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

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Sunglaciers

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Rebecca Judd is the features editor of Also Cool Mag.

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The Dandy Warhols Go The Distance at Le Studio TD

The Dandy Warhols’ setup at Le Studio TD

2024 marks 30 years of The Dandy Warhols. The Portland psych-rock group have achieved a truly remarkable feat, with 11 studio albums and two compilations thrown into the mix. But with such a legacy comes the responsibility to uphold it, which poses its own challenges; many musicians hide behind the enduring glow of their greatest hits, while others grasp so tightly onto the notion of reinvention that it slips through their fingers. Where do the Dandy Warhols go from here? 

Last night at Le Studio TD, they attempted to chart this very course. Montreal marked the halfway point of The Dandy Warhols’ Spring 2024 tour, with this stop falling just days before the release of their twelfth record ROCKMAKER. An occasion full of promise for the Dandys and their devotees – and one that fortunately (mainly) delivered.

The Dandy Warhols capitalized on a roaring welcome by settling nicely into “Ride,” dousing the audience with a sea of shoegaze. Keyboardist/percussionist Zia McCabe commanded the stage all night, handling multiple instruments with ease as her auburn hair billowed in the air. Moving through the ROCKMAKER single “I’d Like To Help You With Your Problem” and synth-disco smasher “We Used To Be Friends” felt similarly organic.

Zia McCabe of The Dandy Warhols

Zia McCabe of The Dandy Warhols

Despite the heavy fluorescent haze, the middle of the set is where things hit a slump. For something that boasts such a distinctive distortion, new tune “Danzig with Myself” (a Frank Black collab) felt lost in the shuffle. A string of Dandy classics seemed to melt into each other, though fans who prefer the band at their breeziest may not have minded. I was grateful for the jolt of B-52’s-esque “The Summer of Hate” and the clarity of “The Last High” to lift the spell. At least Courtney Taylor-Taylor’s obligatory French quips proved charming to the crowd, with the lead vocalist joking that he was working his way up to “chewing out a waiter.” Priorities!

Judging by the resounding reaction, it was the seething bite of “Godless” that brought the Dandy Warhols back to where they needed to be. Just in time, too, for the sticky-sweet “Bohemian Like You” deserved such respect. (I am a Gen-Z music writer – I would be remiss if I did not attach great significance to the soundtracks of DreamWorks Animation films.)

Brent DeBoer and Courtney Taylor-Taylor of The Dandy Warhols

17 songs later, many fans would have been content to keep going, but McCabe drew the night to a close on her MS-20. “Let’s not wait so long,” urged McCabe, offering “je t’aime” before she departed the stage. While several people scattered around to try and find Taylor-Taylor’s guitar pick, other groups could be heard eagerly speculating on ROCKMAKER’s sound. 30 years have come and gone, but the Dandy Warhols continue to juggle an illustrious catalogue with that trademark satirical spark.

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The Dandy Warhols

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Rebecca Judd is the features editor of Also Cool Mag.

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Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

The Ottawa music community holds its own close, so it should come as no surprise that Pony Girl’s album release party at Club SAW was a dazzling affair. Marking ten years since their debut record, Pony Girl has stepped into a complex new chapter with their latest album Laff It Off.

The night began with a charming set from Luella, the musical project of Kingston’s Liv Whitfield. Although her debut album Luna was released just one year ago, Whitfield carried a seasoned air of confidence throughout her performance. Whether she was behind the keys or crooning into a telephone, her dreamy indie-pop melodies wafted through the air, matched with playful lyrics on love (or a lack thereof). 

Leading up to Pony Girl’s set, attendees shuffled in the glow of a custom Laff It Off neon sign, feet surrounded by smiley-face balloons – an inviting scene, complementary to the album’s disposition. The room began to swell with anticipation.

Laff It Off sign for Pony Girl’s album release tour

Pony Girl emerged on-stage to a sea of applause, with band member Yolande Laroche sporting a Luna T-shirt. Within minutes, the audience was swept up in Laff It Off’s lucid narrative, swaying and screaming the words we all know to be true: “I don’t want to be working every day, I don’t want to be working every day.”

The art-pop group has garnered acclaim for their layered approach to experimentation, and even further acclaim for the way that translates so harmoniously into their live performances. The arresting vocoder yelps of Laroche and bandmate Pascal Huot, the mesmerizing proficiency of Mili Hong on the drums – it’s a thrilling experience to watch all the pieces of their puzzle fall into place.

But for a band that has seen so much recent success, including a record-high of five nominations at last year’s Capital Music Awards, Pony Girl has not compromised what it means to be vulnerable. Huot meandered through the crowd during “Wannabe,” illuminating his visage while mutedly pondering his—and our—roles as entertainment. “Age of Anxious,” the standout track from Pony Girl’s previous release Enny One Wil Love You, reverberated with conviction as its distressed musings on the grip of technology rang true.

As Pony Girl continues to find their place in these convoluted times, one thing is certain: Ottawa will be listening.

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Pony Girl

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Rebecca Judd is the features editor of Also Cool Mag.

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Vanessa Tha Finessa Talks Her Talk on EP "CURRENT" (Foundation Media)

Vanessa Tha Finessa by Matthew Cowen

Propelled by the winning combination of bad-bitch charisma and savvy lyrical chops, Vanessa Tha Finessa can’t lose. The Los Angeles-based rapper recently gifted her EP CURRENT to the world – an artful appetizer that leaves no choice but to indulge.

While CURRENT marks Vanessa’s first release, it stands on the shoulders of an expansive sonic rolodex. The Ghanaian-born talent grew up surrounded by hiplife and dancehall alongside American pop music, and immersed herself in artists like Mac Miller and Nicki Minaj when she came Stateside. She was then scouted by casting director Sarah Benjamin after college, courting the fashion world by modelling for campaigns with Nike and Milk Makeup and posing for the covers of 10 Magazine and WWD.

All of these influences are front-and-centre on CURRENT, manifesting themselves as commanding Afro-fusion drum loops and an air of self-assuredness. “I birth these bitches like a doula / Head game crazy, can’t stay out his medulla”, Vanessa snarls mere seconds into opener “Talk Tha Talk”. The bouncy “Top Notch” layers punctuated claps over an echoing chorus: “Yeah, come rock my boat / ‘cuz it’s Murder She Wrote.” Vanessa knows what it’s like to be in-demand: her style toes the line between slapping you with both hands and being too chic to care.

Her decision to change lanes and emerge as a musician first came after a chance encounter with Smiles Davis at an LA party. The DJ and producer picked up on Vanessa’s wit, helping her to record the carnal “Run It” in 2019 (which went on to be featured on Showtime’s Flatbush Misdemeanors). The track is infused with a vaguely-industrial sensibility, peppered with steady claves and distorted vocal layers. Its inclusion in the middle of CURRENT seems to serve as a cleansing vignette of the artist’s first steps. Though a touch less tuned-up than the duo’s other collaborations, “Run It” succeeds at archiving an undeniable spark.

Spanning five tracks altogether, the fluidity with which CURRENT unfolds offers an intriguing testament to Vanessa Tha Finessa’s fast-paced life. An individual of many accomplishments who seems to tower above them all – reaching beyond artistic discipline to capture the weightlessness of poise.

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CURRENT

Out May 25, 2023 via Foundation Media

1. Talk Tha Talk

2. It's You

3. Run It

4. Counterfeit

5. Top Notch

Produced by Falcons, Karats, Smiles Davis, and Royal Bait

Album photography by Matthew Cowan

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Vanessa Tha Finessa

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Rebecca Judd is the features editor of Also Cool Mag.

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Tennis' Love Sprawls Towards the Sun on "Pollen" (Mutually Detrimental)

Tennis by Luca Venter

With the release of Pollen, the latest chapter of Alaina Moore and Patrick Riley’s love story has unfolded. The indie pop duo better known as Tennis has captivated audiences for over a decade with their signature lovesick mystique, and with its mellow delivery and emotive conviction, this sixth studio album carries the torch.

On the foundations of Pollen, Moore notes that the pair set out to produce an album that gestured more definitively towards the mainstream, and balanced their dexterous production with a clearer concentration on affective lyricism. The inspirations behind the record narrow down—in the loosest sense of the phrase—to “small things with big consequences: a particle, a moment, a choice.” 

Indeed, the overarching feeling across the release is that a psychic balance is at stake. Simple motifs like a summer breeze or a winding road act as vessels of complexity; Moore remains fixated most steadily on the gravity of her devotion and its ability to topple over. 

Album opener “Forbidden Doors” sets an arresting stage, with Moore’s inquisitive recollections layered overtop of a satisfying bassline. The folk-rock grit on “Glorietta” feels exciting and unexpected, with crispy feedback bookending subtle swipes: “Their patriotic displays are so loud / They’re controlling Eden from the clouds / You can’t resist the urge to dominate / Like it’s written in your DNA”. The sharp retro-pop production that encapsulates Pollen is best exhibited on “Let’s Make A Mistake Tonight”, with a late-disco groove and an earworm of a bridge elevated by Moore’s syrupy-sweet tone.

In comparison to this bold start, the second half of the album feels a bit more familiar. This is not to say that it’s disappointing—devotees of the duo will find plenty to enjoy—but certain moments fade with a passing sigh that feels comparatively less impactful. “Paper” has this floating quality that feels like the song’s on the tip of your tongue – its airiness complements Moore’s confessions of uncertainty. “Gibraltar” sparks some intrigue with its vocal melodies and psychedelic licks but doesn’t land as convincingly as its counterparts.

Ultimately, Pollen builds on the sophisti-pop legacy that Tennis has cemented, sprinkling tasteful experimentation throughout a timeless musical premise – the overpowering beauty of a love that lasts.

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Pollen

Out February 10, 2023 via Mutually Detrimental

1. Forbidden Doors

2. Glorietta

3. Let's Make a Mistake Tonight

4. One Night with The Valet

5. Pollen Song

6. Hotel Valet

7. Paper

8. Gibraltar

9. Never Been Wrong

10. Pillow For a Cloud

All songs written and produced by Alaina Moore and Patrick Riley

Drums and engineering assistance by Steve Voss

Ambient noise on “Gibraltar” by Griffith James

Latin translation on “Never Been Wrong” by Alan Sumler

Mixed by Claudius Mittendorfer

Mastered by Joe LaPorta

Album artwork by Luca Venter and Allison Freeman

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Tennis

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Rebecca Judd is the features editor of Also Cool Mag.

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Late Nite Laundry Makes a Mesmerizing Return with Self-Titled EP (Acrophase Records)

Late Nite Laundry by Charlie Young

Faced with the unavoidable turmoil of cancelled gigs and changing circumstances, Late Nite Laundry had no choice but to find their footing and start anew. The Chicago psychedelic soul band—composed of guitarist Ari Lindo, bassist and designer Emily Burlew, keyboardist, engineer, and producer Brenden Cabrera, and drummer Alex Santilli—has re-entered the scene with a crisp and noteworthy EP, Late Nite Laundry, out via Acrophase Records.

Featuring Lindo and Burlew on vocals, the EP hits a breezy stride as it flirts with elements of Brazilian jazz, bedroom pop, and R&B. Encompassed with a dazed warmth, its four tracks stand apart and—at once—melt together. Let Late Nite Laundry wrap you like a cozy plush blanket and sink into the richness of its sound.

Rebecca Judd for Also Cool: Stylistically, your band takes influence from a wide variety of genres and eras, which culminates in a warm and comforting blend of psychedelic soul. Which sonic inspirations did you reflect in this EP?
Late Nite Laundry: In 2020, we recorded and released a project titled The Michigan Tapes that we believe initiated our new sound. It was our first experience self-recording and producing, which we did in March 2020 soon after the world entered lockdown. We took those same practices and applied them to a more refined recording process over the last year [when making this new EP]. Although we are heavily inspired by many genres and bands as individuals, we rarely reference specific artists between ourselves. Instead, we are inspired by individual elements within our favourite music and [find that] each member brings a different flavour to the table.

Also Cool: Your band underwent a fundamental transformation with the disruption of COVID-19 – you’ve previously mentioned that it was a time to “rediscover [your] sound and smoothen [your] process”. Can you elaborate on the ways in which this time redefined Late Nite Laundry as a band?

Late Nite Laundry: Without shows to play in 2020, [our] band regrouped with writing and recording sessions. Previously, we had only experienced recording in a traditional studio format. After the first EP, we wanted to stress experimentation and expand on the production process. Since then, all recording, production and mixing is handled within the group. This has given us the space to push our creative boundaries, while also developing our skills and relationships with each other.

Late Nite Laundry by Charlie Young

AC: Among the changes you experienced throughout the past couple of years was a change in lineup, with Late Nite Laundry’s original lead singer leaving the group. Nonetheless, you previously identified a sense of synchronism between the four remaining bandmates that led you all to push forward. Were there any defining moments where you felt this connection, or was it a gradual ease?
LNL: Naturally, we think it took time to rediscover ourselves. We spent a lot of our initial meet-ups at the practice space writing new material and reworking old songs. A clear moment in our memories was when our song, “Fantasy”, was first written. During a home recording session for the track, Ari [Lindo] began writing lyrics and sang upward of 100 recorded vocal takes. This was a defining moment for the band, because at the time we had contemplated auditioning for potential singers. Releasing that song was a symbol of what we had become and it clearly established Ari as the new lead vocalist.

AC: I’m particularly interested in the duality of “Floating”, which closes the EP. There’s a feeling of one’s resurgence and contentment that soars past memories of a fragmented relationship. I found myself swept up with its instrumental jazzy vibrance and hungry for more all too soon. Which emotions and decisions went into this track, and how are those contrasted or connected with the rest of the EP?

LNL: This was one of the first songs first ever created for Late Nite Laundry. Ari started writing it in 2016, before the band began. It talks about Ari’s first relationship with his high school sweetheart, and it’s intended to capture the euphoric highs and deep pains that he associates with this time. Ari also has a special musical ability to weave into different styles.

This song really shows our indie styles on the choruses with the layered lead synth sounds, but subdues you with witty chord writing on the verses. The outro of the song has always felt like a different planet from the rest. Everything from psychedelic harmonious textures to Alex [Santilli]’s tasty drum fills, the ending ties in the sound that Late Nite Laundry truly represents. We feel like there’s examples of this in all of our songs.

AC: With this new release, what are your plans for re-introducing Late Nite Laundry to the world? Which directions are you next hoping to explore as a band? 

LNL: Now that the EP is out, we are focusing our efforts on touring and promoting the project across North America. Outside of performing, we are a group that consistently writes and records. Naturally, there’s a lot of musical ideas flowing in our brains whether in demo form or just jammed out at the practice space. What we definitely look forward to the most is playing and making music. Sometimes, that means hanging in each other’s living room, jamming at the spot, or getting away to a cabin in the woods (like for The Michigan Tapes). We’re not sure what we will release or when, but our engines never seem to turn off.

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Late Nite Laundry

Out November 4, 2022 via Acrophase Records

1. Hold

2. Sizzle

3. Hi, Can You Hear Me?

4. Floating

Written and recorded by Late Nite Laundry

Engineered by Brenden Cabrera

Mastered by Kelly Hibbert

Photo by Charlie Young

Album design by Emily Burlew

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Late Nite Laundry

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Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool's M For Montreal Top Picks: Round Two

Priors by Lynn Poulin

The 17th edition of M for Montreal begins tomorrow, November 16th, and the city’s music scene is positively buzzing with anticipation. With emerging and established artists from coast-to-coast (and then some!) expected to set the night on fire, it’s hard to resist a taste for what’s to come. Luckily, you don’t have to – Also Cool is here to help, with our second round of selections from this year’s M for Montreal lineup. Be sure to check out our first round, too, and then get busy with your own scheduling… accompanied by our festival playlist, of course.

Priors 

Montreal mainstay punk quintet Priors nose-dived into this past spring with their latest EP NEWNEWNEW. Complete with signature lassoed thrashing and low-fi grit, the band’s punchy ardour remains as they return to the stage from an all-too-familiar pandemic lull. We’ve been parched for a loud gig and are ready to be tossed around by Priors’ angular flirtations. Sandwiched on an absolutely stacked festival lineup—co-presented by Mothland—including Crasher, Absolutely Free, Gloin and Grim Streaker, Priors and their entourage of feather-rufflers are guaranteed to stir up an evening of danceable DIY fervor. 

Priors plays La Sala Rossa on Friday, November 18th at 10:00 PM. 

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Priors

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Emma Beko by Samuel Fournier

Emma Beko

If you’re not already familiar, the sinister stylings of Montreal-based rapper Emma Beko are bound to break your heart. Since rising in the scene as one-half of Heartstreets, Beko has refined her solo sound and tilted heads for her candid and grungy stream-of-consciousness flow. The release of Beko’s latest EP Superficial Stains fits comfortably into her catalogue, fresh off the heels of Digital Damage from earlier this year, so expect a show filled to the brim with lyrical gut-punches. Catch Emma Beko alongside SLM, Lary Kidd, and more for an unforgettably dynamic hip-hop showcase.

Emma Beko plays Club Soda on Friday, November 18th at 8:00 PM.

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Emma Beko

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NO WAVES by Malaika Astorga

NO WAVES

Our favourite Montreal Gen-Z punks will be playing the festival this year, so naturally we couldn’t help but add them to the group. From playing absolutely packed free outdoor shows where the crowd takes over the stage, to opening for NOFX and playing FME over the summer, NO WAVES continues to hold their own in the local rock scene. Stay tuned for an upcoming interview with the band by one of their peers, and in the meantime, catch them at M!

NO WAVES plays with Mobina Galore at Turbo Haüs on Saturday, November 19th at 10:00 PM.

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NO WAVES

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Grim Streaker by Kevin W Condon

GRIM STREAKER

Playing alongside many of our faves—like Gloin and Priors—in the Mothland showcase this week, Grim Streaker made an impactful first impression on Also Cool at this year’s FME Festival in northern Quebec. Singer Amelia Bushell’s stage presence is direct and haunting – a worthwhile experience to feel totally undone by her stare. The band’s song “Mind” captivated us for a month after the festival, and they’re here in Montreal for more to see! Grim Streaker specializes in the genre-bending punk tunes that seem to reach out and grab you by the collar – they would be a shame to miss.

Grim Streaker plays at La Sala Rossa on Friday, November 18th at 9:00 PM.

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Grim Streaker

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M For Montreal

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Maryze Drops Sinister New Music Video for "Emo" (Hot Tramp Records)

Still from “Emo” by Maryze

Spooky season has reached its peak, and Montreal’s alt-popstar Maryze is here to celebrate with a brand-new music video for “Emo”. The single first garnered nostalgic admiration upon the release of 8 — Maryze’s debut album, out earlier this year via Hot Tramp Records — for its torment and evocation, reminiscent of artists like Green Day and Avril Lavigne. With the release of this video, Maryze sculpts a queer love story turned horrifically upside-down.

Still from “Emo” by Maryze

The self-directed video begins with a tender honeymoon phase between Maryze and model/artist Brit Carpenter. The pair is depicted lounging on the bed and laughing through skateboarding lessons, entangled in the purity of infatuation. But their spark turns into a destructive flame, with angst and toxicity steering their relationship out of control and towards a bloody end.

Detailing the theories behind their grungy and dysfunctional nightmare, Maryze shared:

I always seek out queer representation in horror, so this music video is my little contribution. I also feel like queer narratives lack the nuance that straight relationships receive in film, so I wanted to portray all the sides of the story, from beautiful tender moments to scary unhealthy fights. The horror aspect is left pretty ambiguous and moves into a more experimental art direction. We set out to use horror devices to illustrate the toxicity of relationships without having any explicit on-screen violence. I wanted the viewer to be left asking: “who killed who?”

To fully realize her cinematic vision, Maryze created the video concept with horror screenwriter Joel H. Brewster. The visuals were shot by artist Janette King and edited by Solomon Krause-Imlach, who also produced the song.

With its gory and gruesome complexity, this depiction of “Emo” fits magically within Maryze’s universe of transcendence.

Watch the video for “Emo” below, and catch Maryze DJing at the M for Montreal after-party (co-presented by Hot Tramp and Also Cool)!

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Maryze

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Rebecca Judd is the features editor of Also Cool Mag.

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Homework, Cats, and Rock'n'Roll: An Unforgettable Evening with the Linda Lindas (POP Montreal)

The Linda Lindas by Zac Farro

Festival season in the city carries a potent charm, as it dusts its magic over sticky bar floors and croaking choruses. The venue-hopping antics of last weekend’s POP Montreal returned with a particular fervour, highlighting a stellar showcase of industry fixations both emerging and established. Among these acts were the Linda Lindas – the LA teen punks whose rise to the top has warmed hearts around the world.

As I stomped into Theatre Rialto for their headlining show, my first realization was the number of kids anxiously awaiting the group. This was not a surprise, necessarily, but more of an endearing reassurance; an element that would reinforce itself throughout the show was the Linda Lindas’ earnest awareness of their fanbase’s vast demographics. The show felt like a safe space for fans of all stripes – a place to indulge one’s wildest musical fantasies and learn what’s possible in the world of rock.

From that first note of “Linda Linda,” the band emanated rays of remarkably-infectious confidence. “I want you all to scream as loud as you can,” commanded guitarist-vocalist Bela Salazar, moments before vibrantly flailing during a strobey instrumental break. “I want us to get kicked out of the frickin’ venue.” The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night. Between coordinated sways and jittering struts, the group carried themselves with coolness that felt easy to absorb.

Eloise Wong, Bela Salazar, and Mila de la Garza of the Linda Lindas

Mila de la Garza and Bela Salazar of the Linda Lindas

What arguably felt coolest of all, however, was the Linda Lindas’ youthful sincerity. Guitarist-vocalist Lucia de la Garza rambled about homework with a shyness that felt all too familiar, and Salazar shared two goofy bangers about her beloved cats Nino and Monica. The Linda Lindas are nobody but themselves—Riot Grrrl apostles waiting on high school diplomas—and their authenticity made even the small talk about Montreal’s chilly weather feel charming.

The show came to a close with two numbers that shook the walls. “Racist, Sexist Boy” has garnered pandemic infamy with its rendition at the LA Public Library, but its disparaging grit hit Rialto with an authoritative new sheen. The audience kicked and screamed with bassist-vocalist Eloise Wong and drummer-vocalist Mila de la Garza as everyone slayed their own visions of racist, sexist boys. Closing out the show was a cover of Bikini Kill’s “Rebel Girl”, a mainstay of their shows that made it all the way to Amy Poehler’s film MOXIE!. Wong’s sheer joy in relaying the lyrics hit every heart in the venue. I found myself humming the song and reliving my own memories—juvenile cruises in my high school car, which I named after Kathleen Hanna—the whole way to the Diving Bell.

When the show wrapped, myself and many others lingered to reckon with the force of what we just heard. Gathered at the stage’s edge were many of those same kids, hoping for one last memory of their heroes before they jetted back Stateside. I smiled at one girl’s “Vive les Linda Lindas” sign, which made it onto the stage (with the band’s genuine appreciation) sometime in the evening. Another beret-capped girl was still glowing, swarmed by her friends to touch the guitar pick that Salazar handed her near the end of the night. As the four musicians waved their final goodbyes, Mila de la Garza asked Salazar which child made the “Vive les Linda Lindas” sign. Salazar pointed, and the duo smiled and waved. The pure hope and the punk rock fire in that preteen fan’s soul—two sensations that the Linda Lindas have proven can be compatible—surely never glowed quite as bright.

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The Linda Lindas

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Rebecca Judd is the features editor of Also Cool Mag.

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MTL's Prism Shores Releases Youthful Dream Pop Track "Tennis Shoes"

Prism Shores. Photo courtesy of Paul Atwood

Days away from the release of their debut album Inside My Diving Bell, Montreal-via-Charlottetown indie-poppers Prism Shores have released their latest single “Tennis Shoes”. Staying true to the band’s sonic influences of dream pop and shoegaze, the track sketches ponderances of malaise and angst that glide us perfectly into the fall’s chill.

Speaking to the track’s deeper construction, vocalist, guitarist and keyboardist Jack Mackenzie shared:

“It’s one of the oldest songs on the record, [and] we’ve been playing it live since about 2019. It’s one of the more mid-tempo moments on the album; our attempt at making a more sensitive track, inspired by both the angstier side of 80s UK indie on labels like Sarah Records and the 90s dream pop of bands like Luna, Pale Saints, Cocteau Twins, and Slowdive. It’s built around a rhythm section of bass, drums, and guitar tracked live to tape. Atop that are some 12-string guitar overdubs and two interweaving, droning lead parts by our guitarist Nathan [Cann] that really cement the atmospheric qualities of this track. The lyrics, like most songs on the record [Inside My Diving Bell, out September 23], take a reflexive, maybe navel-gazing approach. This record is like a coming-of-age document; the lyrics on this song find me wrestling with the more uncomfortable emotions and headspaces I found myself in heading towards my early twenties, feeling a sense of inertia or listlessness and wanting a change.”

The brooding uncertainty of “Tennis Shoes” offers a further taste of what is to come with Inside My Diving Bell, complementing the youthful insecurity of its previous singles “Acrobat” and “Diving Bell”. The rest of the record promises to deliver higher recording fidelity and new musical avenues for Prism Shores, all while balancing with its beloved sense of shambolic character through the natural energy of its live-off-the-floor bed tracks.

Recorded throughout the pandemic at Halifax’s Ocean Floor Recording, Prism Shores teases Inside My Diving Bell as a “scrappy, yet carefully considered proof of concept” — as the band contends with late-adolescent directionality and experiments with sonic depth, their debut full-length LP pledges to chart a promising course that is bound to resonate.

Stream “Tennis Shoes” below!

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Prism Shores

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Rebecca Judd is the features editor of Also Cool Mag.

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Isabella Lovestory, Dry Cleaning, Dune Rats and Pony Girl - Also Cool's Playlist Refresh

Pony Girl via Bandcamp

The first official weekend of summer is here, and Also Cool HQ’s Playlist Refresh will help you celebrate. Soak up our latest selection of the finest tunes on the block.

In need of some fiery new tunes to pump you up for a night out? Montreal sweetheart and pop star Isabella Lovestory has released her latest track “Cherry Bomb.” It’s a song for city girlies to hype each other up with, and perfect to get nasty to on the dance floor. Produced by Chicken, the swanky reggaeton single flaunts Lovestory’s prowess with a sugar-coated rush. Lovestory’s glossy self-directed music video complements the new single – watch it below.

Shallowhalo, NYC’s resident sparkly synth royalty, recently released their no-skip album No Fun — and “Yesterday’s Toy” has been on repeat since the drop. For fans of Strawberry Switchblade, Kate Bush, and Cleaners from Venus, the track is a shimmering cascade of sound perfect for your summer playlist.

With their second LP Stumpwork slated for October via 4AD, UK post-punkers Dry Cleaning give us a taste of the wonderful malaise to come with their latest release “Don’t Press Me.” Against the apathetic strut of vocalist Florence Shaw, the minimal and disjointed melody illustrates the pleasure of gaming and the enjoyment of intense and short-lived guilt-free experiences.

Shaw elaborates, “The words in the chorus came about because I was trying to write a song to sing to my own brain: ‘You are always fighting me / You are always stressing me out.'”

Watch the accompanying music video, animated by Peter Millard, below.

Hailing from Australia’s indie scene, the garage-punk vibrations of Dune Rats will pluck your heartstrings well into the weekend. Their latest single “Melted Into Two” sets a sunny scene for upcoming album Real Rare Whale, out next month via Ratbag Records / BMG. “Melted Into Two” was penned by Dune Rats along with DZ Deathrays’ Shane Parsons, and showcases some new thematic waters within a healthy dose of infectious melody. When asked about “Melted Into Two”, the rockers shared: 

"This song is the closest thing to a love song we've written. It grew from meeting a young couple at a bar who talked about a time when they were on acid and believed if they tried hard enough, they could melt into each other, creating one person. We reckon you can meet people throughout life, whether it be romantic or not, that you become so close too and in tune with, that you become one.”

To make you swoon a little harder, the music video beautifully interpolates the romance of Kelly Jansch—sister to bassist Brett Jansch—and her partner Ellie. Fall in love with “Melted Into Two” below!

NYC’s cumgirl8 have whipped up a fresh batch of angular electroclash, and it fits perfectly with that Saturday night stomp you’re bound to take. Enlisted as part of Suicide Squeeze Records’ Pinks and Purples series, the dance-punk group have responded with “dumb bitch.”

Emerging from a sinister bass underbelly, the track launches into an anthemic rebellion that pulsates with purpose. Bassist Lida Fox explains that “dumb bitch” was written to “...[explore] the space between romance, masochism, pleasure, narcissism, and the balance of how much we give and take in our relationships”. Its biting commentary skates across the gothic beat with ease, hooking listeners until the last drop. Stream the single below.

On National Indigenous Peoples’ Day, Toronto-based experimental shoegaze act Zoon (Daniel Monkman) shared their new EP Big Pharma. The album marks Monkman’s first release since their 2020 debut as Zoon, and features a star-studded list of collaborators that includes the likes of Leanne Betasamosake-Simpson, Cadence Weapon, and up-and-coming Ottawa-based artist Jasmine Trails. Leaning heavily into Zoon’s masterful musical world-building, Big Pharma also makes room for vulnerability from the artist between atmospherics. 

On Big Pharma, Zoon shares: 

“‘Big Pharma’ is about me trying to bring awareness about the pharmaceutical industry and their lies,” Monkman explains. “I talk about how they destroyed my community of Selkirk, Manitoba and many more small towns and cities. A whole generation completely changed in just a matter of five years, Families torn apart and loved ones lost to addiction and overdoses. Our treaty card ensures that our medical insurance is covered but a lot of the time the only medication that’s available for free is the stuff that’s most addictive. I found this alarming and made me connect the dots linked to an underlying form on genocide happening right under our noses.”

Stream “OopeeUm (feat. Jasmine Trails)” below.

Hull-based pop outfit Pony Girl kicked off the month with their new single “Age of Anxious”,  teasing their to-be-released album Enny One Will Love You out on Paper Bag Records October 14th, 2022. “Age of Anxious” is a glossy trip-hop lament to the woes of young adult life, laden with catchy hooks and Easter eggs throughout (including a saxophone solo!). Watch the music video below.

Central Frontenac’s Caylie Runciman—AKA Boyhood— has recently shared “Stroke It”, the second single from her upcoming album My Dread. Complete with Runciman’s signature contemplative instrumentation and frank delivery, “Stroke It” indicates a deepened confidence in her artistic stride. Runciman will be playing on the Saturday lineup of Ottawa’s DIY music festival Side By Side Weekend on July 30th at Club SAW. My Dread releases November 2022 and is available for pre-order here. Watch the official music video below.

Our Playlist Refresh series is available in full on Spotify – click below to stream the catalogue!

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Aura Moreno Affirms Life's Complexities with "A Love Story" (Part II)

Aura, photo courtesy of Ana Maria Hernandez

Today marks the Bandcamp release of A Love Story — the latest chapter in musician and creative Aura Moreno’s empire. The Providence-based artist is known for embracing her tastes and energies in all their forms, mixing them together with a charming and unapologetic confidence. With this latest mixtape, Aura leans into experimental textures, sensuous pop, and jolting effects to concoct an autobiographical roller-coaster ride.

After opening up to Also Cool about her formative experiences and creative stylings, Aura is ready to share more about what she believes and where she is headed. Continue on for the second-half of our heart-to-heart, where we explore the healing powers of expression and all the moves she is set to make.

Aura, photo courtesy of Ana Maria Hernandez

Rebecca Judd for Also Cool: In that vein, something that excites me with your music is how escapist it is, while also being contemplative and heartening. You describe your music as “crafted with the intention to dance, heal, and reflect” — many of your tracks convey that beautifully. Have you always incorporated affirmations into your music? 

Aura Moreno: Well, my music has always been honest and true to my experience, so I’ve incorporated affirmations previously, but unconsciously. With my album Understanding, it all was made purposefully, with intention. I needed to hear those songs and conduct that light energy.

Prior to creating that album, It had been brought to my attention that, back in the day when music came to be, people chanted to manifest a better life. To have a powerful frequency like that moving throughout the world, I began to think “Well, now that I know that, why would I just say any old rhymey thing on my songs?”  I’m using this talent to my advantage, to heal myself and to aid the healing of those who are listening! 

Also Cool: Absolutely. Your music has many powerful reflections on how individuals can treat themselves, but also how they can treat each other. I was just listening to “What I Want” [from Aura’s album Understanding], thinking about how I have friends who are going through difficulties. “Give them their flowers while they’re still here”  — that got me in my feels.

AC: How has music helped you to build yourself back up?

Aura: When I was introduced to 90s hip-hop, I was confused about life, feelings, and relationships. As I studied the music of artists like Erykah Badu, Jill Scott, Common, Tupac, A Tribe Called Quest, Slum Village, etc., they painted beautiful images of love and life. I really felt it, but more importantly I understood. That was life-changing.

Within my own work, I was going through it heavily when I started writing Understanding. There was so much shifting in my life: I had lost my apartment, I had no mentors or guidance, and quite a few of my close friendships were falling away, one of them of over 10 years strong. In the midst of all of this, I had lost my identity… I felt alone, hopeless and was deeply unable to validate myself. Creating the album (along with some prayer) was a big step in the process of getting back to my purpose and values.

I appreciate music so much, because every song I’ve made has been a footnote to circle back to. When I listen, I remember certain lessons I’ve learned, feelings or situations I’ve overcome. I’m able to reset, even if it might take some patience and reiteration.

AC: It can be something where people put their own experiences into [their interpretations of] your music, but you orient yourself through it as well. It gives you context for your own future.

Aura: Literally. Once anything goes public, everyone is able to attach their own meaning to it. As long as it’s inspiring and encouraging, I’m happy. Personally, this is my journal that I don’t have to have physically.

Aura, photo courtesy of Ana Maria Hernandez

AC: I’ve loved watching your live performances! If you were to curate the Aura show of your dreams, what kind of atmosphere would you have, and which artists would share the stage? What would be your dream presentation of yourself?

Aura: Definitely green pastures. I love performing outdoors. If I could just perform in a beautiful field, where people are connecting with the Earth… shoes-off vibe, there’s weed, there’s ice cold fresh-squeezed lemonade, there’s bubbles, the sun is shining with a light breeze and it’s just a high vibration… I would want to connect with all the people who are there to have fun and share Love. and the sound system would be incredible of course! 

I would love to perform with some friends — Cassius Cruz, Project Gurl, Homeboyextra, Blue Mena. I’m also really into Babyxsosa right now, she’s incredible. I would love to have a show with her, Pete Rock, baby.com, Pierre Bourne, Hook, Princess Nokia, Rosalia, SZA. And Charli XCX as well!

AC: Absolutely! An Aura collaboration with some metal artists would be really special.

Aura: Yeah, I definitely want to make rock music and metal in the future. I don’t think that I’m a screamer yet, but it’s coming.

I wouldn’t doubt me doing any sort of music, you know? I love country as well, like Johnny Cash, and Leonard Cohen is also an influence. And Neil Young…

AC: Looking into the future, you’ve got a lot on the go. What are your next projects, and your intentions for the rest of the year?

Aura: I’m trying to take the business side of music more seriously. In all these years, I’ve prioritized the creation versus the earning, but I do need to take care of myself. My music is incredible, my heart is pure… I deserve so much. I have a whole résumé of music that I could have tried to monetize in different ways had I learned the game sooner, so I guess I’m trying to be a girl-boss with the music shit? *laughs* I’m also in my baddie era, so I’ve got a mixtape [“A Love Story”] coming soon with all those vibes!

I’m working to become more positive within myself and know that I am limitless — we all are! But I want to feel it and know it deep in my bones. I don’t want to doubt myself or worry anymore. I’m trying to pay attention to where I feel worried about life and rework those thoughts. I’m also trying to move to LA, and get my connections up and get my name out there. I’d like to create, release, and perform a lot more. It’s time to level up, period!

I moved back home June of 2021. After not being around for a while, I wanted to come home and re-centre. I’ve been going out more, talking to different people, and re-introducing myself  — despite growing up here, I don’t think I was ever really “in the community”. I had my friends and stuck to my friends. But I’ve been trying to find what’s happening around town, checking out different scenes. It’s been beautiful to see [Providence] flourishing in such a creative way. There’s so much potential here, I’m just trying to enjoy it while I'm around.

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A Love Story

Out June 6th, 2022 via all streaming services (Soundcloud version out June 1st, Bandcamp version out June 3rd)

1. OUF! (snippet)

2. A Love Story

3. flip phone freestyle

4. guesss nottt

5. Culo de Oro

6. Canvas

7. fuck off (demo)

8. Su Música Suena (demo)

Produced by Jay Almeida, Kris Fame, Black Surfer, eqobKING, Cassius Cruz, Nestro, MasterJo, playshado, Tompsy, and Aura

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

All music written by Aura, with additional writing by eqobKING (track 4) and Kufa Castro (track 6)

Cover image by Ana Maria Hernandez

NYC Also Coolers can check out Aura’s mixtape release party this Sunday, June 5th at Pianos NYC from 8 to 11 PM! Take a peep at the flyer below (made by Aura!) for more info.

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Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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Aura Moreno and the Makings of Her Love Story (Part I)

Aura, photo courtesy of Ana Maria Hernandez

From Providence to beyond, the artistic multiverse of Aura Moreno promises to rock your world. Boasting a catalogue that stretches visual and musical disciplines, the restless creative—better known simply as Aura—has cultivated an image that is both limitless in its references and grounded in its truths. Aura’s self-proclaimed “DIY empire” hosts stylistic impulses with a consistent respect; taking notes from Y2K, trip-hop, rap and metalcore, her multimedia creations aim to heal and provide a place for complexity.

Fresh off the release of her music video for “C U There”, Aura has doubled the pace and drops her latest independent mixtape A Love Story later this week. The tape is now available on Soundcloud, with its Bandcamp release tomorrow and full release on streaming services next week. She describes this newest venture as a “life-affirming musical collage”, a reflective and confident celebration that showcases sounds of pop and reggaetón.

In this first-half of our conversation with Aura, we peruse what led her up to this moment: the impacts of suburbia, the tools in her arsenal, and what it means to step into who you really are.

Aura, photo courtesy of Ana Maria Hernandez

Rebecca L. Judd for Also Cool Mag: Your creative portfolio is expansive, with an exemplary spread ranging from singing and songwriting to digital art and fashion design. How have you established this “DIY empire”, and what are its foundational pillars?

Aura Moreno: I think it all came together organically. I’ve been songwriting since I was a kid, but I never really established that I was songwriting — I was just “writing”, you know. I would also do things like tear up my dad’s old pants and sew them into bags. I’ve always been creative in that way, but how it’s all tied together now goes back to when I started making music. 

As a teenager, I produced for a few years before writing to and hopping on my beats. And then, I mean… I was broke, so I quickly realized “I have to take my own photos and videos and learn how to edit them.” I did that with my first music video. I directed it with an old friend, Ryan Cardoso, and we raised $400 to shoot it. With that budget, I hired an editor—Rasheed LaPointe—who taught me how to edit step-by-step on Adobe Premiere Pro. At the time, I thought you could only make a music video with money; it made things easier, of course, but that wasn’t actually true. I’m grateful we were able to raise that, but I learned afterwards that I could’ve been more nifty. 

Coming up in the scene, I held shows all the time, and the fliers weren’t up to par so I started designing them myself. Back then I was using BeFunky, which I found by googling “free online graphic editor” *laughs*. From there, I began designing my own merch using Microsoft Paint and free online tools.

I was even making nameplates and keychains, after my friend Lara taught me how to use a laser cutter. I was all over the place — and little by little, all of these things folded in together because I’m an independent artist. Luckily, we have this resource here in Providence called AS220, and they help emerging DIY artists. I went lots when I was younger, learning all of these different skills like screen-printing, vinyl and laser-cutting, etc.

Aura’s latest visual, the official music video for “C U There”.

Also Cool: So this lifestyle as an independent artist, for you, came down to self-sufficiency and necessity. From there, you’ve become your own creative director, and you now have both hands on your brand. Do you see that formative time of having to craft your own vision with such hard work as being definitive? 

Aura: Yeah! And you know, my music was already crazy unique, so having and wanting to be hands-on with everything else created this fresh new world. That’s what my “DIY empire” is — it’s this thing that grew because I had to make art for my music. Everything is super distinctive, because that’s who I am and have always been. The vibes will continue to develop, but what’s been really cool about the groundwork I’ve already laid is that my collaborators build off of it. For example, the Pushback 5 Remix video was my aesthetic as seen by the director Eugene Puglia.

AC: Of course. And the more you get comfortable with those mediums, the more you keep in your back pocket. It’s special to know that you didn’t have to compromise to get where you are — you can do it without having to conform or sacrifice.

Aura: For sure. And the plan is to keep that originality and authenticity as I grow. I’ve always despised conformity! And all these mediums have leaked into one another. I truly breathe every facet of design — I would make myself jewelry all the time when I was younger, and I just released an earring line made of upcycled sterling silver. I’ve also just released my first 1 of 1 constructed top.

Getting back to what you said, as great as it was that I did all my own things that way, when I started collaborating with people, it was a little difficult. I was so used to just having myself. I’m still learning how to be a great collaborator now; so much of it is communication, but at first I’d always be thinking “I don’t know if you get me, I don’t know if you’re going to do it right…”

AC: Have there ever been any examples where it felt comfortable to surrender? Can you recall where you saw something unexpected come out of trusting the process?

Aura: Yes, but it wasn’t an experience I had right away. As I was getting into collaborations, I had to remind myself: “We’re here because I love their work, and I trust we can create something beautiful together… so let’s just see what happens.” I had to really loosen up.

Aura, photo courtesy of Ana Maria Hernandez

Also Cool: You grew up in Providence, RI, and previously identified this as your “basic bitch” phase. How did this coming-of-age impact your artistry? What is it that you still carry from this time in your life?

Aura: Growing up in Providence is interesting, because it’s such a small town. I feel like I’ve experienced a lot of different “eras” of this city — it’s much more creative than when I was younger, which is why I felt like I was a basic bitch. Those days, I only spent time partying and shopping because I didn’t want to stick out as an artist. There wasn’t a single day in school or by cousins, where I wasn’t told I was weird; having that trauma already, I didn’t want to further it. Now, I’m just comfortable and confident in my strangeness. What I still carry with me from those days is… I’m still very much a party girl! I don’t know if that’ll ever change. *laughs*

AC: I feel like that’s a universal experience for many creatives — it’s unfortunate to bear that trauma from our early years, because weirdness ultimately does become one’s strength. Going with who you are, it becomes powerful.

AC: You are super versatile in your influences. Growing up, what were you listening to? Which scenes did you explore?

Aura: I wish I could remember my first connection with music. There are so many timelines! Being Dominican, at every family party we’d have bachata, merengue, and reggaeton blasting. My parents both loved this local station, Lite Rock 105.1, which only played the greatest hits of the 80s and 90s — artists like Madonna, Fleetwood Mac, Sade, Tracy Chapman... 

My mom moved around a lot too, so for a while before Providence, I lived in a suburb called Johnston. There, we would listen to Myspace-esque tracks like “Fersure” and “Babycakes”, and I remember having 50 Cent’s “Ayo Technology” on repeat. I’d visit my family in Fort Lauderdale often, where I was introduced to house and EDM. After school, I’d throw on the Music Choice EDM channel and discover music for hours. I really liked rock and metal during high school too — bands like Asking Alexandria, A Skylit Drive, Kings of Leon… and of course, I got ready for school every morning to whatever was on MTV Jams and MTV Trés! I knew all the words to each Gucci Mane, Lil Wayne, Max B and Nicki Minaj song there was. And after my first time playing GTA San Andreas, whew… I studied early hip-hop for years! Slick Rick really taught me how to tell stories. I would just blast all this music in my headphones each day, from AM to PM, in and out of school. My friend reminded me recently that when we first started going to parties in high school, I would put my headphones on and not be at the party. 

AC: That’s hilarious — being in your own little world and thinking “I’m here for the vibe”.

Aura: Exactly. I brought it back this year, just for myself. When I’m out, I don’t always want to interact — sometimes I like being at the club, throwing my headphones on, and enjoying the energy of the environment while being in my own zone simultaneously.

AC: As you were forming your sound and your vision, you were also experimenting with presentation. Before leaning into your identity as Aura Moreno, you released music as Iris Creamer. I’m interested in exploring your shift from a stylized character to becoming authentically you — what does it mean for you to present yourself to the world?

Aura: Honestly, within my healing, it was very necessary. Iris Creamer was a very sexual era for me, and I feel like that’s because I couldn’t access any depth within myself apart from that. I began to notice that I was put in a box because of that, and thought to myself, “If I really adore making music, and this is what I want to do with my life, I have to move forward as myself.” I’m evolving as a human being, so if the music is going to do the same thing, then we need to be together in that way.

Check back in to read part 2 of our conversation with Aura Moreno!

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A Love Story

Out June 6th, 2022 via all streaming services (Soundcloud version out June 1st, Bandcamp version out June 3rd)

1. OUF! (snippet)

2. A Love Story

3. flip phone freestyle

4. guesss nottt

5. Culo de Oro

6. Canvas

7. fuck off (demo)

8. Su Música Suena (demo)

Produced by Jay Almeida, Kris Fame, Black Surfer, eqobKING, Cassius Cruz, Nestro, MasterJo, playshado, Tompsy, and Aura

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

All music written by Aura, with additional writing by eqobKING (track 4) and Kufa Castro (track 6)

Cover image by Ana Maria Hernandez

NYC Also Coolers can check out Aura’s mixtape release party this Sunday, June 5th at Pianos NYC from 8 to 11 PM! Take a peep at the flyer below (made by Aura!) for more info.

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Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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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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Helsinki's Treemer Serves Up Growling Post-Punk with "Paper Cuts / Eyewitness" (Soft Monsters)

Sam Shingler, Joakim Schonert, Marko Haikonen, Mia Keurulainen, and Tommi Lehtonen of Treemer. Photo courtesy of the band

Forged across ever-evolving decades and soundscapes, the work of Helsinki-based indie quintet Treemer has come to a snarling head. Their latest double A-side, “Paper Cuts / Eyewitness”, is now out via Soft Monster. Punctuated by sinister guitars and boisterous percussion, these expressive garage-rock tracks showcase two perspectives of conflict: that of the wounded, rising from abuse with something to say, and that of the ordinary human uncovering darkness within themself.

Following the release of “Paper Cuts / Eyewitness”, we caught up with Treemer’s Mia Keurulainen to peel back the histories that have constructed this latest project: the band’s plethora of sonic references, their creative methods and approaches, and the lasting friendships that have facilitated their vulnerability.

Rebecca L. Judd for Also Cool Mag: Hello there Treemer, thank you for speaking with Also Cool! I'm curious to know more about the formation of the group, and how it's evolved since Chickenpotpie and The Pansies. Tell us more about your origin story, and the ebbs and flows along the way.

Mia Keurulainen for Treemer: Thank you, Also Cool! It all began in the early 1990s with four small-town-guys (Marko, Tommi, Sam and Joakim). They found mutual interest in mostly Brit-based pop and rock music, digging such bands as The Cure, Ride, Slowdive and early U2. They put up a band of their own and called it Chickenpotpie (a word picked up from a Thrasher Magazine comic strip, BUT also a dish served at Twin Peaks’ Double R Diner – this TV series has had a major impact on our identities and on our music, by the way.)

Chickenpotpie fell apart, but the music didn’t stop there. I joined in and brought along my own influences. These were a bit different from what the guys thought of as acceptable, such as Depeche Mode and The The. Soon after, The Pansies (featuring me, Sam, Tommi and Marko) was formed. Quite accidentally, we happened to hit the Britpop wave as it rolled over the continents, with bands like Blur and Suede on the front cover. We got a record deal, made four albums and between 1995–2000 toured Finland, Northern Europe and even Japan.

To nearly make it – I think that was what really wore The Pansies off. On the other hand, band members started to marry and have children. It was only natural to let that phase go, in mutual understanding. And still, the music continued to flow. Sam, Joakim and Tommi started Montevideo and, in my interpretation, moved from an indie sound to take on a more Coldplay-kind of approach. I made a solo album under the artist name Mia Darling in 2007, paying homage to my early female singer-songwriter idols such as Suzanne Vega, Juliana Hatfield and Polly Jean Harvey.

In 2019, Marko came out of the closet with some new songs he’d been working on. It was an honour, and the timing was perfect for me to start composing vocal melodies and lyrics to his songs. It didn’t take us long to ask our dear old friends to join us, and so Treemer was born. What took us long, however, was to come up with a name for the band that suited everyone (laughs). The first song Treemer released was “The Great Void”, followed by the Meeting EP. So far, we’ve released a total of 12 songs.

Also Cool: Your music pulls from many directions, with these songs lying somewhere on the fringes of shoegaze and hard rock. Which musical influences have inspired the band, particularly on this release? Did your time apart have any impact on the formation of Treemer's present sound?

Treemer: Yeah, the roots grow deep. From Bowie, Beatles, Neil Young and Pink Floyd to this day.

It’s funny that you mentioned hard rock. It seems that in Finland, every other kid goes through that heavy metal / hard rock period in early puberty. I, for example, was a huge Def Leppard fan at 13. Then there was the hip-hop phase: Salt’n’Pepa, Public Enemy and Run-DMC. At the same time, the likes of Midnight Oil, Sinéad O’Connor and Tracy Chapman also awoke me to socially significant matters through their music. Tommi, Joakim and Sam even had a hip-hop trio at some point… what was is called, Groovy Sound Crew?

As a child, most of us took classical music lessons. I played the piano for 6 years, so surely the music of, for example, Sibelius, Satie and Khachaturian play at least an unconscious role in my personal take on making music.

The 1990s was a melting pot of sound and genres, and we welcomed them all! It seems to me, one wasn’t perhaps as dedicated to a certain musical style as young people today are? Or maybe this is just me getting old. There was grunge, obviously. Then there was shoegaze, trip-hop, Britpop, dub, electro, R&B…echoes from the 60s psychedelia and soul could be heard in the sounds of, say, Primal Scream, The Charlatans and Stereolab. The USA hit back with the cool of Beck and Sonic Youth, the inwards-turned art school pop of R.E.M. and Radiohead, and the NY garage-pop of The Strokes. Meanwhile in Scandinavia, an Icelandic woman called Björk was doing her own thing, Denmark gave us a progressive gem called MEW, Sweden had a new sweetheart with The Cardigans and drama in the form of Kent, and Norway an endless list of talented, folk-ish (and dare I say nerdy!) singer-songwriters coming up.

Treemer’s latest release, “Paper Cuts / Eyewitness” does definitely recline on the garage-rock end of our influence scale. Pixies, Hüsker Dü and even Pavement come to mind. I personally am a fan of Mac DeMarco and, somehow, some of the more recent Treemer material makes me feel connected to his music. A good kind of couldn’t-care-less-attitude is present.

AC: On one-half of your double A-side is "Paper Cuts", a distorted post-punk rebellion against abuse and mistreatment. Can you unpack the inner workings of this evocative single?

Treemer: Evocative – that’s nice, thank you! When I first heard Marko’s demo (in early 2020) I immediately thought it very different from the earlier Treemer stuff. It had speed and rage. At that moment, I was personally going through a rough patch in life, so the lyrics turned out to be more straight-forward and personal than usual.

The song took many forms (fast/slow, minimal/profuse, rough/polished) before finding its final shape during the recording sessions last summer. I love the crazy instrumental in-between part, very punk-art-garage-what-have-you-pop. It was just improvised on the spot, and for the first time ever I got to play my mini-saxophone on the record!

AC: "Eyewitness" takes a more aggressive stance, cautioning an ill-fated spectator against consequences. Coupled with this sinister song is an intriguing video that you produced, where viewers observe the witness' frightened journey and—ironically—assume a similar role. From your perspective, what is the story being told here? Who is this eyewitness, and what is their fate?

Treemer: Marko’s Eyewitness demo on the other hand sounded just, I don’t know, secretive somehow. The word “eyewitness” started to ring in my head, and I was thinking of old Hitchcock movies and other classical thriller scenes where someone (usually a child) is peeking through a key hole and seeing something terrible… Judicial terms such as “prosecutor” and “witness” came to mind, and I started to build up a story around those words without a distinct plot or design. It was more about the atmosphere. Joakim’s bass lines play a significant role here – a growling synth-bass line of the A-part turns into a progressive passage come along the verse.

The idea for the music video came to me in a dream. Originally, in the dream, there was an androgynous skateboarder in brightly-coloured hair and clothes rolling around the streets of what looked like Venice Beach in LA. They were being chased by us Treemer members, lurking behind corners wearing black sunglasses. Visually and stylistically, the dream reminded me of the Smashing Pumpkins’ “1979” music video or Larry Clark’s Kids.

Instead of sunny LA, the music video shooting took place in Helsinki on a windy, rainy August day. I asked my friend, the young and talented dancer Kaisla, to star in the video and I’m happy she agreed. Together, we immediately understood that the “eyewitness” is escaping nothing but something in themself. To witness something unattractive or gloomy in ourselves is hardly light or fun, so it can easily become a fight-or-flight situation. The video has a happy ending though, as the eyewitness makes peace.

AC: Despite the dark connotations to "Paper Cuts / Eyewitness", they were recorded over a session you folks describe as "summer camp", complete with camaraderie and laughter. I'm interested in the sense of liberation that you found in writing these particular songs during this breezy experience. What does it mean for you all to use your music as a form of empowerment?

Treemer: At least one of us is usually tired or on a bad mood when we arrive at the rehearsal room, but I don’t think anyone has ever left it feeling that way!

Empowerment, freedom to do whatever, self-expression – definitely vital elements to keep the Treemer machine going. And I point out that it is the doing and being there together, in the moment, that matters. Whatever happens next—recordings, releases, gigs—is a bonus. This is not to say that we weren’t disappointed or frustrated when, for example, our gigs in Finland and Germany got cancelled in 2020 due to COVID. For me, Treemer represents a creative and safe environment to test and work on my own artistic ideas whilst being inspired and wowed by those of the others.

Also Cool: Thanks again for your time, Mia! Let's end this on a high: what are your biggest dreams for 2022? What's next up for the band?

Treemer: Thank you! Hopefully we get to play some gigs! There are still 4 songs “under construction” from those last summer recording sessions. So there will be at least an EP at some point. Maybe even a vinyl version, who knows. We are also working on some completely new material. The main thing is to stay healthy and have fun though.

My personal dream is to play a gig at an open-air summer festival somewhere (probably not happening in 2022 though). I can picture it – it’s late in the evening, bright lights split the sky, there’s love and confetti in the air.

Stream “Paper Cuts / Eyewitness” below!

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Treemer

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Rebecca Judd is the features editor of Also Cool Mag.

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Beatrice Deer Extends Multidimensional Motivation on Sixth Album "SHIFTING"

Beatrice Deer. Photo courtesy of Alexi Hobbs

With this time of year comes the inevitable flow of introspective reflections. Accomplishments, setbacks, and moments in between shape our stories all the same, informing who we are and granting the strength needed for what’s ahead. Determined to encapsulate this process of forward motion, Montreal-based “Inuindie” artist Beatrice Deer has released her sixth studio album SHIFTING, out now.

Deer has garnered acclaim for her innovative approach to indie rock. Her award-winning catalogue has been recognized for its fusion of traditional Inuit tales and throat singing with contemporary folk and pensive originality. SHIFTING continues in that vein, documenting the singer-songwriter’s road towards self-actualization. “Emotionally, spiritually, and physically, the transition towards our authentic selves continues,” says Deer of her latest project. “As I shift into the position where I’m meant to be, I want to keep using what I’ve learned to help others.”

Beatrice Deer. Photo courtesy of Alexi Hobbs

Across the album, Deer orients her unique experience in the universally-binding challenge that is seeking light through the darkness. As she expresses her captivating story across three languages (Inuktitut, English and French) and numerous sub-genres, her latest release maintains a steady focus on illustrating the path towards continual transformation.

Certain tracks off of SHIFTING explicitly allude to the woman-in-progress. On recent single “THE STORM,” Deer wields post-punk sensibilities to heighten the metaphor of a northern snowstorm representing the flurries of life itself. “SUNAUVVA” grounds Deer in a shoegaze-y smog, with her euphoric voice eventually breaking from the percussive and throat-sung fury, determined to heal. “MOTHER” coddles the listener in its sonic warmth, as Deer pays a touching tribute to the woman whose journey has inspired her own.

Beatrice Deer. Photo courtesy of the artist

Elsewhere in the album, Deer turns that meditative gaze outwards. With “UQAUTINNGA,” Deer passionately implores the children of tomorrow to believe in their own futures. “HISTORY” sees Deer’s airy vocals cut deep with poignant lyricism; she shakes the listener by the shoulders over a determined indie beat. “Get out of your history and into your destiny,” she cries – these adamant reflections aim to stoke change in others and, at once, serve as reminders for the self.

Altogether, the sonic and lyrical elements to SHIFTING traverse the same meandering and enlightening road. Its dips and forks tell stories of versatility and resilience, grounded in Beatrice Deer’s distinctive blend of tradition and experimentation.

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SHIFTING

Released December 10th, 2021

1. FREE

2. UQAUTINNGA

3. AANNGIQ

4. ILINNUT - a prayer

5. THE STORM

6. SUNAUVVA

7. CANNIBAL

8. HISTORY

9. MOTHER (version francaise)

10. CHRISTMAS

Vocals, Inuit throat singing, and ukele by Beatrice Deer

Acoustic/electric guitars, keyboards, and bass by Chris McCarron

Drums and keyboards by Mark Wheaton

Drone synthesizer and bass by Michael Felber

Lap steel and acoustic/electric guitars by Jordey Tucker

French horn, piano, and keyboards by Pietro Amato

Harp by Sarah Pagé

Flute and saxophones by Erik Hove

Accordion by Eva Deer

Backing vocals by Elliott Wheaton


All lyrics written by Beatrice Deer except for AANGIQ (traditional)

All songs written by Beatrice Deer and arranged by Mark Wheaton & Chris McCarron

Recorded, engineered and produced by Mark Wheaton & Chris McCarron at BSE Studios and Skybarn in Montreal

Lyrics for MOTHER (version française) adapted by Kathia Rock

Mixed by Jace Lasek {tracks 1, 2, 5, 6, 7, 8, 10, 11}

Mixed by Pietro Amato {tracks 3, 4, 9}

Mastered by Philip Gosselin

Album cover art by Niap, design & layout by Heath Cairns

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Beatrice Deer

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Rebecca Judd is the features editor of Also Cool Mag.

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Take A Sip of Calm Lake's Sparkling Anti-Jingle "Le Seltzer"

Single art by Jess

With yet another series of doom-and-gloom announcements under our belts, it’s easy to get caught up in the one-two punch otherwise known as the past couple of years. Now more than ever is the time to practice gratitude and reflect on the little things that bring us joy: aimless strolls, loved ones, and — of course — a crisp can of seltzer. Montreal’s Calm Lake has freshly released “Le Seltzer”, a gleaming bedroom-pop track that does just that.

Calm Lake is a project by Filipino-Canadian songwriter Nikki Celis (known as one-half of shoegaze duo cmfrtble.), who is currently based in Montreal. Calm Lake is a collaborative effort featuring friends from around Canada, including Andrew Joshua, Shane Spencer, Alex Lavoie and Jessica Segura. The project finds their inspiration from 90s emo and dream-pop, citing influences like Pedro the Lion, The Radio Dept., and Bilinda May.

Nikki Celis of Calm Lake. Photo courtesy of Nikki Celis

“Le Seltzer” marks the project’s second single, following the angsty “Toothache” released in August of this year. “Le Seltzer” was written as an earnest tribute to the locally-owned seltzer water brand that started during the pandemic. The track is described as an “anti-jingle”, inspired by the fluorescent catchiness of ‘90s product commercials. On the story of “Le Seltzer”, Celis remarks:

"In Montreal, people have been finding ways to express their creativity, whether that's making new musical projects like Calm Lake, making their 'quarantine songs' or even starting new businesses. This is my take on a quarantine song."

From start to finish, “Le Seltzer” paints a sanguine picture with dream-pop production that’s as effervescent as the beverage itself. This track leaves you with no choice but to smile, evoking memories of sunset-tinted park hangs and breezy balconies through its jangly fog. As major fans of this delicious drink, we here at Also Cool are pleased to report that Calm Lake’s latest single is just as satisfying. Kick back with a can of yuzu blossom and pomelo and don’t lose sight of the escapades that await you.

Stream “Le Seltzer” below!

Calm Lake

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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Ouri's "Frame of a Fauna" Offers a Treatise on Bodies in (Com)motion (Born Twice / Lighter Than Air)

Ouri. Photo courtesy of Kane Ocean

Sharp utensils carve through metaphysical auras. Jagged ribs pierce muted whispers. After much anticipation, the inimitable Ouri is ready to guide you through her life cycle. The multi-instrumentalist, DJ and producer has released debut LP Frame of a Fauna – out now via Born Twice and Lighter Than Air. 

A revered fixture of Montreal’s underground rave scene, Ouri has long captivated with her nuanced approach to orchestral experimentation. Frame of a Fauna stands as the artist’s second release of the year; Hildegard, the transcendent duo comprised of herself and Helena Deland, dropped their self-titled debut in June (which AC had the pleasure of diving into).

Marking the latest notch in Ouri’s belt, Frame of a Fauna carefully wields experimental and classical curiosities to seek deeper truths between the bars. The artist reinforces her aptitude for the sonically-transformative as she dissects the exchanges between intangible forces and corporeal forms. The album is guided by life itself, etched with Ouri’s personal losses and awakenings. Birth, death and rebirth are arranged on a seafoam platter, their bones exposed for all to pick.

Album highlights include the hauntingly beautiful “Ossature”; "Intact Alef" by PTU furnishes Ouri’s auditory playground, enhanced by breathy vocals and disfigured percussion. “Grip” offers tender reflections over a lethargic beat, coupled with a stirring video of Ouri undergoing brain surgery mid-performance. Her ambitious vision is not lost in this straddling of soundscapes, acting instead as a compass for each ethereal composition and grounding them in an inescapable reality.

Days before the release of Frame of a Fauna, we had the pleasure of speaking with Ouri about her creative pursuits, body oddity, and the merits to minimalism. 

Ouri. Photo courtesy of Kane Ocean

Rebecca Judd for Also Cool Mag: I'm really interested in the kind of [creative] work you do and the trajectory that you've marked. You fuse the classical with the experimental, carving new folds into the parameters of electronic music. How did you lean into this thirst for transformation? How did you realize that that trajectory could be possible?

Ouri: I feel like I started in classical music, and then stopped and jumped into electronic music and the more experimental approach to [that genre]. At some point, I wanted to reconcile everything; I always saw [the situation] like [picking] one or the other, either an advantage or disadvantage, and I just wanted to bring everything in. 

It was super exciting to create a new fusion in general. I feel like there's a lot of schools, a lot of ways to do things, and I wanted to prove to myself that it was possible to do something else.

Also Cool: You’ve been involved with many different projects, including the critically-acclaimed duo of Hildegard (who we previously chatted with at Also Cool); your career is inspiring with this relentless pursuit of skill and expression. How do your different creative projects meld into each other – do you conceive of them as separate chapters, or do they all play into your greater story? 

Ouri: I think they're all part of my story, and they're not like the end of a chapter. I don’t think, because I was DJing a lot and now I’m DJing less, that that makes me want to DJ less [in general]. I want to keep doing everything that I do, and it’s like all [these skills] inform everything – the way I do music, the way I think about music, the way I discover new things in compositions. [They] change the way I DJ, the way I dig and research and find new music to mix together, my compositional techniques and singing. 

I feel like having a diversity of projects, it was a little bit draining at first, but now I feel like I’m confident enough that I can bounce off each one in a very dynamic way.

AC: That’s a wonderful way to look at it – the synergy you feel, it sounds like that really helps you identify yourself and your passions, and express all those different sides to you.

AC: Speaking to [debut album] Frame of a Fauna, I’m fascinated by its artistic philosophies. You explain it as an album which explores “how emotional hardship can imprint, and in turn deform the skeleton”. The sensations you describe are viscerally-stimulating, etched in textures and suspensions all around – how did this direction for your debut album come about? 

O: [This theme], it was just one of my current obsessions that was troubling me. I was touring for the first time in 2019, and I was seeing a bunch of different people with different stories. There were first impressions, and then learning about their life experiences and comparing how those changed for them. 

This made me realize that I was obsessed with human beings, with [the body as] our vessel. It’s a great machine, but it’s also a very dysfunctional machine and absurd sometimes. I wanted to express that in my music.

I don’t know if it’s as present in the [lyrics of Frame of a Fauna], I feel like those are more of an expression of the moment that came naturally. But the music, it was really important to me to have that feeling of a natural, but deformed, but natural [state of being]. We all feel deformed, even when we’re less than someone else. I wanted to translate that into the music. 

AC: Something I read is that, coupled with these vivid sensations and experiences of rebirth are snippets of your own life, sewn into the seams of each passing genre and sound. What has the journey of this project taught you about yourself and your artistry? How does music help you to process your own experiences?

O: This project started when my sister had her son – I’m so close to her, and we’re almost the same age, and we have parallel lives. I wanted to be [with her], I wanted to be close enough that I could visit her often, so I decided to settle in London for a month. [When I was there], I was researching a lot, and I decided not to go to any social activities. I would go to record shops to listen to music and discover the city, and just observe without existing or interacting. I received a lot of inspiration.

Then I went to Berlin for a month, where I was recording more. I was meeting a [few] more people, but I was still a bit distant. By that time, I had a bunch of recordings, and I was really like – I don’t know. I feel like, in the female experience, there’s so much shame, and I wanted to really transcend that and see what I was ashamed of and do it, the best I could. And so that’s what I did [with my music]. I wanted to break down all the mental constructions that were in my way. Now, I feel more confident. I’m accepting what I’m doing. 

In the past, sometimes I feel like I was [preoccupied with the idea that], you know, you don’t know what type of success you want and you don’t know how far you want to go – instead of just being in the present moment. I have no idea where this whole adventure is going to lead me, but I know what I want to experience now. I know exactly which experiences are helping me become more focused and more precise and happier.

Ouri. Photos courtesy of Kane Ocean

AC: Tomorrow isn’t promised, so in that regard you must put yourself out there the way you want to at that moment and deal with the rest later. [Creating is] all about that natural state of being and what feels right. 

O: And, also, to practice – to just isolate yourself to practice your skills, and then come back and refine your vision, not [losing] yourself in what you think people will understand or expect from you.

AC: Is [isolation] an approach that you think you’d take to your future creative work, or was that just an exercise for the time being?

O: It was an exercise that I pushed to the extreme, but I definitely think that isolation helps the creative process a lot. It can be two months, a week, a few days, a year. I don’t know what I will need in the future, but I will need some isolation for sure.

AC: Describe the environment you want to curate with your Frame of a Fauna shows, physically speaking or otherwise. What do you try to convey in your performances, and what do you want conveyed back to you?

O: I really want to convey the energy that I feel inside of me. I want to show a softness while balancing the intensity that I feel inside of myself. I really want to do something musical, but I don’t really want to do a visual show – right now, that is not what I’m trying to do. 

I want to feel a strong dynamic between me, the musicians on stage, and the crowd. I want to feel that exchange of energy. [My shows] will not be unidirectional. I want to stop time, accelerate it, and play with all the parameters.

AC: That [description] kind of relates to the overall themes of the album as well. [Frame of a Fauna] is about all of these vivid human sensations that you can’t describe, this “more than words” type of energy. So the idea is, then, that it’s going to be very minimalistic and people are going to be transformed by the musicality?

O: That is really what I want! I feel like there is so much going on visually [in the world]. Since COVID, I’ve spent so much time on my phone––seeing things, trying to grab information from visuals––but sometimes I feel like I receive too much information visually, and it goes too fast and doesn’t make sense anymore. 

Music can really help change that, jumping between completely new perspectives and new worlds of sensation. I want to take advantage of that. This is what I do, I’m a musician, so I’m focusing on the music.

AC: We are looking forward to whatever you’re up to next. Is it too early to ask about next steps? How are you hoping to transform in the months to come?

O: Absolutely. I’m going to do a couple of shows after this one [in Montreal on October 27], and I’ll also be launching my own imprint with this album––it’s called Born Twice––so I’m already working on the next project that I’m going to release. I’ll be continuing to forge the sound of that.

I’m really curious to observe people’s reactions to my album. In the past, I feel like I was running away from reactions because I was afraid they would be negative, but now I just want to see how people react to this because it’s going to give me a tip on what to pursue next. 

I want to have solid pillars for my different approaches, musically, to Born Twice. I’m already [working on a pillar]; maybe the reaction to Frame of a Fauna is going to be another pillar, and a new collaboration is going to be another one. We’ll see!

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FRAME OF A FAUNA

Released on October 22nd, 2021 via Born Twice and Lighter than Air

1. Ossature

2. The More I Feel

3. Two

4. Odd or God (ft. Mind Bath)

5. High & Choking Pt 1

6. Fear of Being Watched

7. Fonction Naturelle

8. Wrong Breed

9. Chains

10. En Mon Doux Sein

11. Shape of It

12. Too Fast No Pain (ft. mobilegirl)

13. Felicity (ft. Antony Carle)

14. Grip

All songs written by Ouri (except 'Odd or God' also written by Mind Bath and 'Felicity' also written by Antony Carle)

Produced by Ouri

Engineered by Ouri

Mixed by Ouri, additional mixing by Francis Latreille

Mastered by Enyang Urbiks

Synth programming by Pulsum and Justin Leduc-Frénette

Samples from Kelly Moran, Tati au Miel, Zach Frampton, PTU (Song: “Intact Alef”, courtesy of Trip Recordings), Aphex Twin (Song: “minipops 67”, courtesy of Warp Records)

Artwork: Photo by Derek Branscombe, layout by Jesse Katabarwa

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Ouri

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Soundcloud | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Brother. Finds Love Through the Nostalgic Haze of “Goodnight Girl” (Handwritten Records)

Single art via Handwritten Records

Maybe this fall’s got you cozied up under flannel covers with the one you love. Maybe you’re ruminating on how distance from family and friends makes the heart grow fonder. Whoever we love, however we love, we love nonetheless – it feels so good to show it.

That’s the guiding philosophy of “Goodnight Girl”, the latest single from Brother. out now on Handwritten Records. These Utah indie-dreamers have built a reputation for their charismatic sound, and “Goodnight Girl” is no exception. Brother. continues to make their mark with this nostalgic soundscape, featuring classic pop synths and a crying lead guitar that complements the lyrical adoration.

Band member Chuck Emery penned and produced this track as an encapsulation of the bond that he and his wife share. “I wanted this song to not only be for my wife, but for everyone in love or in the process of searching for it,” he shares. “Love comes in many shapes and forms, but when you feel it you know it’s love. I hope everyone finds that person who they never have to say goodbye to.” We’re not crying, you’re crying.

Inspired by the sincere vulnerability of “Goodnight Girl”, we caught up with Brother. to chat more about the comfort of love – and a good sandwich.

Rebecca L. Judd for Also Cool Mag: Hey Brother.! Thanks so much for taking the time to chat with me today. Tell our readers a bit more about your band, and how you all came together.

Chuck Emery of Brother.: Thank you! We are an indie alt band based out of Salt Lake City, Utah. We have been playing together for the last 5 years. Brother. originally started as a solo indie folk project but has evolved since then to become more full-band. Myself, Erika and Nathan basically all started together at the beginning, Scott joined in late 2018, and Elias has been with us for the last year or so.

Also Cool: Your latest track 'Goodnight Girl' is a warm, romantic tribute to other-halves and the light that they bring into our lives. Its hazy earnestness feels very comforting – perfect vibes for the end-of-summer. Chuck, take us through the process of penning this track for your wife. 

Brother.: I originally wrote the guitar chords using a chorus pedal stack. The stack of chorus pedals gave it this really warm, 90s-esque-feeling guitar that felt new and nostalgic at the same time. I added the instrumentation to accent this guitar and make it shine. 

I wanted the lyrics to not only be about my wife but to stay general enough for everyone with that special someone, or someone looking for that special someone. I feel like most love songs rely heavily on the physical attributes of someone. I wanted to steer away from this and highlight the things my wife does for me that keep me healthy and happy.

Chuck Emery, Nathan Standage, Erika Goodwin, Scott Knutson and Elias Pratt of Brother. Photo courtesy of Savannah Mckenzie

AC: The 'Goodnight Girl' music video is out now, and it perfectly accompanies the tender emotions of the track. Can you explain the creative vision behind this video, and what it was like to watch it all come together?

B: The music video was a fun one to be a part of! We wanted the song and video to resonate with others who are in love, or in the process of searching for it. We featured local talent from the LGBTQ community and wanted to portray a love that felt comfortable to someone as a person. The vintage, hazy look pairs perfectly with the vintage, 90s-sound guitar – again giving that feeling of nostalgia and something fresh and new.

AC: Fresh off the release of 'Goodnight Girl', you folks are spending September touring the West Coast. How does it feel to be back on the road? Which parts of touring did you miss the most?

B: It feels awesome! All the shows we have played so far have been amazing. It has been so great connecting with people from different cities who enjoy our music. Some parts that we’ve missed are just heading to different cities and trying different local foods. Collectively, we all love sandwiches. We try our best to hit up the best local sandwich places in the cities we travel to.

AC: 'Goodnight Girl' is described as Brother.'s first official love song – hopefully it's not the last. Which direction are you all hoping to take Brother.'s music in next? What can we expect from you folks towards the end of 2021?

B: Hopefully it is not the last! We have a brand-new album coming out October 15th through Handwritten Records. It is something we’ve put a lot of heart into and are excited to get it out into the world. We have released about half of the songs on the album as singles, but will have 5 new songs with the release. Excited to show the world what we have been working on, and hope to do more touring after the release!

Watch “Goodnight Girl” below!

Brother.

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

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PREMIERE: Helen Paradise Debuts Stripped-Back Version of "Glass of Anything"

Helen Paradise. Photo courtesy of Tess Roby

Montreal trio Helen Paradise have hit a tender note with their single “Glass of Anything”. Pairing perfectly with the track’s emotive rawness is a stripped-back version recorded at Autoland – premiering today on Also Cool Mag.

“Glass of Anything” marks the second release of Helen Paradise, comprised of Sophie Ogilvie, Chris Steward and Markus Stahl. The group was born out of a mutual desire to start “exploring new textures and embracing the increasingly brooding moods emerging in their collaborative songwriting”. The group’s forthcoming EP, External World, melds these possibilities together, drawing from a range of influences including trip hop, prog rock, and avant-pop.

The track offers deep reflections on the innate human ability to communicate to close friends through body language. In describing her lyrical motivations, Ogilvie points to a kindhearted gesture of solidarity and its deeper significance:

“I wrote this song after an experience at a party, during which a close friend of mine noticed from across the room that I was visibly uncomfortable, and broke into the conversation I was in to offer me a drink. This was a kind of throwaway moment - I’m sure he thought nothing of it - but it solidified to me that even in moments of silence and loneliness, I am looked after and understood by the people who are close to me. ‘Glass of Anything’ describes these unspoken bonds between friends, and the exchanges that are shared through a knowing glance or a quiet retreat.”

This live session perfectly complements “Glass of Anything”’s warmth. Rich vocal tones against the delicate guitar accompaniment glow in the ambience, beckoning the listener to recall their own connections and muted exchanges. Take a listen, unwind, and tell your friends you love them.

Watch the exclusive performance of "Glass of Anything" live at Autoland below:

Shot by Nancy Pettinicchio

Engineered by Nigel Ward

Mixed by Chris Steward

Helen Paradise

Bandcamp | Website | Instagram

Youtube | Spotify | Apple Music

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

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