We're looking forward to releasing our EP this year and having more than just singles out there. We're unsure of timing due to the pandemic, but we're making plans as we speak. We're crossing our fingers for before summer, but we also know that it might happen later than that. 

If the virus starts settling down here, it looks like autumn could be a pretty busy time with shows and rescheduled releases. Intense but exciting for us. An act at our level relies on live shows so much for engaging with new & existing fans. No better feeling. Can't wait to get on that stage again!

AC: Closing out here, is there anything you want to shout out or promote? 

MP: Be safe, be kind to each other, don't shit on each other's opinions and respect people's views even though they may be different from yours. Marmite is better than Vegemite, and if you disagree, then you are wrong.

Thanks for speaking with us, and we're over at @mysticpeachh on all socials. 

Watch Wanna Be My Daddy? below

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

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Bon Enfant Channels Jodorowsky and Psychedelia in New Single "Magie"

Bon Enfant by Eva-Maude TC

It seems that the longer we've been in isolation, the more we look to art and music as a source of optimism. Enter “Magie,” the latest music video from Bon Enfant directed by Ian Lagarde, and produced by Parce Que Films. For fans of Jodorowsky's The Holy Mountain, this track is for you.

The track is off their self-titled 2019 album via Duprince, and is reminiscent of 70s-style psychedelia. The video emulating David Bowie-esque aesthetics and sci-fi visions of the future. According to the band: "We really wanted our video to be a pure psychedelic and occult delirium with an overdose of colors and optical effects (…) we think Ian and the filming crew really nailed it."

Bon Enfant by Eva-Maude TC

“Magie” looks like what it will feel like to finally be back together again, dancing at shows and music festivals all night long. 

Check out “Magie” below

Catch the Bon Enfant at one of their upcoming (COVID-safe) shows.

04.09.2021 @ Vieux Couvent in Saint-Prime QC

04.10.2021 @ Café du Clocher in Alma QC

09.10.2021 @ Grand Théâtre in Quebec city (with Mon Doux Saigneur)

10.01.2021 + 10.02.2021 @ MTelus in Montreal (with Mon Doux Saigneur) 

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

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