Microtonal Punks Body Breaks Reflect on the Distance that Facilitated Their Sound

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Body Breaks, Julie Reich (left), Matt LeGroulx (right), by Natalie Logan

Before specific apps were developed to target long-distanced collaborators embracing unconventional music-making during a pandemic, DIY veterans Body Breaks were joining forces despite living in different cities. Comprised of Toronto’s Julie Reich (Bile Sister, Chandra) and Montreal’s Matt LeGroulx (EXPWY, Galaxius Mons), Body Breaks’ microtonal rock journey began in 2013 when LeGroulx meshed quarter tones (inspired by Balinese gamelan tuning) with post-punk fortitude to compose the drum-bass-guitar underpinning of what would eventually be the pair’s debut record Bad Trouble — out now on our new favourite indie label We Are Time. 

When speaking with the band, I was keen to find out how their creative processes informed each other while simultaneously working independently as Bad Trouble came together over the better part of six or so years.  

“It’s hard to recall exactly how it all came together (laughs). I know I wrote and recorded all the music and then sent it over to Julie about a year later, and that’s when she started working on her vocal parts. She did stuff that I would have never thought of! Things that would have never entered my mind; from the lyrics, to the harmonies, the vocal effects and her performance… I really loved everything she was doing. She sent me demos here and there, but for the most part I just let her take full control,” shares LeGroulx. 

“It was actually a treat to be handed these incredible songs on a platter and to be able to focus on songwriting, singing and vocal production,” responds Reich. “I took a lot of time with the lyrics, it was a conscious priority to make sure they were honest, sincere, meaningful and relatable. I knew I had the opportunity to have a message and speak from the heart. When Matt delivered the bones of Body Breaks, I was inspired to breathe life into them. I knew they were special right away and felt like I was meant to complete the missing piece of the puzzle.”

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Bad Trouble album cover by Roxanne Ignatius

From this comment, I ask Reich where she drew inspiration from when developing the narratives to compliment LeGroulx’s compositions. 

“With my other band, Bile Sister, I avoided literal writing or story telling because it was a stylistic choice. For Body Breaks, I felt I needed to speak my truth at the time, to penetrate and connect to anyone who would listen. For this album, I was channeling my inner glam. I was thinking about Lou Reed and David Bowie, Divine, Jayne County, The Fall, Pink Noise and so many others. I consciously was aware of the male presence in the inspiration as well, with the intention to create a place where I would see myself represented in this world. Bad Trouble is a very special example of this inspiration. Each song speaks my truth at the time, as a struggling artist filled with self doubt, as a woman outsider in her own generation, dealing with aging, insomnia, questioning the purpose of employment and how to be happy, thinking about my generation and the entitlement therein, words of advice to a younger me, making peace after betrayal from an ex, and stories of coping, being down and out. We've all been there. I wanted people to hear what I was saying, I wanted to not rely on a lot of effects, I wanted the voice to be clear and heard, flaws and all… After all, flaws are what make us beautiful and unique,” articulates Reich.

I then turn to LeGroulx to hear his thoughts on watching his songs transform from something he worked on alone, to with a friend, to a now fully realized project; recognizing the really interesting and unique relationship he has with the tracks that formed Bad Trouble. 

“I never take that much time to do anything (laughs)! I tend to rush things, generally. When I’m working on a project; after a month into working, I’m kind of sick of it and want to move on to the next thing. So, in comparison to everything else I’ve done music wise, I’ve had the chance to live with these songs and see them transform,” reflects LeGroulx. “Throughout the process of Julie recording her vocal parts, every new song she would send me would become my favourite one. Every year that passed as the project developed I saw it get stronger and stronger as a record.” 

Along with their striking sound, Body Breaks also have a noticeable visual identity as a band. I was especially curious about the band’s creation of worlds to accompany their album; particularly those depicted in their surreal “Eyes to Brightness” video, which spotlights animations by Reich. 

“I love to create worlds just like I love to create identities, it’s an escape and a means to have a sense of control in a chaotic world,” chimes in Reich. “When I created the music video for “Eyes to Brightness,” maybe in 2016 I think, I had just started working with 3D animation software and I have grown a lot since making that video. Aesthetically, in other videos I have created, I speak to the theme of nature versus technology and our environmental crisis. “Eyes to Brightness” is an early attempt to create a world with this focus. Visually, I tend to focus on creating a stark reality, a vision of a new planet in the future, with remnants of planet Earth intermingled with natural elements floating and defying laws of gravity.  Our norms can be flipped upside down to the point even gravity doesn't exist. Anything you can fathom is possible. Consider this for good but also as a warning.” 

While the band’s take on day-to-day existentialism makes them stand-out, their partnership has acted as a lifeline when it comes to confronting the future’s uncertainty, especially for musicians.

“So we've been separated for quite some time now, and I can't see it being a full band thing until, you know, obviously the world looks a little bit more normal than it does right now. You’ve got to hope things get better. While it’s hard to stay hopeful when you look at the news everyday, the whole experience of Body Breaks has been a huge bright spot,” says LeGroulx. “The team at We Are Time, our label, are wonderful to work with and Julie is a wonderful bandmate. So, these songs have come to mean so much more to me than the initial tinkering they once were.”

Body Breaks

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

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

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Toronto's Indie Jangle-Pop Duo Ducks Ltd. Release "How Lonely Are You?" (Carpark Records / Royal Mountain Records)

Album artwork via Ducks Ltd.

It's getting to that point of the summer where it feels like all you can do is contemplate your life with your friends over some wine on a rooftop, wondering if and when things will ever get better. Discussing what we can collectively do to help, wondering if anything we do will make a difference at all, staring into the sunset, all while listening to indie jangle-pop. 

Lucky for you, Toronto's Ducks Ltd.'s new single How Lonely Are You? is the perfect soundtrack for your mildly existential end-of-summer playlist. It's a follow-up to probably one of my favourite singles of the year, 18 Cigarettes. The single comes in anticipation of their debut album "Modern Fiction," which is set to release on Carpark Records / Royal Mountain Records on October 1st, 2021.

I had a chance to catch up with the band about Toronto's music scene, their upcoming album, and more.

via Ducks Ltd.

Malaika Astorga for Also Cool: Hi! Let's start at the beginning; you two met at a Dilly Dally show. How did you first get into that kind of music scene, and how do you think it's impacted your creative trajectory?

Ducks Ltd: I don't totally know to be honest! I was reaching back, trying to remember something that feels like an entry point of the first show or conversation. I think I first got into stuff in Toronto by going to what were mostly noise shows at a Senegalese restaurant in Kensington Market and playing in bands who played at that same Senegalese restaurant. It feels like it all happened very naturally once it started happening, though there were definitely a couple years when I first moved here where I was interested in playing music but couldn't really figure out what the "scene" was or how to get involved with it.

It's definitely been hugely impactful for me, though. In some not insignificant ways, getting involved in Toronto music completely changed the path of my life. I don't think I would still be seriously making music at all were it not for the people I have met in it. There's also something really helpful for my writing process in being in environments where people are doing and making interesting things. Not even directly picking anything up from them necessarily, but I'll often find the initial seed of something that becomes a song when I'm at a show watching another band. I don't really know how or why, but it will kinda knock something loose for me creatively. 

Also Cool: What's the Toronto music scene like now? I know that amidst the rampant gentrification, many venues and projects have suffered, but I'm hopeful that there's still some DIY spirit leftover. 

DL: It's sort of hard to say because there haven't been shows in so long, but I'm cautiously optimistic based on the way things were feeling in 2019 and the stuff I've been able to keep up with while everyone was apart. People tend to get all doom and gloom about it in ways that I often don't think really bear up to scrutiny (complaining about Toronto constantly is one of Toronto's more unfortunate cultural traits!), but the broader trajectory feels positive. 

When I started being involved in music stuff here, the scene felt very cliquey, separated quite sharply along micro-genre lines. It was almost like a series of small scenes bumping up against each other, but pretty homogenous despite those delineations. I don't want to sound utopian or triumphant, as many things could and should be better, but I think overall, the scene is way more diverse and varied now. People support each other and collaborate more than they used to and are generally kinder. I think the artists are also, on the whole, more successful, both artistically and in terms of finding their audiences in the world outside the city, which is probably at least partly related to them being kinder and supporting each other. 

I don't want to dismiss or minimize the problems of gentrification, which are obviously really significant issues with consequences that go way beyond music scene stuff. I guess I just don't really connect romantic notions about the Toronto scene of the recent past. It's definitely far from perfect now, but it feels like the music scene here is more inclusive than it used to be, and I think that can only be a good thing. 

AC: You speak about "the courage to go on," which I think everyone is in need of right now. How do you find that courage for yourself, and where do you see it in others?

DL: Oh, I lack it almost completely! It's very much in my nature to give up and collapse into hopelessness at the first sign of adversity, though obviously, this is something I try to curb. Maybe I admire it so much because I don't always see it in myself. Still, I think that hope, and a sort of stubbornness of purpose when things are bleak, are some of the most beautiful human qualities. 

I've been helping out a little with an organization in Toronto called the Encampment Support Network that formed over the pandemic. I think it's a quality that animates many of the people who are the driving force in that organization and also in many of the residents of the encampments. Any city or society, especially one as wealthy as this one, should be ashamed to have put unhoused people in this situation. Many of them spent the entire winter outside living in tents, and the governmental response to it has been to compound their initial callous indifference with intentional cruelty. It's such a bad and stupid situation that feels more or less intractable absent a complete change in the composition of the civic and provincial governments. But then the people involved in ESN work so hard for whatever little ways they can find to make the lives of their unhoused neighbours better, and the residents work so hard just to survive. They're so resourceful and brave and put up with so much bullshit that they meet with humour and optimism an amazing amount of the time. I mean, some of them are total assholes too, but you know, not as bad as John Tory!

AC: You're both big fans of niche 80s indie-pop labels. For those who may not be familiar, what are some of your favourite labels and bands of that era?

DL: I think the Go-Betweens are a big one for both of us. Evan introduced me to the band, and they're now one of my favourites. I really love The Verlaines a lot. It didn't end up working out, but we got in touch with Graeme Downes from that band to talk about him potentially arranging some strings for the album, which was really cool! He was super generous with his time and willing to discuss songwriting with me a bit which was wild as he's truly one of my favourite songwriters! I also really love McCarthy, a Marxist jangle-pop band whose members later went on to form Stereolab. Close Lobsters are another one who are a big deal for me. Foxheads Stalk This Land might be one of the two or three best jangle-pop records ever made, I think. 

AC: I've been asking a lot of people this question lately, maybe out of a need for optimism, but I'm curious what your idealist vision of the future might look like?

DL: Ah boy! That's a tough one to answer in this format. In the interest of concision, I'm just gonna go with full communism!

AC: I love the sound of the album because it makes me feel like I'm drinking wine with friends on a rooftop somewhere in the summertime, about to go out for the night. How do you hope that people will experience your music?

DL: That sounds like an excellent context! I'm not sure the context is something I've given much thought to, really. It's extremely cool and a little overwhelming that people are listening to it at all. I feel like it could maybe be good driving music? I don't know! Thanks for listening to it, though!

AC: Lastly, what are your plans for 2021?

DL: We've got a few shows coming up, which is exciting, and we just started rehearsing with the full band again, which has felt amazing after not doing it for so long. We're hoping to get on the road a little more next year too, and we're gonna do some UK shows. We've got a few more unreleased things recorded that we might put out, and we've been talking about doing a covers EP. I just really want to set myself up with an opportunity to sing "Head On." Hopefully, Evan will indulge me in this! 

If you love Ducks Ltd. as much as we do, be sure to catch them IRL at FME this year on September 3rd I Buy tickets

Ducks Ltd.

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

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

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

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

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

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

Photo Credit: Erika Mugglin

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

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

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

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

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

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

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

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

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

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

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

Photo Credit: Erika Mugglin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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NYC Synthpop Sweetheart Shallowhalo Release "Hypnotize" on Open Tab (Fire Talk)

Art by anahit via Shallowhalo

Imagine a soft-grunge pastel ghost rave in an old Victorian mansion. That's the energy that Brooklyn synthpop artist Shallowhalo (yes her name is inspired by the Cocteau Twins song), the latest addition to the Open Tab roster, embodies with her track "Hypnotize." For fans of sugary-sweet Spanish pop, Kate Bush, Strawberry Switchblade and synthy nostalgia, Shallowhalo is right up your alley.

We got to chat with the singer about the track, her creative inspirations and more. 

Via Shallowhalo

Malaika Astorga for Also Cool: Hi! Let's start who you are and how you got into music.

Shallowhalo: I'm Allyson, and I've been making music as Shallowhalo for about a year and a half now! I've also been playing synth in my friend Harrison's band Turtlenecked since 2019, which is how I got into music. We could only play a couple of shows before lockdown, but by then, I was having so much fun that I just continued writing my own songs throughout quarantine. 

Also Cool: What's the creative scene like where you're based?

Shallowhalo: Now that the vaccine is out, I've been going to shows again, and I've noticed a lot more performances in nontraditional spaces, which is really cool. Just the other week, I went to see Slic play a show on a soccer field at a park in Ridgewood, and it was so much fun. One of my favourite venues is Market Hotel. I always get excited when a train passes by during a show because it feels like it's out of a movie. 

AC: We're big fans of both Strawberry Switchblade and Spanish pop. How did you get into these genres of music, and what are you bringing to them with this project?

Shallowhalo: Growing up, my mom, who is from Guatemala, would always play Spanish music. That's how I learned about bands like Mecano or Jeanette. When we first met, my partner and collaborator, Ezra, introduced me to Strawberry Switchblade because he said my style reminded him of Rose McDowell. 

AC: You have a strong aesthetic vision to go alongside your music. Where do you find your visual influences?

Shallowhalo: I've always been fascinated by musicians who incorporate strong visual components with their music, and recently, I've been in a nostalgic phase with mid to late 2000's electropop. It's a little kitschy, a little 80's, a little perfect, and a little awful. 

AC: Building off of that, if you were to have a Shallowhalo world, what would it look like?

Shallowhalo: It would be an old beautiful Victorian home in the middle of the forest with weeping willow trees out front and a wraparound porch. The home would only be a little bit haunted (by friendly ghosts), and all of my friends would be there. At night, it would turn into a rave. 

AC: Who are some artists who you think deserve more recognition right now?

Shallowhalo: I saw Cowgirl Clue play a few years ago, and I've been a fan ever since. She's consistently putting out cool mixes and songs. Recently, I've been listening to Cumgirl8 on repeat. 

AC: What can we expect from you in 2021? 

Shallowhalo: I have a bunch of demos that I've been sitting on, so I'm definitely aiming to put out an EP or album by the end of the year. Next week, I'm playing my first Shallowhalo show ever at Open Tab's launch party and have a couple more shows planned in October. Stay tuned!

Watch “Hypnotize” below

Shallowhalo

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

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PREMIERE: Honeydrip Shares Debut EP Anti-Ego

Honeydrip by Ariana Molly

Picture yourself rolling up to the secret rave; you can hear the bass pounding through the trees. As you get closer, you start to run into your friends and see the coolest-looking strangers you've never seen stomping their hearts out on the dancefloor. 

This is the energy that after-hours legend Honeydrip brings with her new EP Anti-Ego. Heavily influenced by the intersection of Black culture and electronic music, the EP is an extension of the dub and sound systems culture. It honours the exploration and boldness found in the genre and every genre that has come of it. Honeydrip expertly meshes dub, techno, dancehall, reggae, and drum and bass while re-contextualizing and pushing the story forward.

We caught up with Honeydrip about her experience in the afterhours scene, learning to DJ, and her EP, of course.

Malaika Astorga for Also Cool: How did you first get into DJing and electronic music? How did you make the transition from a party-goer to the person keeping the party going?

Honeydrip: I spent high school listening to hip hop and dancehall, which then transformed into alternative psychedelic rock. By university, I started my radio show in 2015, playing downtempo electronic and lofi artists like Lukid, invention_ , etc. 

I've always been interested in music that had uncommon melodies, sounds and was generally considered dark or melancholic. I think that naturally led me to enjoy electronic music. A lot of the music I listened to since I was young had aspects of electronic music; I just didn't know at the time. 

Also Cool: What has your experience been like in the Montreal nightlife scene? 

H: I got into DJing because I wanted to make my radio show the best possible, so seamless transitions seemed key. A boyfriend of mine at the time and a good friend of mine (Ativan Halen) were mentors.

AC: What kind of music did you first get into here, and how have you seen the after-hours and electronic music scene change over time?

H: I started DJing right around the time that I started going out. My DJ gigs helped me discover the music scene in Montreal. I also would go to parties with friends that I made through DJing. But before DJing, I was a cheerleader and went to pubs, aha. 

Having a radio show forced me to do research on Quebecois artists as well as Canadian artists. I had a quota of local content on my radio show, which helped me discover so many of the local artists who are my peers now. 

Since I was really into Lo-Fi and cool Downtempo beats, I was a really good opener when I first started. One of my favourite gigs when playing that genre was opening for MNDSGN, but as I continued going out, the sensation I felt on the dancefloor when dance music was playing was so exciting and inviting I naturally started getting into that music. 

My experience in the nightlife scene has been a journey of finding the spaces that I am the most comfortable in, where there is a nice mix of beautiful people, good music, and a bouncy crowd. Every DJ has a certain type of crowd that builds through personal connections, fanbase, musical tastes. I'm super happy with the crowd I've built, and I feel that it's representative of who I am.

Honeydrip by Ariana Molly

AC: Can you describe your favourite going out / after-hours memory? (Whether it be here or elsewhere)

H: One of my favourite going out memories was at Nowadays in NYC with Umfang and LSDXOXO on the lineup. When I go out, I'm more the type to dance than to socialize, and I love it when I'm in a crowd of people dancing as hard as I am. It was like that all night, with crazy hypnotic music. Nowadays is a large venue, but the crowd was insane. I usually prefer intimate crowds because it's easier for us all to be on the same page. 

AC: Your EP meshes genres, expanding and contrasting sounds to open up a new world of electronic music. Where have you drawn inspiration for the album, and how do you hope it that will push the story forward in electronic music?

H: I think with the history of my musical tastes, I have always been jumping from Black music (Hip hop, dancehall, reggaeton, reggae) to electronic music. At many times I was at a crossroads with what I wanted to play or what genre I wanted to be recognized by, and this EP is my deciding I can be both. 

AC: This has been a summer of music and dancing pretty much anywhere people can set up a generator. What do you hope the after-hours scene will be like post-pandemic? What are some values that you think are important for people to integrate into these events?

H: I really respect the people that take the time to organize these DIY events. It takes a lot of love to do what they are doing. The summer has made it easier for these parties to happen. Still, once winter settles in, I'm concerned with the lack of spaces we have, with many staple nightlife spots being lost throughout the pandemic.

AC: What would your advice be for people who want to get into DJing and making music, but don't know where to start?

H: To start DJing, Intersessions and Chippy Nonstop regularly offer classes physically or virtually to learn how to DJ. Also, follow the artists you like because they will be sharing courses or even offering some themselves sometimes. Join Facebook groups to get access to used equipment. Start digging!

For producing, it helps to have hardware, so you don't do everything on your computer. Getting a midi keyboard or drum pad makes the process more organic. Also exploring VSTs because I feel like most producers have their favourite VSTs that they use frequently. It helps develop their sound. Once again, keep an eye out for beginners courses or reach out to people you know that produce. Most people are always willing to help :)

AC: What's next for Honeydrip?

H: A remix EP may or may not be on its way. And this is just the beginning of my transition to a producer. So far, I am loving it and will continue to release music as consistently as I can.

Credits:

Animated & Produced by Emma Forgues

Composed by Honeydrip

Vocals by King Shadrock

Mixed by Francis Latreille

Mastered by Valentin Ignat

Honeydrip

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Soundcloud I Bandcamp I Spotify I Apple Music

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

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In Conversation: NYC's Mons Vi Opens His Indie-Pop Time Capsule

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Matthew Hershoff (Mons Vi), by Drake Li

Editor’s note: The following interview explores themes that readers may find distressing, including suicide, grief and loss. Reader discretion is advised.

Mons Vi is the alias of the Big Apple’s Matthew Hershoff, a multidisciplinary artist who found his bearings by making bedroom-pop a method of survival. Hershoff’s collection of songs amassed over the last decade tell the harrowing story of his twenties; a period marked by immense loss, pain and personal hardship. Finding solace in songwriting, this coping-mechanism transformed into a creative outlet for Hershoff, who began gigging with a rotating cast of musicians in NYC’s indie circuit before the onset of COVID-19.

When speaking with Hershoff, I ask him how his relationship with music has changed since being cultivated as a place of healing during a difficult chapter in his life.

“My twenties kicked off with me losing my mom to suicide, which was devastating to me and coloured the next decade of my life. Music started as an entirely personal thing: It was about going through a process of grieving, and just getting my feelings and emotions out. Though my mom’s death is not necessarily the focal point of every song I’ve written, it’s a cornerstone of my personality and my experience; so, themes surrounding loss and abandonment come through in a lot of my earlier work. That being said, I’ve done a lot of growing since then, not like I’m an old man on the hill (laughs)… but, you know, I’ve connected with different people, found community and peace and am now I’m in a new identity-formation period. For the first time, I’m thinking about how I can bring my music into a live setting and make people come together and experience some kind of collective energy!”

Over the last eight years, Hershoff has built a musical catalog that he plans to release as a full album in the near future. Knowing that his musical career came of age in NYC, we get on the topic of the city’s dense culture and rhythm as a world-renowned epicenter of artistic expression.

“New York has such a rich history of music and powerful personalities,” says Hershoff. “You can’t escape it when you’re here and it makes you feel like you’re part of some kind of lineage; which, of course, informs the music that comes out of the city.”

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Matthew Hershoff (Mons Vi), by Delaney D.

For Hershoff, a steady work ethic of going out and playing live music, coupled with getting to know familiar faces at gigs and about town, has helped him settle into a community that he says, “is really there for the long haul.”

The pandemic has made it difficult, if not impossible, for musicians like Hershoff to connect with their community lifelines. Without shows materializing as a cultural milieu, Hershoff has been chipping away at the beginnings of his debut record in isolation.

“As my debut comes together, I’m trying to harness the essence of what made me feel alright with being a human. All of this collective time alone has helped me think of how I can make these songs –some of which are eight years old– both healing and fun and a means of people coming together. This is what I picture while I write, hoping that it manifests.”

To get a glimpse into Hershoff’s imagination, I then ask him to touch on the backstory of his recently released music video for his latest track “After School.”

“I collaborated on that video with a friend of mine, Renata Pereira Lima. She is an extremely talented choreographer and works a lot in the realm of modern, interpretive-style dance. I knew I wanted to make a video with movement and I described what the song was about to her, and she brought that to life. The storyline is really as simple as two characters wanting each other, but one won’t give the other attention, so the other crosses a boundary to get said attention and then they have a party.”

Hershoff articulates that his songwriting is generally character-driven to represent and heighten parts of himself that he wants to come forward in his music. He notes that this method of narrative creation allows him to hone in on parts of his personality to release vulnerable feelings or hold himself accountable.

“We all have parts of our personality that, if you let them get out of check… you know, you end up being a jerk or getting out of control. If you let those parts of yourself speak freely through your art, it allows you to take control of your emotions in a healthy way,” he elaborates.

In closing our conversation, Hershoff dives into what is on his plate at the moment, as well as his upcoming plans.

“I’m putting my band back together right now and exploring other mediums of expression. I’m, of course, especially focused on music and feel like things will reveal themselves sooner rather than later, as the world begins to open up and live shows become possible once again. The best way to support me is by checking out my music and, you know, bobbing your head to it (laughs). But in all seriousness, if you’re interested and listening to the words, come to a show and hang out! I’d love to get to know you.”

Mons Vi

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

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Toronto's New Chance Makes Existentialism Danceable on New Album "Real Time"

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New Chance (Victoria Cheong), shot by Yuula Benivolski

Toronto’s New Chance (Victoria Cheong) has joined the roster over at new indie label We Are Time with the release of her new LP Real Time. A long time collaborator of artists like Lido Pimienta, Jennifer Castle, post-punk icon Chandra and reggae legend Willi Williams, Cheong creates meditative electronic pop soundscapes that are suitable for unwinding from day-job restlessness as well as surrendering to the hum of a late-night dancefloor. On her latest offering Real Time, Cheong brings her reflections on nature’s abstract cycles to the forefront, between spellbinding textures and an eclectic sampling of everything from Calypso percussion to a sunrise rooster crow. We caught up with Cheong on how she wrestles with profound existential questions within the scope of her ever-changing creative outlets.

Zoë Argiropulos-Hunter for Also Cool: Something that struck me while reading about Real Time was that the album artwork is a photo of your grandfather’s. Can you tell me more about this picture and the role it plays in the context of Real Time as a whole? 

Victoria Cheong: I was really inspired by these scrapbooks I have of my grandfathers that are filled with photos of his garden, pictures of garden shows and cutouts from newspapers and magazines about plants. They’re beautiful and I was moved by being able to see through his eyes, in a way. During the pandemic, these hobby scrapbooks were are around me and I found myself flipping through the pages. Eventually, I ended up reworking some of his photographs into the album artwork. The image I chose [for the album’s cover] of the night blooming cactus is a great metaphor for the themes of this record; cycles of time and nature. There’s a kind of patrilineal connection creeping into the record, which I totally didn’t set out to do… but the “father energy” just came about organically in a way that fit perfectly with some of the ideas I was mediating on.

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Real Time album artwork by Jackson Cheong, Gord Cheong and Victoria Cheong

Also Cool: It’s so interesting that the photo ended up informing the work in such an unexpected way. To riff off of you mentioning temporality: You move through different spaces on this album, both in a temporal sense, but also in an emotional sense. I don’t want to use the word “tensions” to describe what you’re working with here because it sometimes carries a negative connotation, but you’ve mentioned reconciling with people’s’ relationships with nature, for example, or our existence in relation to “time” and the feelings that can bring about. Where does the song forming process start for you when you’re reckoning with society’s positions on these immense topics? 

Victoria Cheong: I definitely tend to be more beat-driven for sure. A lot of the lyrical content in my work is basically a stream of consciousness, like diary-style venting and questioning of the world around me (laughs). I like turning ideas around in my mind and kind of puzzling over things, like my observations on life and so on. I tend to be an experimenter and tinker with different things, despite having no set format for how I work. I like to collect sounds and put them together. So, for example, I might follow a rhythm or vocal melody, zoom in on that, and see what builds from there. Most of my songs are sampler-based, which really allows for this kind of collage-y process. The sampler has definitely informed a lot of my music-making up until now!

That said, during the pandemic the way I usually work was totally turned on its head because half the songs were written pre-COVID, which meant I had to reevaluate my workflow when the world around me became so different. So, I found that once I had the vision that I was going to finish the record, it shifted the way I was creating. I became way more intentional and deliberate in terms of songwriting towards the end of this process, which was a new development in my otherwise “loose” approach. 

AC: Can you place when or where that shift in direction might have come from? 

VC: I don’t think I can pinpoint it! To tell you the truth, I’ve never dedicated the space and time entirely towards making a record, so being absorbed in the process was a welcomed change. In the past, I would juggle working and performing and make songs here and there, with a lack of focus. Once I could slow down and get in the headspace to concentrate on my own work, that lent itself to, you know, all the aspects of musical production, writing and so on.  

AC: It’s funny that you say that, because I think that really comes through on your vocal performance on this record. Knowing that you are a background vocalist for several acts, what inspired you to take on a more forward approach with your singing and lyrics with Real Time? 

VC: I think it comes from enough experience with performing. Backup singing has definitely helped me figure out how to embody lyrics and sing words that aren’t my own, while also expressing them in a meaningful way. It’s also informed my confidence for sure. I’ve learned how to nurture my main instrument, my voice, over the years, and I suppose working alone [during the pandemic] let my confidence take over.

AC: I’ve never really thought about backup singing like that before; in a sense that you’re taking on someone else’s words and you have to mean it. Even though this record is, of course, coming first and foremost from your perspective wholly, are there any versions of “Victoria” that you’ve worked with throughout conceptualizing and realizing Real Time? In other words, would you say you’ve embodied other sides of yourself and how have you wrestled with that experience if so?

VC: You mean my relationship with my different selves? 

AC: Yeah, exactly! 

VC: Now that this record is out, I feel like it acts as a type of ending for me actually! In a true sense, it offers closure on a period of my life and a new beginning. As an artist, I’m steering my ship in a bit of a different direction in terms of trying new things, and definitely shedding versions of my “past selves” and some of the creative habits that I held onto.

AC: When you say trying new things; were you taking up any kind of new musical experiments or exploring paths that you hadn’t gone down with your music before? Other than the intentionality with your vocal performance that we talked about before, of course. 

VC: Hmm… different paths. Well, my track “Two Pictures” is the only song on the album that features another person, Karen Ng, who plays saxophone. We were working on a recording session for a completely different project when I started directing some improvised scores and recorded Karen’s playing. I then built [“Two Pictures”] entirely off of that improv session, so what you hear on the record an improvised sample that was created completely separate from the song… before it even existed (laughs)! 

So, that was a path that I want to continue working on. I’d like to improvise with other musicians and manipulate those collaborations, as in creating songs around them or editing them or whatever! Creating improvisational scores that are more conceptual is definitely more exciting to me rather than actually writing out music… which I don’t really know how to do anyways (laughs). 

AC: To ask a more standard question, what inspirations did you bring to the table in this album? I keep thinking about the collage concept you touched on before, and I’d love it if you could zone in on some of its elements. 

VC: Hmm, well there really is a whole medley! I’m, of course, always curious to tune into backing vocals because they have been all over the place over the decades and I find that they are all I ever hear now as someone who sings backup vocals. Something that did come up in terms of inspiration was actually Bobby McFerrin’s “Don’t Worry Be Happy.” It’s a big song from my childhood, but it really inspires me because all of the instrumentation is just vocals! That whole record is amazing.

AC: Wow, that never occurred to me until just now! 

VC: Yeah! It’s so cool what is possible with voices. In terms of other inspirations, Jennifer Castle, Leonard Cohen, Bob Marley and the Whalers, as well as modern day R&B for its uplifting instrumentation come about in my work, too.

AC: Perhaps this is a bit of a painful question to end off on, but since so much of this project is in your hands and the world is starting to look more like the “before-times”: Do you have any idea of how you’d like to share Real Time, in well, real time (laughs)? 

VC: Well, I think I will let [the record] transform into a new experience for me. I need to figure out how to pay it live and how to share it in that way. I’ll keep working and looking and other ways to create and share music while trying out some of those different creative paths I mentioned before!  

Listen to Real Time below!

New Chance

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Bandcamp | Spotify | Youtube

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

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Lucid Express Share Hong Kong's Shoegaze Scene and New Album

Get lost in the never-ending synthy waves of Lucid Express, the 5-piece shoegaze band from Hong Kong. Their airy sound takes the listener on a journey through the band's colour-soaked world, weaving in traces of their personal values and activism.

The group formed as teens in the winter of 2014 in the turbulent weeks just prior to the Umbrella Movement, the latest in a series of tense pro-democracy protests against increasingly brutal state suppression in their home region. Kim explains that "At that time, it felt like we have a need to hold on to something more beautiful than before. Like close friendships, the band, our creation."  

I caught up with the band via email to talk about their music scene, creative influences, and more. 

Malaika Astorga for Also Cool: Hi! It's very nice to e-meet you all. I want to start with how you all met and how the band came together?

Samuel (bass) for Lucid Express: Wai and I are brothers, and we first met Andy on the Internet. Andy then met Kim and Sky in their vocational training school. 

Also Cool: You've spoken a bit about the music scene in HK and have mentioned that it was only in Taiwan where you started to find shoegaze, dream pop, and new wave music. What kind of music do bands typically play in HK? What are the venues like there?

Sky (guitar): There are actually quite a lot of different genres of bands in Hong Kong! The more you explore the scene, the more you will discover. From classic rock' n roll, core, metal, hip hop and alternative, to blues, jazz, post-punk, math, electronic, noise and experimental, and more. There are venues like cozy bars, independent live venues, cool hidden venues and standard large live spaces. Some of them aren't functional anymore, but some new venues are starting up as well.

AC: You've spoken about the difficulties of making it as a band in HK due to rent prices, the cost of putting on shows, and the land issues. How have these challenges affected you as a band? What are the benefits of being in HK versus elsewhere?

Kim (vocals/synth): For me, I think being in a band is always challenging regardless of where you are in the world. Hong Kong is a very capitalist city, which makes it harder to do. Everything is tied to money… and we don't have a garage to be our practice place.

AC: You've toured quite a bit as a band now. I'm interested to hear what the music scenes are like in Vietnam, Thailand, and Japan. Do you have a favourite show that you've played?

Andy (guitar): Every live audience was always very enthusiastic, and the performance scene was always very professional. One of our most memorable performances was an outdoor music festival in Thailand. It was pouring rain before the performance, so we had to move to the garage, which was a strange but memorable atmospheric experience.

AC: Aside from the shoegaze and new wave classics, who are some of your musical inspirations right now? Any local bands or friends you want to shout out?

Andy: Yo La Tengo because they're always experimenting with new sounds. I also like the band Fantastic Day in Hong Kong. 

Sky: Beach House, they always make simple and beautiful melodies.

AC: What can we expect from your upcoming album?

Wai (drums): It's been seven years since we released our first EP, which is a long time! Some songs from this new album were created in early 2015. It's sort of like a journey of us as a band, documenting how we evolved.

AC: What are you looking forward to in 2021? Will we be able to see you live any time soon? We'd love to have you play in Montreal!

Wai: YES!! We hope to see all of you guys after the pandemic is over. Miss the live gigs, the people, see you soon! 

AC: Finally, are there any local causes going on in Hong Kong that you would like to highlight right now? 

Kim: We would like the world to see more on what's going on in Hong Kong politically. Many of us out here are being silenced, and freedom is slowly slipping away. We think that the oppressed around the world should stand together. We need solidarity. 

Lucid Express

Instagram I Spotify

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

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

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

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

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

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Kekko, shot by Jared Rezel

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

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

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Kekko, shot by Jared Rezel

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

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

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

Listen to Dreaming Life below

Kekko

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

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Mindfulness and Magic: How Nyssa Has Been Keeping Busy During the Pandemic

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Nyssa, shot by Ron Hollywood

Toronto-based musician Nyssa has been writing and performing songs since she was 12 years old, with her musical influences covering a wide range of generations and a plethora of musical genres. These sources of inspiration are clear in her 2020 album Girls Like Me, an insightful exploration of gender-based expectations that dips between post-punk and glam rock, incorporating hints of folk in its more reflective moments. Girls Like Me was recently nominated for the 2021 Polaris Long List, and we are keeping our fingers crossed for Nyssa. We got the chance to catch up with Nyssa to chat about rock n’ roll storytelling, dream journaling and working with Meg Remy of U.S. Girls on her latest track.

Spencer Nafekh for Also Cool: Hi Nyssa! As an introductory question, I was curious if you could say a little bit more about your artist name? I looked a little more into the name “Nyssa,” and the first thing that came up was a Wikipedia page for a Doctor Who character. Is this where you’ve gotten the name from?

Nyssa: Actually, Nyssa is my birth name! I’m of Irish and Scottish descent, but my mom read the name in a book and really appreciated it. Apparently it’s ancient Greek for “a new beginning,” and there’s also the bonus of the Doctor Who character, an ewok in the Star Wars universe, and a tree found in North America. I figured that because I have a first name that sounds like a “one name” thing, I would use it as a stage-name. This puts a healthy pressure on me not to let myself down, because at the end of the day, I don’t want to change my name: I’ve got something to live up to.

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Nyssa, shot by Ron Hollywood

Also Cool: Personally, I find that Girls Like Me is an album with a uniquely cool post-punk sound to it - I hear hints of bands like The Cure and Bauhaus. I’d like to take this opportunity to pop in a “generic music question”: What kind of music did you listen to growing up? What inspires you now, and are there any artists or albums that you’ve heard as of lately and just absolutely need to put people onto?

N: Growing up, my mom and dad both separately listened to a lot of rock n’ roll. My mom was a big Rolling Stones fan, so that was a big presence in the house; same with Neil Young, Elvis, Johnny Cash, Liz Phair, Lucinda Williams, and Sinéad O'Connor. I’ve been thinking about this recently, and it’s funny how all my favourite artists from childhood that my mom introduced me to are still essentially my favourite artists: Lucinda Williams’ Car Wheels on a Gravel Road and Liz Phair’s Exile in Guyville are still two of my favourite albums of all time.

With Girls Like Me, I was basically trying to make my own version of storytelling rock n’ roll without using traditional rock n’ roll instrumentation; relying more heavily on Ableton and sample work, and not so much on guitar. I wanted to incorporate influences like Bruce Springsteen, and fuse rock n’ roll with soul and country music. It’s hard to put into words, but I’ve always been attracted to squishy, fuzzy, and crunchy sounds. My background in garage rock informs that, but I didn’t want Girls Like Me to sound like garage rock at all. Having access to samples and the ability to manipulate them was what really allowed me to get the unique sound that I was looking for.

AC: Would you say that your latest track “It's A Nice World To Visit (But Not To Live In)” is a direct response to the pandemic lifestyle? It seems different from your previous works, in terms of its slow buildup and its spooky synth-pop vibe… Do you see this track as an experimental anomaly or does it mark a transition in the vibe of the music you want to make?

N: My song is actually a loose cover of this 60’s Lee Hazlewood and Ann-Margret song; a real crazy garage rock anthem that I was first drawn to in high school and “squirreled away” for later use. My friend Lex—who is one of the owners of Fuzzed and Buzzed— initially approached me about doing a single for a compilation that they were planning. His neighbor is Meg Remy of U.S. Girls, so that got the ball rolling on the production of the track. Next thing you know, I was in the studio with Meg and a bunch of other musicians, and although Meg oversaw most of the session, “It's A Nice World To Visit (But Not To Live In)” was the song that she really stepped on board to produce. The whole process was very freeform: it was mainly me and drummer, Jay Anderson, jamming it out. 

I wouldn’t say that “It's A Nice World To Visit (But Not To Live In)” is totally an anomaly, though. I see myself walking down a number of musical paths in the future, and one of them is darker, and more surreal. It was recorded pre-pandemic, but it feels very… “pandemic friendly.” (laughs)

AC: I’ve noticed the “dreamscapes” series that you post on your socials from time to time. Whether it’s work from Flemish Renaissance painter Pieter Bruegel the Elder, photographs from the children’s picture book iSpy, or shots from that crazy fantasy movie The Adventures of Baron Munchausen, it appears as though you like sharing grandiose landscapes and pleasantly ethereal scenes. I was curious whether this aesthetic was something you try to mimic in your music, or is it something that you admire from a visual standpoint?

N: Because I’ve been so confined to my apartment these days, I find myself thinking about these dreamscapes and scenes from childhood… Worlds that I inhabited as a weird only child. To be honest, Girls Like Me is an album that I wrote over the course of a couple of years when I was waiting tables and living my life. Things obviously just feel very different these days, and I think that sharing these “dreamscapes” encapsulates everything that I’ve been doing over the past year, and the stuff I’m writing now.

On the topic of my more recent habits, I’ve also started doing this thing called “active imagination,” a Jungian technique which works like guided meditation. You’re supposed to enter your own dream world and just see what happens, or what your mind is trying to communicate to you. I find this has been helping me open my unconscious mind, and the dreamscapes that I have shared recently have been really informing that whole practice, which feeds into my writing as well!

AC: Sounds interesting! It seems like you have been keeping yourself busy in these strange times, exercising retrospectivity and imagination. Would you say that the pandemic has had a positive impact on your creative process, or a negative one?

N: Definitely positive. I’m part of this songwriting group with some friends in New York, and so I’ve had the pressure of writing a new song every week. This has been hugely important to me, and it wouldn’t have happened if we weren't thrown into this whole ordeal.

I’m really thankful for these exercises in creativity, which have resulted in my thoughts being much more magical. There’s going to be a very witchy album coming out post-COVID, that’s for sure.

Since we’re on the topic of creative practices, I should mention that another thing I’ve been doing is logging entries into a dream journal… It’s been beyond satisfying. It is so fulfilling to be able to look back over your dreams over a given period of time, and to notice patterns or recurring themes. I would recommend this practice to anyone and everyone.

AC: I think it would take a certain level of dedication to maintain a dream journal. Personally, I’ve tried a few times but can never fully commit to it. Have you ever had any lucid dreams? Also, I don’t want you to do anything that you’re uncomfortable with… But. is there any chance you would be willing to share an entry from the journal?

N: Trust me, I’ve tried this dream journal idea on multiple occasions but this is the first time that I’ve stuck with it. It takes patience, for sure, but don’t give up! Also, you don’t need to have a full dream in order to log it. Even if you remember a small tidbit of information, it is still worth logging. I’ve honestly never been too interested in lucid dreaming, because I think there’s a special quality about something totally untainted coming from your subconscious. Because the Otherworld is attempting to speak to you, I think it makes sense to not hold onto your ego, let things happen and go with the flow.

And you know what? Sure, why not… I’ll share an entry. 

—Nyssa goes off-camera for a moment and returns with her dream journal—

Hmm… I eat seafood… Lots of beaches… Okay, here’s a weird one that sounds like a real fairytale archetype:

“An old wizard at sea, travelling the land and performing illusions as a bat in exchange for sanctuary. Islanders with red caps accept the deal, watching as he performs the final illusion. Noah’s Ark arising from the sea, at first afar and then up close. The ark opens like a sea monster with many teeth. The wizard emerges in-mouth and proclaims, ‘and now you shall offer me shelter whenever I ask.’”

- - -

Our conversation quickly transitions into movie territory, and I soon learn that Nyssa is a big horror movie buff. “I like violent movies,” Nyssa says, “but not when it’s too realistic or unnecessary.” Among her favourite movies, the 1985 horror-comedy Return of the Living Dead has a special place in her heart. “It really just ticks every box,” she tells me. “I love the practical effects, the gore, the punks in the cemetery… it has everything.” Thinking of what she’s watched recently, Nyssa talks about her new fascination with the surreal films of Alejandro Jodorowsky, as well as The Secret of Roan Inish.

What stood out to me more than anything, though, were the ways in which Nyssa has harnessed creativity during this strange time; the mystical planes and otherworldly dreamscapes where she has situated herself as of late. By the end of our chat, we digress into a conversation about the intersection between religion and spirituality. When I explain to her my belief that dreams and music are the closest that humans can come to magical experiences, she passionately agrees. “Absolutely,” Nyssa says, “and I think that the oldest human beings would agree with you on that. At the end of the day, it all comes down to mindfulness and magic.”

I’m really looking forward to seeing what Nyssa puts out next, which may or may not be a darker and witchier album that releases post-COVID. In the meantime, Girls Like Me has been released on a limited edition vinyl and is readily available for order online.

Nyssa

Instagram | Facebook | Bandcamp | Spotify

Spencer Nafekh is a tireless reader, writer, editor, and advocate for the written word. With an undergraduate degree in Concordia's English and Creative Writing program imminent, he plans to pursue a Master's specialization in journalism so that he can fully realize his career path. When Spencer is not working away, he is probably listening to experimental music while lost in the world of a science fiction novel.

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Shareef Keyes and Pool Cosby Release Upbeat Funky Track "Plant Mom"

Were you one of those people who bought a million plants during quarantine as a coping mechanism? I certainly was, which is why this Shareef Keyes & Pool Cosby's latest track, "Plant Mom," really hit home for me. Maybe I did buy one too many plants, but I've managed to keep (almost) all of them alive. 

Anyways... I caught up with Shareef about the Brooklyn music scene, his mom, plants, and more. 

Malaika Astorga for Also Cool: Hi! Let's start with a bit about who you all are and where you're from.

Shareef Keyes: What's Funkn? I'm Shareef Keyes from Brooklyn. Born and raised in New York City, I live in Staten Island right now. I've been making music since I was 12. My first recording was at like six years old. My older brother forced me to sing a chorus with curse words in it on a karaoke machine, haha; I was so scared our mom would find out. 

Also Cool: What's the scene like where you're from? How did you first get into music?

Shareef: The New York scene is filled with awesome talent. You can literally walk down a Brooklyn block, let's say Bedstuy, and catch a free jam/show by some of the best local talents. My mother actually wrote my older brother's first rap. They later took rapping really seriously, bought equipment, and learned how to market themselves. They put in the work. I learned everything I know about producing, arranging, writing, and singing from them. I also picked up other things from homies and studied my favourite artists, but they are my foundation. 

AC: The song is focused on care for each other and for ourselves. What's something you've learned about self-care and caring for your friends over the pandemic?

S: I had to be mindful of myself. Unlearning bad habits and enforcing new ones. I also have to say I learned it's very easy for me to gain weight, and I'm still working off this daddy gut. Oh yeah, I also have a baby coming, her name is Art, she'll probably be here by the time this interview is out. We had a lot of fun during the pandemic, but not having your homies to kick it with during the pandemic was so trash! Being with those who love you in real-time, with no glitches, is a must for me. I need to feel that energy from my people. 

AC: If you were a plant, what kind would you be?

S: I would be an avocado seed, hands down. My lady grew an avocado seed, and it bloomed into a plant. I'm hoping it lives when she moves it into the soil. I also wouldn't mind being a rattlesnake plant. They really open and close depending on the amount of light in the room. That shit is so fire to me! I'm into the whole: life is happening all around us, all the time, and we don't know it. So to see a plant move at my speed is appreciated. 

AC: Music has been proven to help plants grow (hi Plantasia), so I'm wondering what music you're listening to right now that you think would make your plants happy?

S: I've been playing a lot of Roy Ayers, Peyton, and Jack White. I think the plants have been dancing low-key. I've also been bumping that new Sir Keyes in my car and Masego. Those are my guys!!! 

Shareef Keyes

Website I Instagram I Spotify

Pool Cosby

Instagram I Spotify

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

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Wrocław’s Oxford Drama Makes Light of Modern Absurdity with “What’s the Deal With Time?”

Oxford Drama, shot by Nelly Valverde

If the weight of the world has got you feeling sideways, you’re not alone. This sentiment is the driving force behind What’s The Deal With Time?, the third album by Polish indie-poppers Oxford Drama. Inspired by the never-ending mazes of modern technology and society, the duo – consisting of Małgorzata Dryjanska and Marcin Mrówka – transforms crushing emotions and uncertainties into a musical experience that transcends the turmoil.

Highlights of the concept album include “Not My Friend,” which is described as a “therapy session” in a track – its depth is punctuated by silky struts of guitar and Dryjanska’s warm vocals. “This is the Internet” strikes a refreshing balance, poking fun at algorithmic dependencies without veering into condescension. Then there’s “San Junipero,” inspired by the Black Mirror episode of the same name – a haunting piano ballad that shines through the pointed commentary, speaking to the subject of romanticizing the past and blurring the lines of what’s real.

In Oxford Drama’s persistence through heavy realities with flecks of optimism and wit, the band uncovers worlds of possibility. There is so much to be said about navigating the “today,” and so much more to be dreamt about tomorrow. We caught up with Małgorzata to chat about What’s The Deal With Time?, and covered everything from Seinfeld to the winning life accomplishment that is taking out the trash.

Rebecca L. Judd for Also Cool: Hi there Oxford Drama – thank you for your time, and for sharing your art with us at Also Cool! What's The Deal With Time? is a stunning album, congratulations on the release. To start, I'd love to learn more about both of you – what kinds of musical backgrounds did you come from, and how did you find each other?

Małgorzata Dryjanska of Oxford Drama: Thank you so much! Marcin and I met almost 10 years ago during an English language competition, where kids from different high schools in Wrocław had to prepare a speech about youth. Both [of] us were the only ones that had musical themes in our presentations, [and] we felt that we might have a lot in common. We were right about that, but it took almost two years of Marcin persuading me into forming a band. Our iPods matched, we both loved Blur, and because Marcin knew I liked to sing, he wanted to try to make music with me. I finally agreed, [and] it was worth it!

Also Cool: What's The Deal With Time? is a concept album, exploring plenty of complicated subject matter such as the pressing weight of nostalgia and societal relationships with technology. What does making a statement on these topics mean to you, and what is it that convinced you to do so?

Oxford Drama: As both Marcin and I are on a mission to understand the world, and especially nowadays — to understand the modern world — we felt intrigued by the idea of writing a concept album as both the observers and the receivers, actively taking part in the modern mess. 

We're kind of old souls, in the sense that we don't really find ourselves understanding every aspect of technology. We want to get our music out there in the world, so by wanting that we have to be visible in our social media feed. But we don't want you to be bored or frustrated by constantly seeing our faces, so we're very careful about choosing what we want to post and how we want to post it. 

And that's only us as professional users of social media – privately, we're also not happy with loads of ads trying to get our attention, [or] how we're living in our own bubbles and not always seeing other perspectives. These are the subjects that are frequent in our conversations, so we thought we might want to take those themes and present them in the form of pop songs.

Oxford Drama, shot by Nelly Valverde

AC: I took a special liking to "Bachelor of Arts" – it struck a relatable and tender contrast between all the world's possibilities and an internal lack of direction. Could you elaborate on this track, its formulation and its intentions – particularly within the context of the rest of the album?

OD: The theme of "Bachelor of Arts" started more as a joke. We just started writing some songs within the subjects we wanted to elaborate on, already knowing it's a concept album, and I [was thinking] that I'm just one of many in the modern world feeling [like] “...I'm not a kid anymore, but I'm kind of lost as an adult. I get work done, but man, sometimes I just need a hug and some peace and quiet.” 

I think that feeling of being lost is so universal, but I wanted to sketch it in a way [where], by listening to the words, you can see the picture. You imagine that person, the protagonist, and it's so vivid that you can also guess the surroundings. We wanted to be free in the interpretation, because in a way the person from "Bachelor of Arts" might also be the one in [other tracks like] “This is The Internet”... we don't know that. 

But what I think most of the songs on What's The Deal With Time? have in common is the humour that I think keeps us sane. Just like in “Bachelor of Arts,” I sometimes think I should get a medal for taking out the trash, but I know it's not going to happen. But yeah, I sometimes deserve it (laughs).

AC: It's mentioned that your album is inspired by Seinfeld – the cheeky reference in the title definitely gives that away! Can you elaborate on Seinfeld as an influence? What are some other cultural influences behind What's The Deal With Time?

OD: I knew this day was bound to happen! The story is kind of strange. My parents introduced me to Seinfeld when I was a kid, and I remember watching their favourite episodes and remembering the funny lines … and basically being in love with every element, creating the atmosphere of New York in the 90s. 

And so [that nostalgia] was always in the back of my head – Seinfeld, my love for Saturday Night Live and movies with Chevy Chase. My favourite video is the one with [Chevy Chase] for Paul Simon's “You Can Call Me Al.” Humour for me helps in dealing with the modern world, but I also love lyrics that are about playing with words, and have some irony or sarcasm in them. David Byrne singing about peanut butter, or Ezra Koenig singing about a falafel shop just fascinate me. So on What's The Deal With Time? I didn't want to present such important topics deadly serious, I wanted to add some lightness to them by adding some absurdity. And that humour in everyday situations reminds me of how I remembered Seinfeld as a kid.

Most definitely Black Mirror's episode “San Junipero” influenced us to write [the] song of the same title. Both of us understood the plot differently but we both shared similar emotions which the episode evoked in us.

[Lastly], this might be controversial, [but] U2 also inspired us in a way. In the fall of 2018, we went to Berlin to see the guys from U2 live, and the time spent in this beautiful city inspired us in ways we couldn't even imagine. We talked a lot about the history of Europe, about how Berlin inspired U2's Achtung Baby and Zooropa, but also Bowie's Low and “Heroes.” Despite knowing all of the albums really well before, this mixture worked so well that our heads started creating a lot of ideas, and then What's The Deal With Time? happened. [That] Berlin era is just full of great ideas.

Oxford Drama, photo provided by the band

AC: What's The Deal With Time was released into the world a couple of months ago – how have you celebrated since then?

OD: We finally binge-watched Six Feet Under! 

We're extremely happy with the response [to the album], and as perfectionists, it's the first time after the release that we still wouldn't change a thing, really. There are some gigs planned for the summer that we're extremely excited about. And now we have the time to start working on the new record, because there are a lot of ideas that are waiting to be taken care of – hooray!

AC: Thank you so much for your time, Oxford Drama. What's The Deal With Time? will be on loop for me for many long summer nights to come. What can we next expect from you?

We're excited to play [that] new material, because it's so much fun. Also, I guess we're getting back to the studio – that is our living room – to make the next record, as some ideas are waiting [to come out] and we kind of don't know how to relax, so…

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WHAT’S THE DEAL WITH TIME?

Released on March 26, 2021

1. Not My Friend

2. Too Busy

3. Bachelor of Arts

4. San Junipero

5. This Is The Internet

6. You Only See What You Like

7. Offline

8. Retromania

9. Episode Couples

Music by Małgorzata Dryjanska and Marcin Mrówka

Lyrics by Małgorzata Dryjanska

Produced by Marcin Mrówka

Drum recordings (tracks 7, 9) produced by Jacek Maciołek

Mixed and mastered by Michał Kupicz

Cover design by Hanna Cieślak

Band photos by Nelly Valverde

All rights reserved Oxford Drama, 2021

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What’s The Deal With Time? is now available to stream and purchase – take a listen here!

Oxford Drama

Bandcamp | Soundcloud | YouTube

Instagram | Facebook | 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.

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

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Escape into a Glimmering, Shroomy Tableau with Priori's "Little Flower" EP

Artwork by Angelina Nonaj
Design by Ellyson Gasparetto

A friendly face and frequent visitor at our studio space in Montreal (official Also Cool Mag HQ), Francis Latreille, the Quebecois producer, DJ, and label owner known as Priori is a mainstay in the city’s electronic music scene. With influences spanning from the rhizosphere to the exosphere, Priori’s unmistakable productions blend intricate organic sounds with whirring, bleepy cosmic soundscapes traversing house, techno, ambient, and IDM. The spinning, airy rhythms are a full sensory dance bound to keep you light on your feet.

Priori’s scope of creativity is most evident in his multitude of collaborations, including Jump Source with Patrick Holland (Project Pablo), the NAFF label with Adam Feingold (Ex-Terrestrial), ANF, New World Science, M.S.L., and Ntel, among others. Little Flower is the artist’s second solo EP after debuting with the cerebral On a Nimbus in 2019. With such a relaxed disposition, you’d never guess how busy he is - we took a moment to discuss creativity, curiosity, and life’s comforts.

Maya Hassa for Also Cool: Journeying back down to Earth from your spot on the nimbus, you encountered a little flower. Tell us about this flower.

Priori: Hehe! I'd like people to picture their own little flower, but I see a purple daisy. There is an old tree nearby, narrating the lyrics in the title track.

Also Cool: This EP sounds like walking through the depths of a dense, shimmering forest, all senses stimulated, becoming more and more engulfed in nature's harmonious symbiosis. You mention taking pleasure in the chaos and coveting the unknown - how do you approach exploration in your creativity - what are you curious about, where do you let that curiosity lead you?

Priori: That's super flattering and pretty much what I had in mind when making it. Except for maybe the title track, I don't think these songs have narratives. To me they are more like tableaux or landscapes. If you look outside a window, small changes/events occur, transient (i.e. someone walking their dogs) or gradual (the sky changing colour). Sometimes it's nice to just sit there and enjoy the view. The title track tells more of a tale, it's kind of an ode to growth and diversity.

I just try to stay curious, which in my case is the main fuel for creativity. It really doesn't have to be music, though. Books, video games, places, people.

Credit: Ariana Molly

AC: While on the subject of creativity, I can't skip over the multitude of different projects you are involved in - what are you working on these days, who are you collaborating with?

Priori: I think I appreciated the seclusion at the beginning of the pandemic, and it was great for writing new solo material, but ultimately I really enjoy the collaborative process. I've been working on a lot of music with close friends lately - Maara (who released a record on NAFF last year) and I made a few tunes that we're very happy with. I'm also working with Olivia (aka Regularfantasy) on some vocal club things, which is a really fun process. I have a release ready from sessions with Ludwig AF as well, that will come out at some point. Maybe some new Jump Source material in the future as well. Patrick and I share a studio, so there's a constant exchange of ideas and sounds. We both get very excited by the recording process itself so we need to dedicate time for experimentation. We just re-wired everything and there are new possibilities, which is usually when we write our best work, in my opinion.

AC: Has your direction changed over the course of the past year's chaos? Your older releases draw references from science fiction, but Little Flower is bustling with earthy vibrations.

Priori: I think it is always changing, whether consciously or not, but I also don't think of science fiction as being separate from earth. There is a lot we don't understand about this place, and we come up with stories to fill the gaps, express our views, or just to have fun. I also just got excited by some of the sounds I was getting using modular synthesis and how they reminded me of biology and matter (knocking rocks together, leaves rustling, insects flying, etc.). Sounds from nature are complex and the infinite routing possibilities of modular instruments really bridge that gap.

AC: Lately I've found comfort in listening to and making cheesy remixes of uplifting 90's trance and early 2000's dance music - maybe a little too much - what's your go-to feel good music, or maybe you have other comforts that you enjoy?

Priori: Haha you have to indulge. I think music should trigger feelings and feeling good is nice! Lately a lot of brit pop and rap. Shoegaze is the constant.

AC: If you had to spend the next year in a sensory deprivation tank, but were offered one week to immerse yourself back into the world, where would you go and what would you do?

Priori: This is kind of what spring felt like this year. Go on a hike with friends, swim in a lake, eat fruits, mushies if it feels right.

Priori

Bandcamp | Soundcloud | Instagram | Spotify

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Artwork by Angelina Nonaj
Design by Ellyson Gasparetto

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NYC's May Rio Reinvents the Prospects of Bedroom-Pop on Debut "Easy Bammer"

May Rio by Noelle Duquette

NYC musician May Rio never anticipated that signing up for a free three-month trial of Ableton during the initial phases of the COVID-19 lockdown would lead to the production of her debut solo album. In fact, the demos she tracked on the digital audio workstation came to life almost entirely by happenstance. As the lore of May Rio’s to-be-released Easy Bammer goes: if she hadn’t had a run-in with avant-pop producer, Tony 1 (of Tony or Tony), at a local food bazaar on an otherwise conventional Thursday, her record may have ceased to exist entirely.

Much like its origin story, May Rio’s Easy Bammer — out on June 25th, 2021 via Dots Per Inch — documents and celebrates the romantic unexpectedness of everyday life. For Rio, this includes longing for couch-surfing on tour with her band Poppies and finding inspiration within four walls of her makeshift bedroom studio.

Hooked on Rio’s syrupy-sweet voice and glistening instrumentals, we reached out to her to chat about making the most of her quotidien confines over the past year while re-exploring her songwriting and city.

Zoë Argiropulos-Hunter for Also Cool: Hey May! Thank you so much for taking the time to chat with me. Let's start with the obvious: Easy Bammer is a product of lockdown. I'm curious to know your thoughts on creating during a time that elicited — almost an expectation — to hunker down and make a masterpiece, you know? Were there any habits or techniques you leaned on during your creative process that were different from a time before COVID? 

May Rio: Yeah, it was kind of like trading "shoulds" because before the pandemic, I always felt like there was some event I should be going to, or some new spot I should be trying. I would so rarely buffer in time just for myself. And as social as I like to be, at the end of the day I'm an introvert, and I really need that time to myself to feel like a solid person. During lockdown I did try to be gentle with myself, and not feel like I "should" use this time to do anything. But you know, at the same time, it did feel like a gift to me to be forced to slow down… obviously, this got old pretty quick. 

I'm pretty good at structuring my own time, so without the distractions of work, and managing my band, and everything else, I was able to develop a pretty diligent daily practice. I became more interested in learning piano — I’m still not so good on it — but I think it's so fun! I can really get lost in it. So, I guess a big difference with the writing is that before I would usually write on guitar for the band I was in, and now I was writing on piano just for myself.

View fullsize

May Rio, shot by Grace Pendleton

Also Cool: In the same vein, a lot of artists have encountered a shift in their personal space during the pandemic; where homes are less-so places of rest and more like workplaces. Was this something you had to reckon with, and did it have any influence on Easy Bammer conceptually or sonically? 

May Rio: It definitely started out that way. I didn't spend a lot of time at my apartment before the pandemic. Suddenly it felt a lot smaller. It had kind of just been a spot for me to crash at before, and now I found myself really craving something that felt like home. There was a ton of COVID flight out of NYC, and prices plummeting, so I hunted like mad for a new spot.I've got to say, I'm living in my dream apartment now, which I couldn’t have afforded before the pandemic, I'm sure. It's not a studio apartment, but I have my own studio connected to my room. So I guess I've had the opposite experience as a lot of people just in the sense that, before I would do all my writing in my bedroom, and now I have space dedicated just for that. Not that it never got claustrophobic… 

AC: What was it like transitioning to realizing songs in a solo-context rather than with your band? 

MR: I started making music pretty late compared to most people. Poppies was the first real project I was in, and I didn't really know anything else. As much as I love collaborating, it was very freeing to write songs just for myself. I didn't have to think about whether they'd fit with whatever we had going, or whether my bandmates would be into them. Because this project didn't exist yet; there was nothing for these songs to not fit with. Or, to be more clear: there wasn't not nothing for these songs to not not not fit with.

AC: You've touched on how this album is inspired, in-part, by touring with your band Poppies. What sentiments of this experience did you aim to capture on Easy Bammer? Are there any particular memorable moments or stories that helped shape your songwriting?

MR: It’s really mostly my song "Party Jail" that's specific to touring. As much as I love touring, it can feel sad and lonely at times. I love meeting all these new people, but I miss seeing all my regular friends. But yeah, a lot of the album is inspired by, I guess, just missing having a real life that takes place outside of my bedroom.

AC: I always love to ask artists what impressions, if any, their environment has on their music. Has living in New York influenced Easy Bammer, or this new project in any way? 

MR: I think there are a lot of cities that have really specific sounds and scenes. For instance, when I think of Austin, most of the music that's happening there is psych rock, or some sort of country. With Philly, I think of there being a pretty specific sound as well. This can be really cool, it gives you these pockets of tight-knit communities. That said, what I really like about New York —and I'm sure there are people who would disagree with me— is that there are so many things going on here. I don't think of there being a specific New York “sound” at all. Which in my mind, leaves a lot of room to do whatever the fuck. There's still an incredible community here, but it's a little more vast. It can be harder to connect the dots at first. 

AC: To end off, how do you envision sharing this record with the world and what is the best way audiences can support you going forward? 

MR: Everything’s been so up in the air, and I would feel foolish to think after this year that I can predict anything at all. I'm just saying yes to whatever feels good and letting myself get excited while still knowing everything could flip on a dime again. I want to tour…and I think that will be happening. Fingers crossed!

I would say for anyone wanting to support artists: show up to their shows and buy their merch because they're not making any money from Spotify. Share music you like with your friends, or anyone. And again, with Spotify, in the age of playlisting...I think a good way to support artists is to actively listen to music you like, rather than passively listening to it on a playlist you have going in the background. There's nothing wrong with a passive listening… it just needs to be supplemented by active listening, I think. You'll get so much more out of it that way!  

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EASY BAMMER

Out June 25, 2021 via Dots Per Inch

1. Butter

2. Everything Must Go!

3. I C

4. Reservations

5. Gravy, Baby

6. JoJo

7. Party Jail

8. Without

9. SongForNeo

10. Reasons

Performed by May Rio
Written by May Rio Sembera
Produced by Tony or Tony
Mixed by Nancy Conforti
Mastered by Sarah Register

Artwork by Sarah Lammer

Special thanks to Blaketheman1000

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May Rio

Website

Instagram | Bandcamp | Spotify

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

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Hélène Barbier Shares Sophomore Album "Regulus," Talks Music-Making, Space Debris, and More

Hélène Barbier, known for her wonderfully juxtaposed tunes, has released her sophomore album Regulus on Michel Records and Celluloid Lunch. Playfully off-kilter and complex, the melodies sound like alien tunes conjured in someone else’s psyche across time and space. With imagery ranging from a flowering cactus to dimly-lit tunnels, the album explores Hélène’s strange and beautiful world.

We caught up with Hélène a few weeks ago to chat about her new album, her music-making process, and more.

Malaika Astorga for Also Cool: I always like to start by asking people how they want to be described as artists, in general.

Hélène Barbier: I actually became a musician by chance. I had two friends who wanted to form a band, and the three of us were motivated enough to play an instrument, so that's how it started. We formed a band called Moss Lime, and another friend from GASHRAT asked us to open for them even though we only had two songs. She told us to write two more, and we could play the show, so that's what we did.

Now that I'm performing under my own name, I really couldn't have imagined what it would be like. I make pop music, and it doesn't bother me that I make pop, even if it's minimal or haphazard, because I'm not a musician by training. I like artists who are like this, and I'm also learning a lot as I go. 

Also Cool: I'm interested to know what your experience has been like in Montreal. It's changed so drastically even in the time I've been here, and it can be so special in that way where your friends can just pull you into a band.

Hélène: I was really lucky with Moss Lime. Even if it was very modest, we were lucky to have a European agent who helped us tour Europe and booked us a lot of gigs. I had already started making music for my solo project, but I was still intimidated to do it. That being said, I was really excited to have carte blanche what I was making.

We started our label during the pandemic because we thought nothing would be happening for a while, so we thought, why not put out music from people we love

Photo by Dominic Berthiaume

AC: Yeah, how did the label (Celluloid Lunch) start? Did you learn as you went, or did you already have a sense of that side of the industry?

H: Joe knew a bit from working at a music distribution company. I worked in the music copyright sphere. I think it is essential that artists understand this and understand its importance for their work

AC: I have a kind of silly question; I think just because I miss going to shows, but what's your favourite Montreal venue and why?

H: Brasserie Beaubien. It feels like home, even though it's been so long now. You can see so many different styles of music there. I miss it a lot.

AC: Yeah, me too. It feels like a space where different generations and kinds of people can mix and meet freely.

H: Many people show up not knowing what's going on, but they're willing to give the music a chance regardless of what it sounds like.

AC: Let's talk about the sound of the album and your music. You have such a distinct sound, and it's so easy to immediately trace it back to your earlier projects. To me, it sounds like Montreal in 2015 and what's now called angular post-punk. It sounds like discovering all the after-hours etc. 

What was it influenced by? Whether it be artists or experiences?

H: I really wanted this record to be more polished, but I realized I haven't quite achieved this yet, and what makes my music interesting are the little mistakes. If I polish it, it sounds more boring. 

I really try to embrace that, and with each take, I try something different. I think the sound comes from playing by myself, with myself all the time. Then when I go to the studio to record, it comes out different from what I had initially done. It's constantly evolving. There's a lot of room for accidents. 

I don't mind for it to be a testimony of one day like this song sounds like this day in particular. So far, it's good enough for me to keep it spontaneous. 

AC: I think there's a lot of value in the insight that comes from organically making something on the spot and leaving it that way forever.

H: Yeah, and if someone tells me I really don't know what I'm doing, I feel very at peace with that. It doesn't have to be technically perfect. I know that I'm not hurting anyone by experimenting. It feels special to me, which is enough.

AC: You've collaborated with quite a few musicians for this project. Can you tell me about the collaborative process and how these people came together?

H: Thomas has played with me for a while, and he's always very enthusiastic. He came on the European tour two years ago and has been a part of the band since. 

Samuel is on the record as well, and it's because when we came back from the tour, Thomas stayed for a little longer in Spain. During that time, I was offered to play a show at Casa, and I really wanted to do it because it was with a band I really liked. I asked Sam to play, and he was game, and he joined the record after that.

AC: Can you speak to the lyrics and some of the album's meaning as a whole?

H: I would say that there are different layers to it. Regulus is one of the brightest stars of its constellation, but it's a star made of space debris. So it's one of the shiniest stars but one that is the least previous. It's not because you shine the most that make you the most valuable. In other words, the one who takes the most space can be the most garbage, which is kind of inspired by people like Trump. 

AC: The last thing I wanted to ask is what you're looking forward to this and next year. What you're looking forward to seeing in the music and arts scene?

H: I'm really looking forward to all the new bands and listening to all different sorts of music. 

One of the good things I did during the pandemic I listened to music I would not naturally go to. For example, I've started listening to more electronic music. It's very new for me and super sweet. Actually, earlier today, I was with Gayance and a few other people for a journalist. I was listening to her music, and it's really amazing.

Hélène Barbier

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

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Tonight: BACKXWASH Invites Us to Celebrate New Album "I Lie Here Buried With My Rings and My Dresses" at Suoni Il Per Popolo

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BACKXWASH by Chachi Revah

It’s suffice to say that that most exciting day of the month (of 2021 in its entirety?!) has finally arrived. This is not a drill: underground princess BACKXWASH has just shared her brand new self-released album I Lie Here Buried With My Rings and My Dresses. Following her 2020 Polaris Prize winning album God Has Nothing To Do With This Leave Him Out Of It, I Lie Here “features BACKXWASH as an empress of chaos on a path of self-destruction,” complete with her signature industrial-hip-hop-meets-thrash backdrop, introspective bars and candid narratives; all in their most confrontational and unapologetic form yet. With I Lie Here, BACKXWASH claims her title as contemporary hip-hop’s greatest force to be reckoned with, and we are celebrating her reign.

Tonight, BACKXWASH headlines Suoni Per Il Popolo - Day 18, performing I Lie Here from start to finish via the festival’s livestream at 9:30 PM EST. BACKXWASH was kind enough to make time for us to chat about her upcoming premiere and give us the inside scoop on everything from what she’s spinning to stay in the right headspace, to a behind-the-scenes glimpse into her I Lie Here performance. Read our conversation with our hero, BACKXWASH, below.

Zoë Argiropulos-Hunter for Also Cool: Hi Ashanti! Thank you endlessly for making time to chat with Also Cool during such a whirlwind of a week! How are you leading up to your album launch show on Suoni Per Il Popolo?

BACKXWASH: Thank you so much! We’ve been busy preparing everything we are very stoked to show everyone what we have planned!

Rebecca L. Judd for Also Cool: If you can give us some insight into tonight’s program — where will you be leading us?

B: Sunday will be a performance piece for the album. It was directed by Mechant and shot by the Suoni team. It looks very beautiful to me and I hope everyone likes it! We will be diving into the album from front to back.

All behind-the-scenes shots by Cameron Mitchell

R - AC: We feel like a huge part of preparing for a big event is getting in the right headspace. You’re no stranger to providing song recs on Twitter — and we can’t get enough!  What are you spinning these days to stay inspired, or maybe grounded, while managing all of the anticipation surrounding your release? 

B: These days I am mostly into Godflesh, Nine Inch Nails, Censored Dialogue, who just had an album drop, and some Rural Internet! All very, very solid releases.

R - AC: Among your collaborators on I Lie Here is the incomparable Sad13, of noise-pop outfit Speedy Ortiz. Seeing your friendship blossom has been such a treat. 

How did this come about, and how was your experience collaborating together? 

It was great! Sadie is extremely talented and I was very honored to have her as one of the features on this album. Working together has been an amazing experience.

Z - AC: On the topic of music releases: we saw that the Polaris Long List dropped this week, and were instantly reminded of your win last year… Which still feels like it was yesterday? I Lie Here continues your streak of vulnerability that you paved with your previous releases in many ways. How do you preserve your wellbeing when sharing these emotions with a growing audience? 

B: There is nothing else I can do aside from be authentic. If I want to speak to truth on record, I should not be bothered by the growing audience. I am happy that people are listening - it still trips me out incredibly!

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BACKXWASH by Chachi Revah

Z - AC: Have there been any particular takeaways or realizations on reckoning with these raw feelings on I Lie Here?

B: My main takeaway is just based on the creation of music itself. A lot of insight into layering and just making songs more fuller. I am ecstatic!

Z - AC: With that being said, these experiences have nonetheless culminated into the realization of I Lie Here. How are you planning to celebrate this latest venture, and what does the future hold for you, Ashanti?

B: I am planning to celebrate with Mechant! They have helped me a lot through this and they are just generally amazing as a collaborator and friend. We will be hanging and watching the livestream. We are excited to see how it is going to turn out!

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BACKXWASH

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Elle Barbara Shares Suoni TV Special, Stories of Community-Building, Learning to Rest & More

Elle Barbara is known in many circles, whether it be in Montreal or internationally, as a creator of worlds. Constantly carving out space for herself and other queer Black artists and individuals, her reach has pushed the community to evolve through self-reflection and acceptance. 

Elle's efforts not only revolve around her creative practice but also LGBTQ+ community organizing. This includes Taking What We Need (a grassroots group whose mission is to grant discretionary funds to low-income trans women) and Montreal's nascent ballroom scene.

She is the Mother of the House of Barbara, and her musical output alternately combines elements of soul, sophisti-pop, psychedelia, glam, and underground. Elle once again invites us into her world with Elle Barbara's TV Special, an experimental variety show set to air tonight, June 17, 2021, at 8 PM EST on Suoni TV.

To speak with Elle was an absolute privilege. We covered her upcoming special, the community building she's done over the years, and so much more.

Malaika Astorga for Also Cool: How do you like to be described as an artist?

Elle Barbara: I think of myself as a singer-songwriter, as a performance artist, multidisciplinary artist, something of a pinup, definitely a thinker, director, a mother, and an intervention worker. 

I came on the scene first as a singer, and my musical practice has always veered on the holistic approach of fashion, drama, interviews and performance. I used to care more about my standing in the world, on the scene, and that sort of changed. It took on a different form as I grew as an artist and a person as I moved into my transgender power.

Also Cool: What was the scene like when you first came into it?

Elle: Well, I found the scene to my liking was very racist. I would give it all the "ists" compared to what it is today. 

It's easier to have a grounding for, say, Black queers looking to do something artistic and can't find their footing in the Village scene, to try out the Plateau-Mile End creative scene. It's easier to get a footing now. You get a sense of other people being there and the broader community wanting to hear from voices that we historically have not heard from.  Whereas, when I first came on the scene, hardly anyone was Black, let alone queer and Black. 

I found the culture to be very matter of fact about its whiteness and its cis hereto-ness. So, it wasn't easy to carve out space and perform. I've been turned down when trying to book shows in popular venues. It's not to say that it was the same people running those spaces today, but it was impossible for me to even book a show at a regular venue. I had to resort to afterhours spots and to ask for 20-40$ to do a performance. 

Elle Barbara by Fatine-Violette Sabiri & Anna Arrobas

AC: What has it been like to create your own spaces over the years? 

E: There's definitely been a shift in people's level of openness. It was very hard initially, and although it may be buzzwordy, a lot of it stemmed from intersectionality. 

I came from a place of wanting to express myself artistically. However, I feared that I would be met with antagonism in the broader Black cishet-leaning community and the more mainstream gay community. On the other hand, I felt like the pseudo-radical leftist progressive Plateau-Mile End community was an oasis of open-mindedness and hope. Little did I know, I was not prepared for the rude awakening I got when entering certain spaces. I realized that there was an intrinsic whiteness attached to it, which I guess wasn't ready for me to participate. 

That's not to say that the experience was entirely negative because clearly, that's where my roots are. I was grateful to come across many people who wanted to help me and collaborate with me. 

As far as how different it feels today, I would say that I have to celebrate myself and the work of other people who were active in their respective scenes. For example, those who spearheaded the Black Lives Matter movement pushed for conversations that benefited people who lived at the intersection of multiple oppressions to be heard and included. 

It's definitely created a socio-cultural landscape that benefited me and benefited people who are coming up on the scene and want to be heard and want a platform. Obviously, all the work isn't done, but it feels, from my perspective — coming from ten years ago — like a better place now. 

AC: I agree. Although we've clearly come such a long way, it's still essential to acknowledge the different privileges we hold. Even though we may be oppressed in some ways, we have to hold ourselves accountable in others, especially when it comes to whiteness. The work is ongoing.

When you're someone who's constantly paving the way and making your own spaces, it's hard to rest, especially when it might feel like, "If you don't do it, then who will?” So I'm wondering how you've learned to rest and ask for and accept help from others. 

E: It can be hard; coming from a place of not being used to external help and showing vulnerability. I grew up understanding that I would be left to my own devices. I don't come from a family of open-minded bougie bohemian types. I grew up understanding that the world is incredibly and outwardly antagonizing towards me. It was not okay to be myself or confide in people, be vulnerable to people, and ask for help. 

So it's kind of inevitable that I'll resort to certain defence mechanisms when it comes to allowing myself to rest, breathe, and take care of myself. These are things that I've been working on, thanks to very good friends of mine, therapy, and my sons and daughters. So, I allow myself to do those things a bit more now. 

It's not a question that you can answer easily. On the one end, there is a feeling that very few people can do the work that I started doing. But on the other end, at this point, being myself and being public is an act of activism. It encourages people to live their own Black queer truth, perhaps. I see a will in my daughters to be out in the world and do things, and I feel much more confident that I'm not the only person to undertake what I've done. So now, if a ball should be thrown, or someone should be looked after, I can look to my sisters and daughters and ask them to take it on.

AC: It is hard to say no to things, especially after you haven't been included for so long.

E: It is. Coming from a scarcity mindset, feeling like you're not going to have enough food tomorrow. I say that both literally and figuratively. Coming from a place of insecurity can push you to say yes to everything.

It's what I went through coming back from a year in Paris and feeling tremendously dejected right at the tail end of 2014. I spent most of 2015 pretty depressed and with no sense of trajectory as to where my life was going. 

Then I decided to transition, and it just clicked. I tried it out, knowing that the things that I needed to purchase in the context of that transition were so expensive. I hustled six days a week for years on end without ever taking vacation time. I'm proud of how I went about it, but I also realize that it's not a healthy place to be in for an extended period of time. 

Even if it's achieving a certain level of recognition, I saw other people who weren't more this or that than me. But, still, the attention they got was indicative of a zeitgeist that rewards normativity that I did not have. 

Looking back, I'm not bitter at all. On the contrary, I'm proud of the new music I have coming out and this special. Still, it's clear that if I had had a more conventional and coded presentation, my story would've been very different. 

AC: For sure, and at least from my perspective, it seems that many people respect and appreciate you for the path you took and appreciate you for being yourself.

E: I am proud. I'm proud of my daughters and my community and how we are growing collectively and individually. 

AC: Coming out of the pandemic, it seems like life is beginning to spark again within the creative scene. What is your most hopeful vision for the community coming out of this?

E: Creatively, I hope that people have been able to reimagine ways to communicate or disseminate their art to an audience. I don't know if that will happen, but it's definitely a process I've undertaken myself. Not to replace IRL forms of artistic presentation, those are always fun because they make for such beautiful ways in which humans get to come together and socialize. 

I hope that it will have pushed people to move into creative mental spaces, unlike how we were doing things before the pandemic. I would also hope for people to take human touch and interaction for granted. I think that, if anything, and not just from an artistic standpoint. It's going to be one of the takeaways; it really feels nice to do a show or be in a room with many people, enjoying the fruit of one's artistic labour.

AC: Let's talk about your special. It really seems like you've created yet another world, and I'd like to learn more about it. 

E: The special is going to be so much fun! I had so much fun watching the different segments and everything.

Suoni has decided to do their programming online this year and asked me to come up with content. There's only so much that can be communicated with a filmed musical performance, and I really wanted to push the envelope and make it a variety show.

I know that the idea is not very rock and roll or whatever; it's not the cool thing to do. But, it harks back to American Bandstand, those 60s/70s variety shows where there were sketches and music. I really wanted to go there. It was an opportunity for me as a curator to dream up with the help of collaborators one hour of "television" programming. It's set in a parallel universe, where everything is related to Elle or the House of Barbara. There are interviews; Tranna Wintour, my favourite comedian in Montreal, will interview me very Barbara Walters-style. There are musical performances, music videos, and commercials made explicitly for that hour of entertainment. 

AC: A sentiment I've heard from many people is that making these online events exactly like real life doesn't quite work like we hoped it would. Instead, people are taking this new medium and pushing it like you are. 

I'm also a big believer in the power of the Internet. I say this as someone who works in social media and is exhausted by it, but loves it because of the friendships and connections it has brought into my life. So for specials like this, there will always be someone who has that experience of inspiration and connection. 

E: For sure. Many people in my house are connected because of social media; otherwise, we'd be scattered all over. The beauty of doing the special is that we're simultaneously launching new music. It's not limited by the confines of the cities and venues; it can reach so many people beyond that.  

It has its pros and cons, but I definitely do not knock the Internet. We talked about social justice, and it (the Internet) definitely helped me understand the mechanisms of oppression affecting me. It informed the people who were oblivious to the oppressions they were perpetuating. That is all because of the Internet. 

AC: Even reflecting on the crowdsourcing and fundraising purely through Instagram, for example, it's been incredible. It's more important than ever to use these tools to continue to support each other and share information. I hope that it's something that we bring into this next era beyond the pandemic. 

E: The Internet has this viral nature where it's easier to influence as an individual with a standing that isn't solidified by powerful media. You can be a mini influencer, and therein lies the power to influence people to donate and do the right thing. 

You can watch Elle Barbara's TV Special on June 17, 2021, at 8PM EST on Suoni TV. 

Elle Barbara

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

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NYC's koleżanka Releases Video for "In A Meeting" & Shares Stories of Phoenix, Polka Clubs & Favourite Memories

koleżanka by Michael Fuller

How do you find a sense of home in a new city? To leave an old life behind and begin a new one is an anxiety-inducing and transformative process that Phoenix-born and NYC-based singer koleżanka has mastered.

Today she shares her new video for In A Meeting off of her upcoming LP Place Is, which is set to be released via Bar/None on July 30th. The track deals with the all too familiar feeling of what to do when your social anxiety becomes your inner monologue.

We spoke with koleżanka about the many places she’s called home, her favourite memories and dreams, and more.

Malaika Astorga for Also Cool: Hi Kristina, it's nice to e-meet you. Can you tell us a bit about the place you currently call home and what you love most about it?

Kristina: Nice to e-meet you! I currently live in Brooklyn and have been here for about three years now. I love New York City as a home for the reasons why I think many people do - good food everywhere and so many places to go see. The things I love most about it are its opposites to where I grew up in Arizona. While AZ is landlocked, here, I am surrounded by rivers and the ocean. There are four distinct seasons, each with its own unique smells and sites and feelings conjured upon their arrival. I prefer to travel on foot rather than drive to each destination. It helps me slow down (though I am actually an impossibly fast walker) and makes me feel like an actual fixture in space. 

Also Cool: How did music enter your life? What kind of music did you listen to growing up, and how did that transform into your own music-making?

K: Neither of my parents were musical though my mom is an excellent dancer. But my mom's dad and his whole family are very musically and artistically inclined. When I was about five, we lived with him for a short time. When he'd babysit us, he would have my brother and I sing on his karaoke machine. I think things just evolved from there. I ended up singing "Frosty the Snowman" that year for his Polka club's Christmas party, and my mom eventually signed me up for piano lessons. 

I picked up his grandfather's accordion right after high school and taught myself how to play. A lot of the 3/4 waltz-time signatures employed by Polka and by the stylings of learning the accordion that way informed my writing and still does today.

I started getting into punk around the end of middle school and into high school. It was important for me to see women in my favourite bands like The Cramps, Bikini Kill, and Vice Squad. Even Gwen Stefani in early No Doubt revealed the possibilities of power to me and how I could harness my own. 

AC: I'm always interested in local music / creative scenes. Was there a scene in the different places you lived? What was it like?

K: I started playing some shows and busking in a folk-punk band in Phoenix when I was 19, then moved to Omaha for about a year. When I returned, the music scene in Phoenix felt electrified. I was living in Tempe going to college at the time, and there were house shows abound and dance parties in backyards. Unfortunately, there weren't many medium-sized venues to play, so most things centred around DIY spaces downtown, makeshift house venues or strange bars throughout the metropolitan area. 

We would spend every weekend at Long Wong's in Tempe for whatever friend had a monthly residency. The Trunk Space was the apex of the arts community in Phoenix, a haven for all. For the most part, I felt the scene was supportive, not very competitive throughout the years. It was rare to me that you'd see a band trying to "be" anything. A lot of folks just came as they were, and in my opinion, some of the best bands I've ever seen were Phoenix bands. Being surrounded by the desolation of heat, endless space, and depressing track home developments only encourages a thriving community of wonderfully weird and innovative makers. They are all trying to reinvent their space out of necessity and find safety in their expression. 

AC: I love how you describe your memories. I really relate to having an in-between existence, and I also hold on to vivid memories after struggling with PTSD-related disassociation. One of my favourite things is to think of special moments, similar to how you described 7th ave, Darlings and Barton Springs. Can you tell us a bit more about each one of those memories and why you chose to focus on those moments in particular?

K: Thank you for sharing! I think it's so important to develop those tools for grounding. 

I wrote the lyrics while back in Phoenix the last Christmas before the pandemic hit. I was walking from 7th st to 7th ave on Roosevelt, home to an essential and transformative Phoenix arts community that has slowly been displaced to foreign-invested luxury development. I was walking and thinking about all the times I had walked or driven through there for the past fifteen years. It felt familiar even though so much had changed. I started thinking about "place" and "home," and the other two memories mentioned felt most determining in parcelling out definitions. 

I have a memory of going to Darlings after getting off work serving in Tribeca. I had just settled into the first few months of really living in NYC without touring and visiting Phoenix and found myself overwhelmed by the brevity of time and all the places I had been that past year. Without even thinking, I found myself fully sprinting home, this new home, like it was the only way to expel that energy. 

The other memory of Barton Springs was this beautiful day on tour, serendipitously running into another band we had previously toured with and going down to the water together. A rope was tied to the top of a tree, and people were trying to see how high they could climb before swinging back into the water. I have gone to the springs almost every time I am in Austin on tour, and therefore it feels constant to me during those periods of constantly moving. 

AC: How have you been able to find a sense of home throughout all of the different places and spaces you've experienced?

K: My instinct is to say "time and familiarity," but I don't necessarily think that's always true. There are many unfamiliarities while travelling that I find exciting and even comforting, and that feel like a home place. There is a discovery of home in people I feel safe with and establishing a home within myself. This has been the most important place for me recently. Maybe that is how I find a sense of home elsewhere if that makes sense. 

AC: Who are you listening to right now? Any local artists or friends who you think deserve more recognition?

K: So a thing about me…I don't actually listen to music that often. I know it sounds silly, but I feel really easily overwhelmed by music sometimes. I can be too stimulating, emotionally or otherwise. I used to listen a lot while driving or on the train, but now I don't travel like that as much. I tend to enjoy the sounds of the city while walking. I like when you can hear overtones and harmonies between dissonant or ambiguous city sounds. 

BUT there are a ton of artists I wish one million people could hear; I really don't know where to begin! My bandmate Ark is a wild multi-instrumentalist and plays as Like Diamonds. They write about sci-fi, technology, and time and are so exciting to see live. Herbert Walker's Francis Bartolomeo is one of the best writers I think I have ever heard; that band is a true gem. Alassane creates compositions that will blow your mind; I don't know how he does it. Gabi Jr. is a favourite. They just put out a song a month or two ago that I listened to incessantly as I was driving around Phoenix during my first visit back since being vaccinated. I think it captures so much of the sentiment of cruising around when it first starts getting warm after spring. They are also a sometimes member of the koleżanka live band in Phx. Anna See also makes appearances as the koleżanka bassist. They are one of my favourite guitar players (and bassists); I truly cannot wait to see what they make next. There are new bands/artists out of Phoenix now that are so cool, like Glixen and Veronica Everheart. Also not an AZ or NYC local, but I do listen to RNIE quite often. Lamont makes music I can comfortably do just about anything (or nothing at all) to and feels both moving and soothing.

AC: Tell us a bit about your upcoming album and what you have planned for 2021.

K: When I started this iteration of solo work in 2016, a lot of writing was centred around personal musings and catharsis, or deep and sometimes painful exploration of parts of self as a genesis for music. I was also exploring creatively what I wanted and enjoyed about instruments that were fairly new to me, like guitar and drum machines. 

I started writing some of the earliest material for this new record in December 2018 after coming off a tour. Ark and I finished almost everything for it in March of 2020, right before the pandemic hit. This record is a divergence in that I was feeling more confident as a musician and ready to truly just have some fun and push myself into more sonic exploration.

I'm just so excited for the record to live in the world after all this time! But, I'm not sure what the rest of 2021 will hold. It was so amazing to tour again. I absolutely love touring, but that still feels like such a difficult thing to navigate. After last year, a part of me wants to wait to allow things to happen rather than forcing the hand. 

AC: Last but not least, can you share one of your favourite memories or dreams with us?

K: There was a dream I had some years ago that I can still remember vividly. There was a channel of water running underneath a canopy of trees that arched over it. There were houses with gardens that faced the water on one side of the channel, and an ocean sat on the other side. I was soaring over the channel and underneath the canopy, slowly shifting downward to touch the water, then floating back up again. I suppose I felt like a bird, but I don't remember anything about my body in the dream, or maybe my body was never actualized. All I remember was feeling wholly calm. I thought of nothing, just repeating the motion of touching the water and rising again, and the world around me felt very serene. It is one of my favourite dreams.

Watch “In A Meeting” below

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

C-Pop Duo Chinese American Bear Celebrates Mixed Cultures, DIY Music & Dumplings

Via Chinese American Bear

If you grew up mixed, you probably know the feeling of always being "in-between," or never enough of one culture or the other. I'm Mexican and Polish and grew up constantly looking for other people like me, trying my best to navigate my complicated and ever-evolving relationship with my identity. That's why when I found Chinese American Bear, I was so excited to not only love their bright and upbeat music but also to relate to the shared experience of being proud of all aspects of a mixed identity. 

Their name speaks for itself. Chinese American Bear is a bubbly C-Pop duo (Bryce and Anne) creating Chinese / English tunes that bring together their cultural experiences and backgrounds. It also turns out that Bryce is half-Mexican as well! The power of the Internet continues to amaze me. 

Anyways, I had the chance to interview the iconic duo about their music, their lovely origin story, and more!

Malaika for Also Cool: Let's start with the band's origin story. You two are married, so I'm interested to know how you met and when you decided to start making music together.

Anne: Yeah - happy to start at the very beginning. We actually met in high school in Spokane, WA! I was a senior, and he was a junior, and we were both in jazz band at the time. His best childhood friend Bryan was my neighbour, and he would come to pick me up in the mornings for jazz band. Bryan eventually introduced me to Bryce, and we've been inseparable ever since. Bryce actually grew up on a llama farm in Spokane, and our first date was petting and feeding the llamas. (laughs)

Bryce: Yeah, that was a real winner date. I think I used the llamas to get her to like me (laughs). As for the band's origin, the idea of the band came at a more tumultuous time in our life.

We were living in a small apartment in Brooklyn, NY and I was generally feeling boxed in by my music pursuits at the time. I wanted a new outlet of expression that was less serious because I was starting to focus too much on perfection and processes, which caused some of my creativity to feel stale. We were also getting ready to move to Chicago because Anne was about to pursue her MBA at UChicago Booth Business School -- so I knew my past 10 years in New York were coming to an end. That was very difficult to swallow.

On top of that, Anne was teaching me Mandarin, and she had always told me that "Chinese is a tonal language, so speak it like you're singing," so the language was on my mind. We were (mostly me) going a little crazy with all the transition and changes going on, and I kind of snapped. I had a bit of a "fuck it" moment and started to break down a lot of the creative walls I built up around myself. The walls that tell you that you need to do things this way or that way. I started to experiment with new sounds, ideas and wrote a song in Chinese. I showed Anne one of the songs (Xiao Xiong). I told her I had this crazy idea for this pop duo band where we'd write really fun, unadulterated, positive music using Chinese and English. She loved it, and we just started riffing back and forth about ridiculous song ideas, wearing wigs, outfits, lyric ideas, we'd beatbox in the apartment, etc. It was one of the most creatively explosive times for me. We were kids again. No limits, no filters. Magic!

AT: Yeah, it's been so much fun. I remember him playing Xiao Xiong for the first time, and we were dancing all around the apartment. I think we were taking videos of each other dancing too, pretending we were shooting a music video. (laughs)

BB: And it's still like that, which is crazy. And I don't know if this would have happened if it wasn't for all the uncertainty and chaos going on at the time. So it's a good reminder about all the positive things that can come from these negative experiences. 

AT: Indeed. And the band name came from us always calling each other bears (or Xiong in Chinese) as cute pet names. So Chinese American Bear felt fitting. 

Also Cool: How did the band in its current form come about, and how has your music changed over time?

BB: It hasn't evolved much, honestly, other than finding where we want this first record to live musically. We developed a philosophy for this project which I touched on before, and we're still living by it. We feel like children when working on this project, and I think people can feel that. We like fart jokes, and we want to write songs about dumplings!

AC: Your project celebrates your cultural backgrounds, which I'm sure has been influenced by your experience being an interracial couple. Can you tell us a bit more about this aspect of the project and how it's affected your creative process?

AT: Yeah, absolutely. My parents are Chinese immigrants, and I experienced a pretty typical Chinese American upbringing, a home environment that incorporated both cultures. One of Bryce's grandmothers was an immigrant from Mexico, so he's had some cultural exposure to our neighbour down south, but for the most part, Bryce has had a very all-American upbringing. So our cultural differences have been a huge part of our relationship. We've had conflicts from our different communication styles, comedic moments from differences in assumptions and expectations. 

Still, most of all, it's brought us very close together as we learn from and grow with each other. One funny bit is how Bryce was accustomed to a home environment with more sugar coating, daily pleasantries, and sensitivity to everyone's feelings. In contrast, my parents have a typical Chinese directness with how they communicate with family members. So when we first started going out, I'd tell Bryce something like, "your shirt is ugly," and it'd just rip him in half emotionally. 

BB: Yeah, that really crushed me. Haha. I'm an emotional man. It was such a stark difference to how I communicated, and it took a while to get used to. I had to stop thinking that I was being maliciously attacked or something.

AT: Also, because of our cultural differences, my parents were very unaccepting of Bryce initially. Being the conservative Chinese immigrants that they are, they were really hoping for a future son-in-law who was an Asian American doctor from an Ivy League school. Instead, what they got was a white musician who went to art school. They had a very difficult time accepting Bryce in the beginning, and it went on for years. In the end, they saw Bryce's true heart, actions, and intentions, and it stopped mattering what his career choice was or what he looked like on the outside. He's also very ambitious and works extremely hard, which my parents have come to appreciate.

BB: Yeah, it was tough. It's amazing how much we've learned from each other because of it. I've come to understand why her parents felt that way, their experience immigrating to the US, their struggles, and it quickly became understandable and well-intentioned. I feel so lucky to have learned this new perspective in my lifetime. 

AT: Yeah. And today, my parents love him as their own son. So I'm very grateful for that. And also grateful to get to navigate an interracial relationship with Bryce. As for our creative process, the music we create is meant to reflect the unique dynamic we've found as an interracial couple. We're both very silly by nature and have had so much fun incorporating our cultural backgrounds into our music, like making Dumplings with Bryce for the first time. 

AC: What are your musical backgrounds? What was the creative scene like where you're from?

AT: I grew up studying classical music. When I was six years old, I started playing the violin - quickly learned that wasn't my thing (much to the relief of my parent's ears) and switched to the piano when I was seven. I performed in concerts and competitions throughout my childhood and adolescent years and eventually minored in piano performance in college. After graduation, I moved to NYC and joined an amateur classical music organization and continued playing in small recitals with friends. I still try and play whenever I'm around a piano.

BB: I grew up studying classical and jazz piano, though not to the extent of Anne's training. Then switched to guitar around age 12. Played the saxophone as well. I started forming bands and recording on my little Mbox around then. I got my first pair of crappy monitors when I was 17 and became obsessed. I feel like that was when I got completely engulfed in songwriting and recording, and it hasn't changed. I moved to New York when I was 18 and played in a few bands, made some records, went on a few small tours, and collected more instruments and recording gear. I took some engineering lessons from an engineer I really admire (Greg Giorgio from Tarquin Studios). After that, I just watched every producer and engineer I worked with like a hawk. 

AC: What's it been like being 100% DIY? Do you have any advice for other artists who are just starting out?

BB: Being 100% DIY is incredible and freeing, and very fulfilling. It's a ton of work, though (laughs). That being said, there's a lot of value in working with and hiring professionals or going into a studio. 

My advice would be to just buy a little interface and mic and make as much music as possible (DM us if you need suggestions!). Then, spend 10% of your time watching videos and learning, and the rest actually doing it. On top of that, save some money for studio time, or work with people with more experience. Watch them closely, and ask them questions. Look for a mentor. But yeah, number one is to just do it every day and slowly build your skills and confidence. 

Find your voice, find the magic of recording music, and don't follow all the rules. If you don't enjoy recording music, and you only like songwriting, that's ok! Get involved in the community and find people to complement your skills. Also, for music videos - grab your iPhone, and learn an editing program! We've recorded all our videos using an iPhone.

AT: Bryce's mom and dad helped shoot our first music video. In one of the scenes, we're walking down an empty road near Bryce's llama farm, and it was shot with Bryce's dad holding an iPhone while sitting on the back of a pickup truck with Bryce's mom driving the truck. (laughs)

Still from CHINESE AMERICAN BEAR - 好吗 (Hao Ma) [Official Music Video]

AC: Tell us about your vinyl postcards for 好吗 (Hao Ma). Can we play them on a record player? Send them in the mail to a loved one? All of the above?

AT: Yup - our vinyl postcards are meant to be a fun memento to collect. They're literally in the shape of a rectangular postcard, but you can play it on your record player, and it has our single Hao Ma on it. You can order it online and send it to yourself or to someone else as a gift. We also include a personalized note that's written by one of us! Shout out to Josh from Vinyl Post. 

AC: Are you involved in any other creative projects? If so, can you tell us a bit about them?

BB: I have my debut solo record coming out early next year under the moniker Milk Jennings. One of my favourite artists Sam Cohen, produced it, and I'm super excited about it! I have some crazy music videos in the works for it. I'm also an animator and have animated some stuff for Ashe recently. Big fan of hers!

Still from CHINESE AMERICAN BEAR - 好吗 (Hao Ma) [Official Music Video]

AC: Who are some musicians/artists in your scene who you think deserve more recognition?

BB: There are a lot of amazing artists from Taiwan/China that we've discovered. Some already have a pretty big following around Asia, but not as much appreciation in thie states. Bands like The Fur., Huan Huan, deca joins, Wayne's so Sad, and The Chairs. All so incredible. Also, Tommy Pixel is a good friend who is really pushing new ground both musically and visually. He's one of the best. 

AC: Finally, what's the best way to support Chinese American Bear right now?

AT: The best way to support us is to listen to our music on YouTube or Spotify! We'd also appreciate you subscribing to any of our channels and/or following us on Instagram to keep updated on new music. Our vinyl is available on Bandcamp. Links below!

BB: Tell your friends and family. We have a full-length record we're almost finished with as well, so stay tuned. Oh, and we have free stickers that we ship worldwide. DM us!

Chinese American Bear

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

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Dresser Shares Favourite Venues, Montreal Experiences, and Art Rock Album "Seventeen Blocks And Then Some"

Dresser by Lulu Lebowitz

There's this feeling I would get when I first moved to Montreal, where it felt like there were whole worlds of creativity around every corner, at every event, at the end of every summertime bike ride... It's a feeling of the world opening up for you and inviting you in, now that you're in the place where you're supposed to be. 

This is the feeling I get when I listen to Dresser's new album "Seventeen Blocks and Then Some." I've known the band via many DIY shows and restaurant gigs where we pushed through long shifts together. Their music is of the laid-back art rock genre, with elements of folk-punk, and has that unmistakable East Coast Canadian sound. 

I caught up with Finn to chat about the new album and our shared Montreal experiences.

Malaika for Also Cool: Hi Dresser! Let's start with the band's origin story. You mentioned that Dresser started in a now-defunct after-hours spot. Which one was it, and how have afte-rhours/DIY spaces played a part in your lives/creative endeavours?

Finn: When we first started playing together, we would rehearse and hang out in a space on Parc and Beaubien that our friends were living in. The space was in a bit of a purgatory, between having been Drones Club and before later becoming Cyberia. There were a few parties there during that time, but it was definitely more low-key on that front than in other iterations.  

We recorded our first EP there on a reel-to-reel machine that sat on the floor in the main room. I remember doing guitar takes with the sketchy electricity surging into the machine and blowing out the VU meters. Eventually, the place became too much of a hassle and too expensive, so our friends moved out.  

But that spot and others in the area like Poisson Noir were really important for me when I arrived in Montreal. I'd done my research when I was still in New Zealand, so I roughly knew that stuff I liked was happening around those there before even landing here. I wasn't able to find any of it on social media initially, so I'd just go walking around those blocks at night. Sometimes I'd come across a show or party, and other times not. The people I met were generally super nice and welcoming, which was pretty remarkable considering I was just some kid approaching strangers and intruding on conversations. It's a shame that DIY spaces like those aren't around so much at the moment. They bring a heightened community experience to live music and partying that's a bit harder to come by in bar settings. It'll be interesting to see how we could go about doing things like that again post-pandemic.

Also Cool: Was music always a part of your lives? How did you first get into the music scene here in Montreal, and how does it compare to where you're from?

Finn: I've played guitar since I was 8 and was always in bands at school, but I got increasingly invested in it in my last few years of high school. I'm from Auckland, and there was a great all-ages DIY scene for a while, so that was formative for sure. 

When I was still in high school, I would listen to Montreal bands, and I found the documentary “A City Is an Island” by Timothy George Kelly. There was a map graphic in it that they'd make a cross on every time an interviewee mentioned a venue or neighbourhood or something. So I basically obsessed over that and ended up having maps of Little Italy and the Mile End pinned to the walls of my Auckland bedroom. That gave me quite a bit to work with, so I'd just go out to shows and meet people, which led to someone passing their dishwashing job on to me. At that job, I met Chris and Kevin (bass + drums) and the other original band members, Ryan and Fawn.

In terms of getting started in the scene here, once Dresser had a set of songs, I'd just ask all the bands I'd seen and met at shows if they'd play with us. So the first show we played, I booked and promoted myself. From there, everything continued to happen pretty organically.   

I'd say I felt comfortable reaching out like that because it wasn't too dissimilar to how things would happen in Auckland when I was a teenager. I have so many good memories of great shows in various halls-for-hire around those times. But that scene seemed to fizzle out a little as all those bands got older.  

Auckland is a pretty hard place to be an artist. It's wildly expensive to live there, and from what I can still tell, there's a major lack of practice spaces and venues. But, despite that, there's still so much good music that comes out of there!  

When I arrived in Montreal, my first impressions were just that a lot was going on all the time. It was never hard to find a show to go to on any given night, and I was pretty swept up by the nightlife. The economic conditions here have just historically been more favourable to practicing art, so many people are drawn here for those reasons. It's noticeable in the scenes that I participate in at least that often a substantial portion of people aren't originally from Montreal.

Dresser by Lulu Lebowitz

AC: Speaking of the local scene, who are some bands here who you think deserve more recognition?

Finn: There are so many! Some friends of mine who are (and will be) putting out great stuff are Fraud Perry, Visibly Choked, why try, Night Lunch, Pillea, Luke Pound, Molly Drag. Other bands/acts that could always use more love are Lovelet, Kìzis, Lockimara, Sunforger, The Painters, TDA, LAPS, and Chris Hauer. Kevin is also in another band called Sick, who are crazy good. That names a few; there are probably many more that I'm forgetting.

AC: Which local venue are you looking forward to playing once shows start up again? (I'm a big Casa fan, personally.)

Finn: My favourite spot has always been La Plante, they had quite a successful fundraising campaign a little while back, so I really hope they hang in there. I think spaces like theirs are so important, and they're one of the last remaining of their kind as far as I know. Otherwise, I'm also a big fan of Casa as well as Brasserie Beaubien, who I really hope miraculously return after the pandemic, despite whisperings I've heard.

Dresser by Lulu Lebowitz

AC: Let's talk about your album, "Seventeen Blocks And Then Some." I'm interested to hear the story behind the name and the musical inspiration that went into this album.

Finn: Most lyrical content on the album deals with feelings and experiences during my first couple of years in Montreal. The title is a rough estimate of the area within which I experienced all the significant “stuff” during that time. I would wonder, "So how many blocks is it from Sherbrooke to Jarry," and thought it might be seventeen. This was probably a gross underestimation, hence the "And Then Some." I like thinking about directions, and there are a few references to things like street corners and blocks across the album, so it felt fitting.

I find it difficult to pinpoint how it manifests in the final product when it comes to musical inspiration. I tend to be into something a little different each time I decide to write a song, so I'm always drawing from different places. It all gets amalgamated once the band starts working on it. We don't tend to directly reference others very much in those stages. 

Some things I could pinpoint are that when I wrote Slowly, I was getting into Bill Callahan. The bridge in Grin probably came to be around the time when Ryan (who plays lead guitar on the album) and I would spend evenings playing Never Meant by American Football on guitar. When I wrote the verse riff for Bystand, I loved Mono No Aware by local band Sunforger.

Conceptually, this album really served to capture how Dresser sounded live at the time of recording. We played shows quite a lot and were feeling really happy with where we were performance-wise, so we wanted to translate that energy pretty directly into the recording, which is a significant factor in how it turned out.

AC: Looking forward, what does Dresser have planned for 2021?

Finn: We're planning on recording a new song very shortly that we'll put out for the summer. Then we'll be looking towards starting a new album later in the year, for which we already have much of the material.

We're desperate to start playing shows again just like everyone else, so we will be doing that ASAP. Also, with summer starting and the uncertainty around when venues will reopen, we're planning an outdoor performance very soon. So keep an eye out for that! There's a lot to look forward to.

Dresser

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

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