Carl Schilde Channels Lost California Sound on EUROPOP (Fun In The Church)

Carl Schilde. Photo courtesy of Colin Medley

For each of us, life seems to lead to experiences unexpected; it can shift us from one location or another, however much that may or may not be “part of the plan”. EUROPOP, the debut solo project from Toronto-based, Berlin-born Carl Schilde, is a subversion of the cumulative expectation of “making it” as we’ve been conditioned to think. Rather than focusing on the prospect and ruminating on what could’ve been, its tone seems to bask in the fantasy poolside in the Laurel Canyon heat, already at terms with what is.

The album was recorded following a relocation to Los Angeles, California, which eventually culminated in what Schilde describes as a “disappointing experience”. It’s also a love letter to the lost records and projects of the 70s, such as overlooked post-Pet Sounds projects by The Beach Boys and the sounds of country and folk demos.

“I had a bit of a music burnout and moved to Toronto to be with my wife. I took a year to work at a brewery and not focus on music, just to have that distance,” says Schilde. “I was feeling out of time and out of place myself, so I projected that into the music by sounding like some demo from ’78 that never got heard.”

Carl Schilde. Photo courtesy of Colin Medley

EUROPOP’s mood is dream-like, woozy and thick with atmosphere, featuring deep baritone vocals by Schilde recorded in their Toronto basement. In tone and sound, the record could be compared to contemporary artists such as the late Leonard Cohen, or sonically similar to Timber Timbre’s 2014 release Hot Dreams, which was also reminiscent of heyday 60s/70s Hollywood and the spaghetti Western soundtracks of the time by Italian composers. 

The album kicks off with “Top 40”, the lead single from the album. Croons from a steel lap guitar wax and wane against a constellation of synthesizer notes in the background mix. Schilde’s lyrics seem to speak to an unnamed friend, ruminating on success and its ethereal nature:“We heard your record did well in Germany / And what’s worked there must surely work here / Let’s see if it melts in the California heat / Like a candy in a wrapper / or an apple out of reach” .

‘“It’s definitely about disappointment and dealing with that in an ironic way,” says Schilde. “It’s an elevated version of myself and it makes fun of that ego, of wanting to be successful.”

During our interview, Schilde and I discussed his curiosity for “pop music trickery”, referencing the later releases by Brian Wilson and The Beach Boys, as well as Italian soft rock records. The album’s second track, curiously titled “John Stamos”, is a deep-cut Beach Boys reference, as the Full House actor is actually a current touring member of the reformed Beach Boys.  “I’m a big Beach Boys and 70s music fan. Their sound fascinates me; [it’s] rooted in 50s doo-wop harmonies.”

EUROPOP is Schilde’s first time singing lead on a project and producing their own vocals. They remark the greatest challenge they had during the recording process was adapting their production style to fit their own vocal range. 

“The process of recording was very intertwined with the writing. You find your zone where a limited voice [range] does work and try to capture spontaneous moments. Everything I have [in my home studio] is set up for spontaneous workflow.”

Carl Schilde. Photo courtesy of Colin Medley

Schilde is the primary producer of the record, with some assistance from bandmates on backing instruments, and supporting vocals from Schilde’s partner that harmonize with his own. 

“Roadworn'' is a great example of Schilde’s ability to layer sounds and stack textures: phased filtered guitar tones harmonize through a cloud of static and feedback. See also “Landline” parts one and two; the latter is an instrumental highlight of the album, featuring well-stacked vocals like one long exhalation that relieves the weight from your shoulders. 

“Even two-part harmonies, like Simon and Garfunkel, there’s definitely a magic there,” says Schilde, “I think it can change meaning to the lyrics if there’s another harmony.”

The album does eventually reach cruising altitude in the latter half by the track “Phase”, which brings some welcome grand piano chords and more aggressive drums into the mix before eventually dissipating before the ephemeral ballad track, “The Master Tape”.

Schilde is well aware of the irony of the album’s title, considering the project grew from an experience in and was produced in North America. “It's definitely an ironic title. People talk about how ‘Europop is euro-trash’ … as if to say it's not real music. The record doesn’t sound like a Eurodance record [from the 70s].

Schilde also remarked how audiences and communities perceive musically differently in Europe compared to North Americans. “There’s a different sensibility,” says Schilde. “Living in North America now, I realized the only kind of music I can make is Europop, in a way. 

“I’ll always be myself […] even if it doesn’t sound like that.”

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EUROPOP

Released on February 4th, 2022 via Fun In The Church

1. Top 40

2. John Stamos

3. Roadworn

4. Soft Dads

5. Landline Pt. I

6. Landline Pt. II

7. Phase

8. The Master Tape

9. Blue Rinse

10. Credits

All tracks written, arranged and produced by Carl Schilde

Vocals, guitars, pianos, synthesizers, bass, percussion & drum machines by Carl Schilde

Additional vocals by Laura Gladwell

Drums by James Yates

Recorded and mixed by Carl Schilde at home in Toronto, Canada

Drums recorded by James Yates at Majetone HQ in Newhaven, UK

Mastered by Dave Cooley at Elysian Masters in Los Angeles, USA

Vinyl cut by Sidney Claire Meyer at Emil Berliner Studios in Berlin, Germany

Artwork design by Sebastian Schäfer

Illustrations by Judith Holzer

Super 8 footage by Carl Schilde

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Carl Schilde

Website | Instagram | Bandcamp

Facebook | Spotify | Apple Music

Gabriel Lunn is a writer, multimedia journalist, and pop music enthusiast based out of Victoria, BC. When he isn’t trying to decipher the human condition, he can usually be found going for long runs or collecting vinyl records he really doesn’t need.

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Scarlet Rae Shares Dreamy Music Video for "Seems Like Forever"

Scarlet by Jason Renaud

Waking up from a mid-day nap in the winter, getting lost on your way home from the metro, working too much and forgetting to make plans with your friends... The icy vulnerability of January requires a soundtrack that's just as emotionally heavy. Scarlet Rae's latest single, "Seems Like Forever," is the perfect addition to your hibernation playlists.

Scarlet is an independent artist originally from Los Angeles and now based in New York City. She was previously in a band called Rose Dorn (Bar/None Records) and has since launched her solo career with previous singles "Parachute" and "Going Through." Her tender approach to the singer-songwriter style will find fans among those of Cryogeyser, Momma, and waveform*.

Scarlet by Jason Renaud

"Seems Like Forever" is a preview of her upcoming album (set to be released later this year) and draws on inspiration from Elliot Smith, Bright Eyes, and Sparklehorse. 

The track is accompanied by a music video directed by @surfgang1 @harrrrisonnnn @isawdottie, and was mixed by @aron.kr and mastered by @timothystollenwerk.

Watch "Seems Like Forever" below

Scarlet Rae

Spotify I Instagram I YouTube

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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TikTok Star Aqyila Shares Viral Hit "Vibe for Me" Visualizer and Shares Her Creative Journey (Sony Music)

Aqyila by Zahra Siddiqui

Whether you're obsessed with it or are totally freaked out by it, the power of TikTok is undeniable. Ok, I know that sounds scary, but hear me out. The all-too-powerful algorithm has connected communities, raised awareness of different issues worldwide, and even launched careers. 

One of those careers being that of Aqyila, a Mississauga-based R&B singer and songwriter. Her TikTok hit "Vibe For Me (Bob For Me)" went viral, which went on to be covered by Lizzo, and eventually caught the ear of Sony Music, who has since signed her. 

We caught up with Aqyila about her TikTok journey, her musical beginnings and more. 

Malaika for Also Cool: Hi! Let's start with a little intro, who are you, and how did you get into music?

Aqyila: Hi! My name is Aqyila, and I'm Jamaican-Canadian. My mom's from Kingston, and my dad is from St. Thomas, but I was born here. I started singing when I was in grade five. I actually wrote a song for my mom at a talent show called "Momma," which she loved, of course. From there, I continued to write more and more songs over the years, filling up songbooks as I went. I started doing covers on YouTube and slowly transitioned to all the other socials media, and now have been focusing on TikTok.

Also Cool: What's the music scene in Mississauga?

Aqyila: It's cool! The whole set is really into hip-hop and R&B, and the vibe is just amazing. There's a ton of talent; it feels like a hidden gem. Until I got signed, I was doing everything alone in my room, but lately, I've been doing sessions with so many talented people.

Also Cool: I'm also obsessed with TikTok and have found it a great tool to connect with community, and I'm really interested in your experience with that.

Tiktok matches you with anything you like, and I interacted with a lot of singers and people who are into music. 

Aqyila: It's funny because I never really took TikTok seriously; I had just downloaded it in quarantine, like everyone did. I tried to dance and stuff (laughs) initially, and then I said never again. I then tried makeup and lipsynching to random videos, but that didn't feel right either, so I decided to sing. 

The first video I made didn't really go anywhere, so I kind of doubted myself, but I tried again and sang "Here" by Alessia Cara, and that one went viral. I started getting song requests and gained a following for my singing. After that, I did an Ariana Grande song, and then I did "Bob for Me." I was in my room, late at night, searching for beats to sing to on YouTube when I came across PDub's channel. He collabed with Thomas Crager on that song, and then he said, "Oh baby, it's the vibe for me," which initially inspired me. I didn't take it too seriously, though and put the video in my drafts and eventually posted it, not thinking too much of it. I went to the kitchen to make food, and when I came back, my phone was blowing up, and I was scared people were dragging me because you never know how TikTok can go, but people loved it! They were using it as a sound, wearing wigs, and doing dances, and it went viral. 

Once it went viral, people were asking me to sing "vibe" instead of "bob" because they didn't own wigs, and once I did that, they asked me to write a whole song. It was December 26th, and I recorded the full song, asked the producers for permission to upload it on all the streaming platforms, and they were like, "Go for it!" After that, it hit 1 million streams in one month, with no ads or anything.

AC: It's crazy how fast things go viral! It's really 0-100.

Aqyila: For sure! I feel like it's great if you're a singer or a producer on the app, and you want to get yourself out there; you should just start posting! You never know what will happen.

AC: I think that's really great advice because people often get so in their heads about posting. I feel like Instagram has tried to make us perfect all the time, and TikTok feels so much better relaxed. You'll find people with who you connect, so it's easier just to be yourself.

What have you learned about yourself in this whole process? Whether it be in the context of the music industry or just on TikTok? 

Aqyila: Haha, well, I'd say sleep! (laughs) I'm a night owl, and I'm always up late working, but I've learned to I need to rest. I'd also say that I've learned that I really like working with people because, like I said, I've always just been alone in my room, making music. It's a very different experience to collaborate so much, but I really enjoy it. 

AC: So looking forward, what's next for you in 2021-22?

Aqyila: Well, for now, working with producers has been amazing, but I'm just going to be working really hard on my music in general! I have a music video coming out soon, and I'm hoping to come out with an EP as well.

Otherwise, I'm working hard on my brand LuxeBa; I'm going to start working on an inclusive and eco-friendly clothing line. I've been working on it on and off since 2018 but worked hard on my rebrand throughout 2020, and I'm just really excited for what's the come.

Stay tuned for her upcoming music video for “Vibe for Me (Bob for Me),” to be released on August 25th. 

Aqyila

TikTok I Instagram I Facebook I Twitter

YouTube I Spotify

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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Premiere: Queer Cowgirl Crooner Fliss Makes Her Debut With "Comfrey and Calendula"

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“Comfrey And Calendula” cover art by Emily McPhee

“‘Comfrey and Calendula’ is the most vulnerable song I have written to date. The process of writing it and performing it for the first time was extremely cathartic and healing for me. Now it’s time to put it out into the world.” - Fliss

Meet Fliss, a self-described queer cowgirl crooner from Ottawa, Canada. Today, Fliss makes her debut with “Comfrey and Calendula,” a song written straight from the heart, and her most vulnerable work to date. The single teases at her to-be-released EP (out sometime in the early new year), which marks an exciting new direction for the singer-songwriter as a solo artist after finding her creative footing as the lead vocalist, guitarist and songwriter for dream-pop band Sparklesaurus. We had the chance to meet Fliss and chat about growing up in an artistic family, what influences her approach to making music, and her incredible group of friends behind her upcoming music video for “Comfrey and Calendula.” Read our full discussion below!

Zoë Argiropulos-Hunter for Also Cool: Hi Fliss! Thank you so much for chatting with us at Also Cool. To start, can you tell our readers about yourself and your artistic upbringing? 

Fliss: Thanks for having me! Well, I grew up in a pretty musical family. My grandparents on my mom’s side were folk singers in the 60s and 70s, my mom plays some piano, my dad played guitar, and I have many aunts and uncles who play music. I was always interested in music, but I really got into it when I got my first bass guitar around age 11. I fell in love with bass, but then I started writing songs and the guitar lent itself to writing more, so I picked up my dad’s guitar and started teaching myself chords. I had an uncle who gave me some pointers on bass and guitar, but my main way of learning was just getting tabs off the internet and printing out binders of covers. I pretty much always played in my room alone until I was 16 or 17, when I finally gained some confidence — with the help of my high school music teacher — to sing in front of people. I hadn’t even really sung much in front of my family before then. Only my mom, if she promised not to look at me! 

Also Cool: You're now branching into a solo act while also being a member of the Ottawa band Sparklesaurus: What has embarking on this project been like so far? How has your approach to songwriting changed, or perhaps adapted, now that you're working alone? 

Fliss: Sparklesaurus has sadly disbanded for the foreseeable future, so I’ve really been focusing on this new project. I had quite a few songs in the vault already that didn’t really work for the Sparklesaurus sound and style, so some of the songs on the upcoming EP are ones I wrote a couple years ago. Others are more recent. I guess my songwriting approach has changed a bit in the way that I don’t really need to think about if the song will be a good fit or not for the band’s sound or whatever. I don’t know if I did that too much anyway when writing, but a lot of the time with Sparklesaurus, I would bring a song, and together we would kind of experiment and decide on what the vibe and arrangement would sound like… If we should add a bridge here, or a solo here, or things like that. Some songs worked for the band, and others didn’t. I definitely miss the aspect of bouncing ideas off of each other and the camaraderie. On the flip side, maybe there’s a bit more freedom to just follow whatever creative direction that is inspiring me.

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Fliss, photo courtesy the artist

AC: On that note, you describe your music writing style as "introspective and untethered": What inspired this approach to music-making? 

Fliss: I am a quite introspective, sensitive, and very emotional person. So I am always writing straight from the heart. It’s not really a conscious choice, it just happens that way. It’s very scary and vulnerable to share your deep thoughts and feelings in such an open way, but I also think that it is extremely rewarding and, dare I say, cathartic. I try not to overthink my music and writing too much. I hardly ever go back and rewrite or change or tweak songs over and over again. Usually if I’m doing too much of that, I end up falling out of love with it and just kind of scrap it and start a new song. Only the [songs] I love the absolute most will make it onto the EP.

AC: So, without further ado, congratulations on the release of "Comfrey and Calendula!" When choosing a single to debut off a to-be-released album, what made you pick this one? Can you tell me about the song's significance to you, in your own words? 

Fliss: Thank you so much! Honestly, I did think about whether “Comfrey and Calendula” was the best choice for the first single or not. Mostly because lyrically it’s pretty bold, pretty intense, and pretty personal. I wasn’t sure if maybe I should ease people into my music with something less... Like that. Maybe something a little more fun or digestible. But, I decided to go with it because at the end of the day, it is probably my favourite song I’ve written, and I think the subject matter is important. It’s very close to my heart. So I really, really hope that it resonates with people. It was written when I was doing a lot of reflection and processing family-related trauma. It really poured out of me and it’s just really special to me. It would be so amazing if it touched even one person.

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Fliss, photo courtesy the artist

 AC: You also have a music video coming out soon for this track. Without giving too much away, can you tell us more about the creative process behind the video? 

Fliss: Yes! The video was written, directed, produced, and edited by Emma Lamarre, a really good friend of mine. Her and I brainstormed concepts, ideas, and shots, and she and another friend, Christine Loomans, put a storyboard together. Christine also co-directed and helped shoot, as well as helped with a bunch of logistical things. My other friend, Alazaar Dadi, also got some awesome drone shots! And my other BFF, Shamisa Schroeder, is animating the title. I won’t give too much away, but there is a group dance scene with choreography by my friend, Surraya Dawn. The credits for all the friends in the dance scene will be in the video. So, it was definitely such a collaborative effort and I feel so lucky to have so many talented, incredibly generous, and supportive friends who all contributed to making this truly amazing piece of art! 

AC: Before we let you go, is there anything you'd like to plug that you're working on? What can we expect to see from you in 2021, and how is the best way to support your work right now?

Fliss: The music video for “Comfrey and Calendula” will be out next week, on December 13th. The full EP will be finished and released in 2021. 

One really amazing way to support me would be listening, favouriting, adding the single to your playlists, and following me on Spotify — so that you will be notified of my future releases as well! Other than Spotify, you can follow me on Instagram. You can also buy the song on Bandcamp, if you’d like to support me that way. I am so amazingly grateful for any and all forms of support! Since everything is online these days, and especially right now, all the online support helps immensely. Drop me a message anytime. Oh and also! You can sign up for my email list at www.flissmusic.com for special exclusive releases, news, or things like that. For example, this month I am sending all my subscribers a couple of unreleased phone demos as a thank you for pre-saving the song. And thank you so much for supporting me by giving me a platform with Also Cool to talk about my music and help get the word out. I really appreciate it!

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Fliss, photo courtesy the artist

Listen to “Comfrey and Calendula”

Fliss

Instagram | Facebook | Website | Twitter

This interview was conducted over email and has been condensed and edited for clarity.

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