Sunglaciers Sharpen Their Psychedelic Edge with "Regular Nature" (Mothland)

 

Sunglaciers by Em Medland-Marchen

Two years after the release of the explosive Subterranea, Calgary post-punk quartet Sunglaciers have resurfaced with Regular Nature, out now via Mothland. 

Spanning 15 tracks, this latest endeavour pulls from familiar motives to paint a truly vibrant picture. Sunglaciers have always stood on the edge of experimentation, anchored firmly in rock n’ roll while nodding to new wave, garage, and whatever else they please. But Regular Nature comes imbued with the conscious resolution to find something new between the folds. 

Said the group of this dexterous new record:

“We want to make you dance. We want to make you think. We want to make you think while you’re dancing and dance while you’re busy thinking. This is an album for the body, brain and heart. It’s compassionate, frustrated, communal and dreadful. In a world of information overload, where everything comes at you at once, Regular Nature is trying to normalize the phenomenon. This is chaotic music for a chaotic world, a three-way conversation between outer self, the subconscious and the mad world.”

Regular Nature begins with “Fakes,” a compellingly frenzied track that reads like a hi-fi, edgier Devo. “All style, not a lot of substance / Shut out, shut out the noise” chants multi-instrumentalist Evan Resnik as he scorches through a doom spiral. “Right Time” puts a surfy foot forward, propelled by winding guitars and striking snares. But while the band is not afraid to reach an electric climax, best portrayed with the psychic anguish of “Kafka,” it is the wistful freefall of slow-burner “Rotten Teeth” that delivers true refreshment: “I still have dreams of love with no beginning and no end / How can that be if I am walking out the door again?

Regular Nature is a psych-rock saga, supercharged with exhilarating instrumentation while boasting meditative subtleties. Fortified by its stylistic depth, the album tells an engrossing story of the turmoil that awaits us all.

Regular Nature

out March 29, 2024 via Mothland

1. Fakes

2. Right Time

3. Undermine

4. Cursed

5. Kafka

6. I Remember the Days

7. Interlude

8. Frog Mask

9. A.I.

10. Reef

11. Not Ready

12. Rotten Teeth

13. Gov Shut

14. One Time or Another

15. Waiting for Nothing


Written & performed by Sunglaciers (Evan Resnik, Mathieu Blanchard, Kyle Crough, and Nyssa Brown)

Select instrumentation by Chad VanGaalen, Daniel Monkman, Chris Dadge, Nate Waters, and Cassia Hardy

Recorded by Mathieu Blanchard & Evan Resnik

Additional recording by Chad VanGaalen

Produced by Sunglaciers

Mixing, additional production & digital mastering by Mark Lawson

Mastered for vinyl by Richard White

Artwork by Nyssa Brown & Evan Resnik


Sunglaciers

Instagram | Bandcamp | Spotify | YouTube

Rebecca Judd is the features editor of Also Cool Mag.


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What's Also Cool at FME 2023

 

FME’s full schedule

As August comes to a close, we’re counting down the sleeps until the most glorious festival of the year… FME. The Festival de Musique Émergente returns to Abitibi-Témiscamingue this weekend! 

Featuring 81 artists, this four-day frenzy offers entrancing programming for music lovers from every pocket of the country. We couldn’t be happier to take part in the 21st edition of the festival. Whether you need some help planning your itinerary or you’re looking to shake up your playlists, we’ve got you covered with our top picks!

THURSDAY

N NAO by Naomie de Lorimier and Charles Marsolais-Ricard

N NAO

We had the pleasure of witnessing N NAO opening for P'tit Belliveau a few months back, and it was nothing short of the most ethereal goblin mode music we’ve heard in a while. Generally leaning more towards shoegaze fairy-pop, N NAO brings her dreamy world to life through her strange and wonderful compositions.

Pressure Pin via Taverne Tour

Pressure Pin

High-strung and minimally angular, art-punk group Pressure Pin are sure to hit the grounds of FME with a bang. Originally a pandemic-born solo project of multi-instrumentalist Kenny Smith, the project has since expanded to a full band operation. For fans of Devo, NOV3L, and Eastern Canadian post-punk.

Yocto via Bandcamp

Yocto

Yocto is one of Montreal’s supergroups, and legendary bands emerging from the Esco-Quai Des Brumes-Rockette Bermuda triangle. Inspired by the underground rock of the mid-70s (think Television and the Talking Heads), they credit their creativity to the sci-fi soap operas of the same era.

FRIDAY

Elisapie by Leeor Wild

Elisapie

The ethereal Inuk singer-songwriter Elisapie is set to take the stage in Rouyn-Noranda. Elisapie’s performance comes just weeks away from her release of Inuktitut, a cover album featuring selections from artists like Blondie and Queen that will pay homage to her youth in Nunavik.

Fraud Perry by Alex Apostolidis

Fraud Perry

With an exceptional knack for melding genres, rapper-singer-songwriter Fraud Perry has set her sights on Rouyn-Noranda. Prepare to be charmed by the Montreal artist’s fiery delivery and dance-ready beats.

La Sécurité by Aabid Youssef

La Sécurité

As steadfast fans of Montreal art-punkers La Sécurité, there was no question in our minds about proclaiming them a top pick. Their frenetic arrangements and provocative lyrics make for captivating live performances that are guaranteed to please.

Nora Kelly by Gabie Che

Nora Kelly Band

Previously known for her success at the helm of Montreal punk trio DISHPIT, Nora Kelly has hit a compelling stride with her shift to alt-country. With sickly-sweet vocals and atmospheric instrumentation, Nora Kelly Band offers the perfect complement to fading summer skies.

SATURDAY

Les Louanges by Sacha Cohen

Les Louanges

The poignant lyricism and signature funk of singer-songwriter Les Louanges (also known as Vincent Roberge) are not to be missed. Known for his charming melange of R&B and jazz, the artist has transfixed audiences from Quebec and back again.

Night Lunch via Bandcamp

Night Lunch

Night Lunch are bringing the 80s to Abitibi for their 5 à 7 performance at Les Mooses. Known as light-and-dark pop rockers, Night Lunch sing of the vices of the big city, big romance, and anarchist fantasy. We saw them open for LUCY (Cooper B. Handy), and can confirm that their show is not to be missed.

Truckviolence and Jodie Jodie Roger via FME

Truckviolence and Jodie Jodie Roger

If you’re in the mood for something loud and rowdy, the fin de soirée show at Cabaret de la Dernière Chance will give you the fix you need. Jodie Jodie Roger will kick off the show with her metal-infused punk energy, followed by Truckviolence’s gloomy hardcore sound. Bring your earplugs and get ready to get sweaty.

SUNDAY

Knitting by Alex Apostolidis

Knitting

Bounce around the last day of the festival with Knitting, an indie bedroom pop/rock group from Montreal. By choosing knitting as a metaphor, the band aims to enhance the relaxed, artisanal side of the business. Sit back, relax, but also maybe get up and dance.

SAMWOY via sam-woy.com

SAMWOY

Closing out the festival, SAMWOY comes to rock the cabin with dark hues, on assaults of guitar, sharp synths and cavernous voices, as it should be. Inspired by Division, Bauhaus and Iggy Pop, it’ll be a perfect show to end the weekend.

We can’t wait to run from show to show at FME! Keep an eye on our socials to catch our daily live coverage of our favourite small-town festival.

Get your tickets below if you haven’t already, and as always, we’ll see you in the pit.



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Empty Nesters, The Lemon Twigs and Tennis: Also Cool's Playlist Refresh

 

Empty Nesters by Steph Dinsdale

The January air is rife with possibility, crystallizing all around us like porcupicicles from the roof, and some of our favourite musicians have started the new year by hitting their creative stride. Catch up on our recent listenings in this week’s Playlist Refresh, marking the first new music review of the year.

While the calendar flip is still fresh, we have an itch that 2023 will be defined by endless listening opportunities, from artists local to the Also Cool music scenes and beyond!

Explore the chapters of our Playlist Refresh series on Spotify.

Empty Nesters by Steph Dinsdale

Empty Nesters, the project of Chinese-Canadian artist Eric Liao, is an Also Cool musical mainstay. Having planted seeds in the same Ottawa DIY music scene, and eventually making the move to Montreal alongside some of the magazine’s founding members, every Empty Nesters release is an emblem of peers growing alongside each other and self-actualizing in the once intangible layers of the Industry™.  

This maturation is evident in Liao’s newest single “Going Bye”, self-released on January 6th. Outfitted with a dissonant shoegaze flare and bound by signature indie know-how, “Going Bye” brings forward the inner workings of Liao’s thoughtful songwriting — once buried by the fuzz of his house-show beginnings. Now with five EPs under his belt and an ever-growing curriculum vitae of live performances, Liao’s creative prowess takes centre stage with “Going Bye” winking at an exciting new chapter.

Catch Empty Nesters at Casa Del Popolo on January 28th alongside Blooming Season, Bedridden and Plastic - presented by KickDrum! More info and tickets available here.

Empty Nesters

Instagram | Bandcamp | Spotify

The Lemon Twigs via Bandcamp

Long Island brother band The Lemon Twigs graced us with elegant love song “Corner Of My Eye” earlier this month. As the duo’s first offering since their acclaimed 2020 LP Songs for the General Public, “Corner Of My Eye” reminisces with the feel of 1960s soft rock pining. 

Written and produced entirely by The Lemon Twigs, the single’s uncluttered mingling of melodic guitar, muted percussion, dreamy vibraphone and winding upright bass cushions Brain D’Addario’s delicate vocals and the pair’s sparkling harmonies. 

“Corner of My Eye” is out on Brooklyn label Captured Tracks, and while no hints of a fourth album are on the way, we’re hopeful that The Lemon Twigs are brewing up big plans for 2023. 

The Lemon Twigs

Instagram | Bandcamp | Spotify

Tennis by Luca Venter

Inching closer to the release of their highly-anticipated sixth studio album, Tennis has released the crisp and evocative “Let’s Make a Mistake Tonight”. This track marks the second single from Pollen, out on February 10 via the duo’s own Mutually Detrimental

Overtop of a laidback disco sound, vocalist Alaina Moore paints pictures of impassioned escapism. Her Madonna-tinged lilt elevates the vintage decadence as her fantasies of runaway romanticism culminate in destruction.

Elaborating on the vision behind the single, Moore notes: 

"'Let’s Make a Mistake Tonight' is all hubris, attitude, and wish fulfillment. I’m turning water into wine," says Tennis. "I’m reshaping my reality through projection or denial. While tracking with Patrick [Riley] I kept envisioning the same scene: I’m in the passenger’s seat. Patrick drives with one hand on the wheel and one on my thigh. This song plays us out."

Those in and around Toronto will want to catch Tennis on April 5th at HISTORY, featuring folk musician Kate Bollinger.

Tennis

Instagram | Spotify

Our Playlist Refresh series is available in full on Spotify, refreshed on a rolling basis.

Stream it all below!


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Yves Tumor Embodies Rock and Roll Energy at Club Soda

 

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

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

Yves Tumor by Jordan Hemingway

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

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

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


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

 
Artwork by Derek McKeon

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

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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Spaceface and KWKA Bring Escapist Psych-Rock to the Masses

 

“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.

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!

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.

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"

 

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.” 

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.” 

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! 


PARADIGMES

Out via Disques Pointu and IDOL on April 2, 2021

la_femme_cover.jpeg

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


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

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 Peacj

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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Yoo Doo Right Releases Title Track From Forthcoming Debut LP "Don't Think You Can Escape Your Purpose"

 

Yoo Doo Right by Stacy Lee

Montreal krautrock trio Yoo Doo Right have released the title track from their first full length Don’t Think You Can Escape Your Purpose, out on hometown label Mothland May 21st, 2021. This six-minute slow-burn propels the listener through a metamorphosis of sound; tethering between a surfy trip and an atmospheric, spaced-out drone, while remaining wholly contemplative from start to finish. The single hints at a refined stride for the group, presenting a masterful cocktail of soundscapes and experimentations that make it clear their debut LP will have a strong first impression. On the release, the band comments: "It’s about a person who is losing touch with reality. Who thinks he has a higher purpose, and is supposed to be an ambassador to a higher extraterrestrial race. It’s a looming atmospheric rhythm and crawl."

Yoo Doo Right by Stacy Lee

Alongside this anticipatory single, the band have also released an accompanying music video that is just as immersive as their otherworldly sound.

"In an attempt to achieve a higher purpose in life, the subject instead witnesses their own deteriorating mental posture. As a means of overcoming assumed existential risk (the hurdles of our great filter), the subject looks above and within believing that they alone have been chosen to solve the problems that our species faces. Images of Eva Szasz' 1968 short film Cosmic Zoom, produced by the National Film Board of Canada were cast over foliage to make for fitting imagery, complimenting the narrative."

- Justin Cober from Yoo Doo Right

Watch the video for “Don’t Think You Can Escape Your Purpose” below


DON'T THINK YOU CAN ESCAPE YOUR PURPOSE


Available in digital, LP & CD formats via Mothland on May 21, 2021

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1. A Certain Sense Of Disenchantment
2. 1N914
3. Marché Des Vivants
4. The Moral Compass Of A Self-Driving Car
5. Don't Think You Can Escape Your Purpose
6. Join, Be Curst
7. Presto Presto, Bella's Dream
8. Black Moth


All songs written by Yoo Doo Right.

Tracks 1, 2, 3, 7 and 8 recorded by Guillaume Chiasson at Le Pantoum, Québec City. Tracks 4, 5 and 6 recorded by Sébastien Fournier at Hotel2Tango, Montréal. Mixed By Guillaume Chiasson. Mastered by Harris Newman at Greymarket Mastering, Montréal. Artwork by Louis-Alexandre Beauregard.


Yoo Doo Right

Instagram | Facebook | Youtube

Bandcamp | Spotify | Apple Music

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and 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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Review: Priors Break-In 2021 With My Punishment on Earth

 

If you’re a fan of the Montreal rock n’ roll outfit Priors, you may have been wondering if they were ever going to fulfill their promise of a third release before the close of 2020. Luckily for all of us, they stayed true to their word and saved the New Year with a 10-song LP titled My Punishment on Earth.

The album leans heavily into synth sounds and channels a raw, pent-up energy that feels fitting after a seemingly stagnant year spent in isolation. “Astral” is an especially propulsive track that will have you bouncing off the walls with its avalanche of thumping drums and a driving chorus that exponentially builds up until the end - peak avalanche. The other  stand-out track is “Fox Force Five,” which features a downright menacing guitar riff - and is accompanied by an appropriately murderous music video, to boot. 

As is characteristic of their music, Priors’ My Punishment on Earth is a taut listening experience - and with its clocking in at just over 26 minutes, you’ve got to be committed to the intensity. However, there’s a contemplative air instilled among the controlled chaos. The opener is a punchy psychedelic number alternating between a relentless bass hook and blasts of distortion. A meandering guitar threading its way throughout makes the songs feel unexpectedly experimental, while the lyrics are suitably doom and gloom, taking you on a deep-dive into the sinister subconscious milieu.

A few of the tracks are recognizable from pre-pandemic sets, but are now presented in a more polished digitized form. It’s a matter of personal preference whether you like the clean cut versions over the raw sound of a show, but there’s no arguing that the blend of guttural garage punk with an electronic edge has been a core element of the band’s sound since the start - and it works effortlessly here.

Most of all, this LP makes me miss rubbing shoulders with fellow dive bar aficionados. Here’s hoping for that day to come soon. You can find both digital and vinyl versions of the album on Bandcamp

Priors are Chance Hutchison, Stuart Buckley, Alan Hildebrandt, Drew Demers, Seb Godin, and Maxime Desharnais.

Priors

Instagram | Bandcamp | Big Cartel Store

Written by Alex Kerkhoff

Instagram

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