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

Bon Enfant by Eva-Maude TC

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

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

Bon Enfant by Eva-Maude TC

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

Check out “Magie” below

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

04.09.2021 @ Vieux Couvent in Saint-Prime QC

04.10.2021 @ Café du Clocher in Alma QC

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

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

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

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

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Yoo Doo Right by Stacy Lee

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

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Yoo Doo Right by Stacy Lee

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

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

- Justin Cober from Yoo Doo Right

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

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DON'T THINK YOU CAN ESCAPE YOUR PURPOSE

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

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

All songs written by Yoo Doo Right.

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

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Yoo Doo Right

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Bandcamp | Spotify | Apple Music

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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Premiere: Magi Merlin Sets the Record Straight With New EP "Drug Music"

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Drug Music cover by Laurent E. Malo

Magi Merlin has arrived with her highly anticipated sophomore EP Drug Music. Produced by her right-hand collaborator Funkywhat, Drug Music settles the dust around Magi Merlin’s reservations on themes of racial identity, love and personal growth, to which she comments: “I wrote the Drug Music EP as a way to process and reflect on some of my heavier emotions. It is some of my favourite writing and I think that it grew into a piece of work that successfully embodies feelings of affliction and confusion but ultimately acceptance.”

Throughout Drug Music, Magi Merlin owns her truth between entrancing beats and smokey basslines, while getting hot and heavy with lush vocal harmonies and a playful raspiness. We love nothing more than a sound that stands its ground while flirting with the listener to come a little closer; and such is the dance of Drug Music.

TDLR: This album is hot and if you don’t immediately listen to it after reading our review, it’s your loss. Thank you Magi Merlin for melting away the grey Winter slush, even just inside our shivering apartments — for this we are indebted to you.

Listen to Drug Music below

Magi Merlin

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Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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Premiere: punctï Makes a Case For Colouring Inside the Lines With "Surprise"

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punctï is the most intriguing practice of musical constraints since Brian Eno’s Oblique Strategies (or at least we think so). Turning the concept of limitation on its head, multifaceted experimental artist Laura Bardsley (and her alternating cast of one-off collaborators) strive(s) to embrace a “less is more” mindset by creating an album once a month following the same set of guidelines: composition, recording and overdubbing are done in the first, single session, and; post-production is done in another session, who’s duration is roughly the same length as the first. By cultivating a conceptual environment that aims to stretch the possibilities of performance and improvisation, Bardsley captures the “noise, meditation and inner turmoil” at the core of “Yes-Wave.” At the same time, Bardsley explains that “[the] project is all about reclaiming that childhood joy and wonder, without all the learned insecurity.”

Today, punctï premieres her 48th release, Surprise. In 15 tracks that graze the minute mark, punctï paces, yo-yos and chips away at the question she asks herself time and time again: “How do you feel today?” We had the chance to catch up with Bardsley on tinkering solo with her sampler, the restlessness of late-capitalism, and why Tiffany Haddish is “nobody’s bitch” to celebrate the four years of punctï. Check out our full interview below.

Zoë Argiropulos-Hunter for Also Cool: Hi Laura! Thank you so much for chatting with Also Cool. Before we get into the specifics of your latest album Surprise, let's talk about the punctï project. What inspired you to pursue such an ambitious endeavor? In what ways has working within the punctï framework impacted your artistic process, as a musician or as a performance artist?

Laura Bardsley: punctï started 4 years ago on a rather dejected Valentine's Day evening. I had a four track app on my phone and decided to make at least four tracks with the app in one night. After releasing my first album, I realized that it would be super fun to continue making albums in very short time-frames, especially if I collaborated with other artists. [The constraints of punctï] allow my collaborators and I to flex our music muscles every month, and I’ve learned enough about producing, mixing and mastering that I’ve realized there is so much more to learn.

I learned that Wile E. Coyote and Road Runner's relationship was built on a set of rules, just like punctï. It's really illuminated the endless possibilities of what is possible under a specific framework. For performing, I channel a disillusioned office worker, and it's a blast because: a) I've never worked in an office, so it's an acting challenge, and; b) It's a meld of performance art, music, choreography and comedy; sincerely the most fun I can have in one performance.

Also Cool: On that note, you've spoken to how your work channels and critiques feelings of restlessness and inadequacy within the constraints of late-capitalism. How has your perception of, and relationship with, these concepts changed and impacted the spirit of punctï with the dawn of COVID-19 and working-from-home?

LB: My perception of these concepts has only been cemented by the onset of COVID-19, but with more hope for change and growth than ever before. We're at a point where the whole world is experiencing this restlessness and these feelings of inadequacy. Somehow in our shared anxieties, there is a general understanding that this system is worn out and in need of replacement.

I've been doing remote sessions with my collaborators for most of the pandemic, and it definitely is more of a challenge to get into a creative, open and non-insecure mindset. Thankfully, we have the internet and all its gifts… Although I do truly prefer working with people IRL, and will cherish those sessions when they come back.

AC: Something I noticed when studying the punctï project as a whole is that all your collaborative albums reflect different levels of spontaneity. Can you speak to this notion of "Yes-Wave" that you and your collaborators embrace, and how you embody its mindset throughout your production process?

LB: I attribute the spontaneity to the time constraints and spirit of the project: each album is a record of my collaborators and I are at in that moment of our lives. What is grinding our gears right now? What makes us giggle? What makes us nostalgic?

One of my rules for punctï is that if you really like what you're playing, really feeling it, then change it. Make it better, make it different and challenge yourself to explore it. I used to worship No-Wave music, but at a point the rejection of musicality got old to me — I don't want to reject it, I wanna embrace it. I wanna say Yes to The Wave washing over me.

AC: You've tapered off from partnering with another artist to create Surprise entirely solo. What caused this shift and what influences did you bring into the work?

LB: I've produced the occasional solo punctï album, and since this month marks the project’s four year anniversary, I decided to do it alone. As for constraints, I only used my Sampler PO-33 KO, voice, and bass on one track. I was inspired by Tierra Whack's Whack World, where she made 15 one minute songs. Obviously I'm no Tierra Whack, and some of my tracks are over one minute long, but I really enjoyed making Surprise. At points I wanted to make more sample-based tunes, which I pepper into the record. There's bitter stuff, like "Previous Her,” nostalgia for recess on "Snow Worlds,” sex in "Eyes,” and of course, the anxiety of the pandemic in "Like A Lazy Aristocrat.” Oh, and a song about Tiffany Haddish, cause she's the best.

AC: I feel like with any work, there is always some "lessons learned" sentiment that lingers after it's fully realized. If this idea rings true to you, what has been the main take-away from Surprise?

LB: I think because I make an album per month, it's usually not really until later, looking and listening back that I get some kind of a "lessons learned" feeling. The main takeaway from this album is one I keep having to remind myself of: Why try? Why the fuck not.

AC: To close off, do you plan to continue the punctï monthly releases? Do you have any other projects or collaborations you'd like to plug?

LB: I'm pretty sure I'm gonna keep doing punctï until I die. I did the math and at age 69, I'll be producing album #420.

I do more accessible music under Blue Odeur. My newest single "Foam Born" is out on all platforms and on YouTube with a snazzy video.

Listen to Surprise below!

punctï

Spotify | Bandcamp | Youtube

Instagram | Facebook | Twitter

Laura Bardsley

Website

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

This interview has been condensed and edited for clarity.

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Braids Team-Up with DJ Python to Release "Young Buck" Remixed

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Montreal outfit Braids offer a midweek energy boost with the re-release of their bittersweet track “Young Buck,” remixed by NYC’s renowned DJ Python. Hailing from their anticipated comeback album Shadow Offering, “Young Buck” was originally praised for it’s fervorous danceability; enhanced by lead singer Raphaelle Standell-Preston’s blazing performance. In the hands of DJ Python, “Young Buck” is no less commanding and reminisces breathless dancefloors and locking eyes with a handsome stranger. For these Calgary-turned-Montreal art-rockers, we give this pulsing sonic-makeover a 10/10.

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Braids by Mélissa Gamache

On the remix, Braids commented:

“Upon receiving DJ Python’s remix of our track ‘Young Buck,’ my pining for the dance floor kicked in. I pulled my car over to an empty parking lot and turned the volume up as far as it could go. Alone beside the concrete barriers of a now desolate shopping mall, I was reminded of bodies beside bodies, of a night that you never want to end, of sweat, of joy. For a moment I was transported from my new and uncomfortable reality: distanced, living through a pandemic, to memories streaming behind my closed eyes, of a life lived prior, and one that will be lived again. This track offers the fuel needed to keep going, the energy needed to stay hopeful. When I close my eyes and dance to it in my living room, I am at the club and the club is with me.”

Stream “Young Buck” remixed by DJ Python below

Braids

Instagram | Website | Facebook | Twitter | Spotify

DJ Python

Instagram | Bandcamp

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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Magi Merlin's New Track "Mock Meat" is Realer Than You'll Ever Be

Mock Meat cover art via Magi Merlin, by Laurent E. Malo

A little spooky, a little bit sultry, Magi Merlin's "Mock Meat" (prod. Funky What) draws you in with textured sounds and silky vocals. The track is less of a departure from her last single, "Walking to the Dep," and more of an evolution point for Magi Merlin as an artist.

I caught up with Magi about "Mock Meat" and got to dive a little deeper into the song's meaning and her preference for vegan protein alternatives.

While we were chatting about her new track, she explained that it was not only evocative of the heavy wintery energy we've all been feeling but of a failed friendship as well. She shared that the song was her way of processing the hurt it caused while still knowing that she had made the right choice by setting these boundaries.

Via Magi Merlin

We empathized with each other about the process of realizing that a friend may not have the best intentions for you and the sadness of realizing that it's time to let them go for your own good. We're taught to break up with a partner when the relationship goes sour, but when it comes to ending friendships, especially creative ones, things get a little more complicated.

While the song may be evocative of the cold, heavy feelings we're all going through, it's a beacon of promise for the undoubtedly excellent album to come. As Magi Merlin continues to grow as an artist, it's no doubt that her creative career will blossom with her. She's one of our top artists to watch this year, and that's not a compliment we hand out freely.

Oh, and in case you were curious, Magi Merlin has confirmed that Beyond Meat Sausages are her #1 type of mock meat. "I could eat those literally every day, no exaggeration. They have a legit sausage texture and flavour. UNBEATABLE." @ Beyond Meat, we're open to sponsorships.

Listen to Mock Meat below and keep an eye out for Magi Merlin's upcoming EP Drug Music, to be released March 5.

Magi Merlin

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Premiere: DECOUPLR Drifts Through the Now with "Digital Bonfire"

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Digital Bonfire by DECOUPLR is out now. Cover art: Jake Beadenkopf

Looking for something a little different?  Philly-based duo DECOUPLR have released their debut album Digital Bonfire, and the result is a sound that sticks. 

DECOUPLR is the product of two unique musical histories. Vocalist Bailey Walker got her start in Savannah, GA with Rich Animals, and joined neo-soul group Likebirds after finding her way to Philly. Producer Adam Laub is a long-time staple of the Philadelphia scene, releasing indie-pop as a member of OhBree and trip-hop as <radioaddict>, among other projects.

With Digital Bonfire, the listener moves through the pair’s influences and bears witness to their cohesion. Digital Bonfire is a trip-hop-infused product of the pandemic and all the feelings it’s drawn out – uncertainty, nostalgia, confusion. Walker describes debut single “Cold Sweat” as “...an intersection of the whirling uncertainties of this year colliding with a desire to be vulnerable with our closest friends.” On the second single “Changes,” DECOUPLR continues to fight the mundanity of isolation with vivid longings for tomorrow. 

Fans of Sylvan Esso and Flying Lotus will want to take a listen to what DECOUPLR’s been cooking. Let Digital Bonfire remind you to find hope beyond the Zoom screen… and take a read of our interview below!

Rebecca L. Judd for Also Cool: The pandemic’s impact on the album was incredibly pronounced. A standout track for me was the opening, “Keepsake”, which [highlights] this theme throughout the album where there are these mundane reflections of immobility and disenchantment over chaotic piano arpeggios and production. 

Was it your intention to reflect the present times in your album, or did that come about naturally? 

Adam Laub for DECOUPLR: It definitely was. A few of the tracks, we started a month or two before the pandemic hit. But they also happen to [just] be about being distant from people that you haven't seen in awhile, just by chance. And then, as soon as this all hit and we were all stuck inside, it quickly became this is the moment, this is where it should go.

Bailey Walker for DECOUPLR: I remember when we first started writing, the content was very about being lonely, and I had reservations – do we really want to come out with such a bummer album? Over the course of time, [we felt] like this is content that people can relate to. This is what a lot of people are feeling. So it's good to share.

Also Cool: What utility – as artists or as people, members of your community – does making the “COVID album” serve you in this time?

Bailey: I think that [it’s about] creating a conversation and an ability to connect with people during COVID. Creating like this, ever since March, we all started redefining what our community is and building our communities, especially online. To me, [this] feels like self-expression, but also an opportunity for conversation with people about things that [they] are not normally willing to open up about immediately.

Adam: It's been [part of] a lot of the lyrics. [The] concepts were about letting people know that it's okay to reach out to someone and talk to someone if you need to, especially during this kind of time. There was definitely a focus on that.

Bailey: But the privilege of getting to make music during a time like this, it's also not lost on me either. I have all these feelings, sure, but this is a collective struggle, you know? So it's for everyone. 

AC: Absolutely. It's just interesting to see people use [artistry during COVID] not only as something to unite their fans, but to reorient themselves. It's like a keepsake. It's something tangible [where] you can say it's the same sort of memory as a photo album.

Bailey Walker and Adam Laub of DECOUPLR. Image provided by DECOUPLR

AC: Looking at your musical histories, both of you have been involved in so many projects before DECOUPLR. Digital Bonfire reflects that, and it touches on a whole lot of genres. Has there been anything notable that's stuck with you from these musical projects?

A: I would say definitely. The genreless thing is big for me; all the projects I've been in have been pretty genre-absent. And I like being able to jump in between stuff like that. Also, I like a lot of glockenspiels with arpeggiators. You could probably find that on almost every track on this album, if you listen hard enough. It's always there. I promise you. [laughs]

B: I was going to say “glockenspiels''! But every project I’ve been in has also been a genreless, “we don't know what's going to happen” project. Having somewhere where I can just vocally run around in circles and play in [a] space is great. The whole genreless thing has worked out for me pretty well. 

A: I would also say, in general, the projects that I've worked on – including with DECOUPLR – have always been concept albums, even if we don't explicitly say it. So it's just something about having a flow or a narrative [that] has always stuck with me. And even if it's not a sticking point of the album – I think that for me, having that concept in the background has always helped to stitch things together in the end and make it make sense.

AC: That's true. So many artists will either put a completely different story on the page – because it lets them leave their stuff at the door – and for others, art is just an open diary.

I wanted to talk about the “Changes” video, because I thought that [video] reinforced this contrast between the chaotic instrumentals to it all and these reflections of loneliness and wanting to be understood. Hallucinatory animations and the longings for those colours in your own life. [Let’s] talk more about that collaboration process for the video with SUPERVOID.tv. 

A: I’ve been working on and off with [SUPERVOID.tv] on different projects for years. We did an electronic music record label that [had], God, some of the early beats that I made out there. Then, we kind of fell off and hadn't worked on anything for a few years, but Drew and Keppler and the rest of [them] started this new studio because they wanted to move. Drew did a lot of lighting design and then stage. They started moving into visuals, and we'd been talking about doing something like this for a long time and it just clicked.

It was easy to work with them. We'd never done anything like that. And, you know, [as] someone who is not a visual artist, it was mind-blowing to see how they could make two people sitting next to a tree seem so intriguing and emotional. They literally filmed us for like about 10, 15 minutes… and they did take the time to hand-draw, frame by frame. So, thank you very much SUPERVOID.tv It’s an awesome video.

AC: “Punchline” was another track I wanted to ask about. It intrigued me for its change in narrative [and emotion], relative to the rest of the album. That post-chorus of cacophonous “ha”s, that’s been stuck in my head. Could you elaborate on the intentions of that track and how it fits into that [Digital Bonfire] kaleidoscope?

B: With any disorienting mess that you go through, there's always this “aha!” moment, this moment of clarity where you say “...oh, I'm still breathing. I have all my fingers and toes.” “Punchline,” the lyrics, the melody, the little ditty came to me in this moment of just needing to take a second to find humour in a very humourless situation. And I drew from influences like Kate Bush and the silly abandoning of reality that she does. “Punchline” acts as a sigh of relief, a little bit. 

A: We also wrote it [when] we were at the height of the Trump administration. And the rest of the album was a bit about personal feelings towards all this stuff. We needed to talk a little bit about how our country is killing half a million people – but try to make it a little bit light and danceable, I guess. There was definitely a point in the pandemic where it all [sounded] like a big joke on us and they were going to pull it back and it was the Truman Show. But sadly, that's not reality. 

AC: How has your local music scene shaped your musical approach? What do you like about the Philadelphia music scene, or is there anything that you wish could change?

A: I've just found a lot of loving, caring people in this music scene. We've done shows all over the place, but I don't feel like I see the same kind of community… [We have] this huge scene with so many people who don't seem to shut smaller and newer artists out. I've just felt a lot of acceptance here, and it's why I've stuck around and done so much.

B: Savannah is a great city, and there’s lots of artists there and a lot of important movements happening there right now. I felt the same thing when I got to Philly, I would take myself to different open mics and local shows ... And the people, they just want to talk to you. People want to know what you have going on.

AC: Final question: with Digital Bonfire out [today], is it too early to ask about next steps, or anything you’d like to plug?

A: We actually have another music video by SUPERVOID.tv for the first single “Cold Sweat.” With the timing of things, we thought it'd be better to wait until the album's out. With this album, I pulled a lot of beats that I've had in folders for years. I've got a lot more of those. So it's only a matter of time before we've got new music yet again…

I’d like to plug the person who helped us with our album art and graphic design – Jake Beadenkopf. He [also] helped us with all of our fonts and texts.

DECOUPLR

Website | Instagram | Twitter | Facebook

Bandcamp | Spotify | Soundcloud | YouTube

Listen to Digital Bonfire, out now on all streaming platforms.

Rebecca Judd is the features editor of Also Cool Mag.

This interview has been condensed and edited for clarity.

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Alex Nicol Debuts Reality-Bending Video for "Mirage"

Still from Mirage via Alex Nicol

Sit back, relax, and dissolve into the surreal world of Alex Nicole’s music video for “Mirage” (directed by Director Big Shot AKA George Simeo). The reality-bending video brings a new dimension to the song off of Alex’s 2020 album All For Nada.

The video is a beautiful visualization of this era where every day feels like it blends into the next. This video perfectly demonstrates how our lives become more and more intertwined with the digital world, making harder to balance reality with our online existence.

I got to chat with Alex about his new video, and started to unravel this the complexities of online identity, and the importance of IRL community.

Check out the video and read our interview below.

Malaika for Also Cool: Hi Alex! Let's start with talking about how you got into the Montreal music scene. How did you first get involved, and how has it changed since you've been a part of it?

Alex Nicol: I moved to Montreal for school when I was 19. I started a band pretty much to move there, but nothing really happened until a few years later. Gradually I found the underground: DIY spaces, basement venues, a cornucopia of people from all over the place congregating in dank spaces to share a love of music and community. I spent a lot of time at La Plante, Silver Door (then Drones), Cagibi, Casa, the list goes on. I was also a relatively active member of a DIY community venue called Poisson Noir; I lived there for a bit, helped put on shows, played a bunch. I remember one night clearly: Win Butler slapped me on the hea- Great stuff!

The energy in the air was exhilarating; the purpose of our lives was to create music and build community around it - at least it felt that way for a while. I’m sure this vibe still exists in the city, but as I’ve gotten older I have turned inward, focusing on the craft of music rather than its social impact or purpose. Sadly, that’s how it’s changed for me, at least. 

I think, generally speaking, the scene in Montreal is built around the pillars of Casa and Sala. These are the institutions that inspire people to move to the city, probably still to this day, and as long as they are around the scene in Montreal is going to be healthy. People come and go through the city of course, but these pillars remain. 

Still from Mirage via Alex Nicol

Also Cool: How did music first enter your life? Have you always played music, or how did you get into it?

Alex Nicol: Music was all around me since before I can remember. My Mom listening to classical music when I was an infant; us listening to Cat Stevens on long car voyages in the hot summer; dad playing Scottish socialist anthems on acoustic guitar late into the evening. I guess it all happened by osmosis really. My Dad has a PHD in music and wrote some operas; I sang in an Anglican boy’s church choir; and I went to an arts high school focusing on the alto sax. I never played jazz sax though - I was into classical sax. I remember playing a Rachmaninov solo for a Grade 11 recital while my friend Mike Heinermann played a fancy (and incredibly technical) jazz piece. 

In high school I would have my friends over upstairs in our cramped third floor. We would jam for hours. I used to write 9-15 minute instrumental songs that would twist and turn with more parts than I care to remember now. Oh: and I picked up the acoustic guitar at the age of 16 because I saw my Dad play a riff by Neil Young and I thought: that looks fun, I want to do that too. It did not take me long to realize that, as a left-handed person, learning guitar would be tricky; but I was not deterred. I took a right-handed guitar, re-strung it to the left, and taught myself Hey Joe by Jimi Hendrix. 

Still from Mirage via Alex Nicol

AC: What are some of your musical and visual inspirations? The video is so visually stunning, I'm interested to hear what influenced it. 

Alex Nicol: You’ll have to speak with Director Big Shot about visual influences for the vid. I was a willing and active participant to his vision! 

Big Shot statement:
We have created a situation.

We have summoned the unusual, the unexpected, caused a break in the natural flow. 

We have explored the depths of our minds and found symbols of a new world: the formless magician, the wandering nimbus, the virtual forest.

We have exposed the mirage of old, and in doing so, we offer relief, uncover deceit, and infiltrate the elite.

We have seen behind the wizard's curtain and now dare to grant you access.

So please, take your seat. Enjoy. 

Still from Mirage via Alex Nicol

AC: The song's lyrics are surreal and evoke a sort of laissez-faire energy towards the bizarre life we're all moving through. The song was released at the beginning of the pandemic. Has it changed in meaning in any way over the year? 

Alex Nicol: The world was wack before the pandemic. Since it has only become more twisted. 

AC: The video seems to touch on how real life and the online world have become even more intertwined lately. What's your relationship with your online presence like as an artist? Is it something you enjoy or something you feel is necessary as an artist?

Alex Nicol: The online world is virtual. It’s a form of reality that is in a sense real, but in another sense entirely intangible because it’s not physical. I like the idea of exploring digital spaces, but I will always be more interested in physical presentations and physical relationships and so on. I feel it’s necessary to be digital but most certainly does not come naturally to me. In a sense I see it as a grand (fabricated by design) distraction from the economic / ecological hardships - the truy physical reality, the weight of those challenges - that are hitting millennials the younger generations. I think my favorite era to live in would have been around the 1890s - at least in terms of communication. That should give you an idea of how I feel about the digital domain / digital dominant lives. I often get angry and upset about how much time collectively is spent online.

Alex Nicol by Stacy Lee

AC: Unplugging for a second, can you describe one of your favourite memories or dreams for us? Do they impact your music at all?

Alex Nicol: Playing barefoot soccer in the park. Sunny afternoon, green grass, fresh air, too young to realize how short life is. I can live in that feeling forever. Feeling truly free, totally present and entirely unencumbered. I strive for this feeling from music that I make and I seek this feeling out in the music I listen to. I get it from Thom Yorke’s voice; Orthodox a capella choral music; early house music; lots of soul groups. I strive to create that vibe in my own way through my own music. So it basically inspires everything I do artistically! It’s not the only thing that inspires me, though. I also have a sense of social obligation to use my music to create a more just world (more on that in my next album!) 

AC: How have you balanced your creative practice with day-to-day life? What are some of the ways that you stay inspired?

Alex Nicol: Mostly I unplug from social media and technology in general. The time to think and feel inspires me. I jog, I read, I meditate sometimes, and I try to get enough sleep (but sometimes, when I am exhausted by exterior life and it’s expressions, I feel most in-tune with my artistic self). Then I try to fit regular chunks of practice or creative time into my day: usually from 6-8am. I also try to be as honest with myself and with those around me as possible. I balance a full-time job with my music, and sometimes (too often), music takes a backseat. I’d like to be more creative, more often. 

AC: What are your favourite releases from this past year from other musicians/artists?

Alex Nicol: Eve Parker Finley - Chrysalia

Cotillon - Cruiser

Nick Schofield - Glass Gallery

Thanya Iyer - Kind

Dana Gavanski - Yesterday Is Gone

Jonathan Personne - Disparitions

Hua Li - Yellow Crane

Beaver Sheppard - Downtown

Anna Burch - If You’re Dreaming

Backxwash - God Has Nothing To Do With This Leave Him Out Of It

Corridor - Junior

Eve Adams - Metal Bird

Helena Deland - Someone New

Thomas Molander - The Walk

Susil Sharma - Keep the Dream Alive

Xiu Xiu - A Bottle of Rum

Eric Gingras - Enfant Magique 

Deca Joins - Bird and Reflections

Penny Diving - Big Inhale

Vanille - Soleil '96

Eliza Niemi - Glass

Sheenah Ko- Nowhere In Time

Whitney K - Maryland

TEKE::TEKE - Meikyu

Cut Worms - Nobody Lives Here Anymore

AC: Last but not least, do you have anything exciting planned for this upcoming year?

Alex Nicol: Working on / releasing a new album! 

Alex Nicol

Spotify I YouTube I Instagram

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Sugar, Spice and Everything Nice: Vanille Serves Up Franco-Pop for Brighter Days Ahead

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Rachel Leblanc / Vanille by Dominic Berthiaume

After three years of creative introspection, pop singer Rachel Leblanc, also known as Vanille, is footing a more sincere debut en Français with the release of her LP Soleil ‘96, via Quebec label Bonbonbon. What makes this album especially validating for the 60s-inspired artist is allowing her mother tongue, and by extension her unmediated stream-of-consciousness, to bloom in her songwriting. Ditching English lyrics has brought on a new level of confidence for Leblanc; allowing her embody a performance style that nurtures her artistic pursuits, rather than projecting the image of a “cool” frontwoman for the sake of her audience. For lovers of Françoise Hardy and Mazzy Star, look no further — Vanille is reviving yéyé with a lusty 90s sensibility. Take a peek at our interview below to read more about her playful, and signature, je-m'en-fous approach to songwriting.

Zoë Argiropulos-Hunter for Also Cool: Hi Rachel! Thank you so much for collaborating with Also Cool. To start, can you tell our readers more about your act Vanille? Would you describe "Vanille" as a persona, or more so as an extension of yourself?

Rachel Leblanc: Thank you so much for having me! Vanille is really just the name of the project. I don't really like when people call me Vanille or ''the singer of Vanille,” haha! It's not a persona, nor a fraction of myself. I just wanted a name for the project that reflected the cuteness and nice vibes of my music! I started Vanille four years ago and I originally sang in English. I later realized that I was not completely honest with myself, and that [the project] was less me and more the image of what I thought was “cool.” From that realization, I began to write songs in French — more in a classic writer-composer spirit than what I did before, and I really found confidence in that.

Also Cool: You've recently released your first album Soleil '96 - congratulations! Can you share what inspired this album, both emotionally and sonically?

Rachel Leblanc: I was really inspired by the 60's British bands and the ones from the West coast of the US in the same era. I wanted to make a rock album, but also an album with catchy melodies and bittersweet lyrics. I listened a lot to Margo Guryan, The Beach Boys, The Zombies but also Sonic Youth and Belle & Sebastian. That melting pot made me write different kinds of songs over the past four years. I usually write songs when I listen to a lot of music during the day. I spin LPs everyday and the greatness of what I hear always pushes me to write, or at least to try something. That's where I get all my inspiration.

AC: Branching off of that, releasing an album is always exciting for an artist, especially when it's your first! Did anything about the experience of producing and sharing Soleil '96 impact your outlook as an artist? Were there any moments that were particularly special?

RL: Releasing an album during a pandemic is weird, but I never experienced it during ''normal times,'' so I couldn't compare, haha. I think that it was mostly good, because people were happy to hear a new album and the enthusiasm was really there for me. I enjoyed making this album with my friends and I will continue to work with the people I know and love! I understood how important it is for me. The team of people I worked with (Guillaume Mansour, Jean-Sébastien Gervais, Julien Pagé, Benoît Parent and Emmanuel Ethier) were very tight and professional. It was also a huge, fun experience because it was taped before the pandemic and we ate a lot of food during those sessions — a lot of candy… and that's something I will remember. I'm starving right now!

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Rachel Leblanc / Vanille by Dominic Berthiaume

AC: You mention that you take inspiration from French yéyé singers from the 1960s; what about these artists and their music resonates with you?

RL: I just adore the simplistic melodies and the light-hearted energy from this era. There was a nice effort in making pretty music and the refinement is beyond compare! The looks were also on point, haha! There's also a kind of je-m'en-foutisme that I really love. The attitude and style of the Swinging Sixties and the psychedelia influence on the artists interests me a lot.

AC: In relation to those influences, what is your approach to making music that has a vintage appeal with a current twist? Are there any particular practices you use to achieve this sound?

RL: We used a lot of old guitars for this album. Emmanuel helped a lot to choose the right guitars and basses for each part on the album. We used a lot of different mics with various reverb effects, and kind of created with a speaker in another room where our winter boots were. We used different kinds of synths also… I'm unfortunately not a gear gal and I couldn't tell what we used, haha! I think it could have sounded more retro, but I the next [album] will fulfill this need! I want to use old instruments like the harpsichord and the mandoline. I'm looking forward to that!

AC: I know that you recently were on the cover of Le Devoir and were featured in the Journal de Montreal, which are amazing milestones! How does it feel to receive such positive reception so far, and what lasting impressions are you hoping the album will have?

RL: It's such a dream! I couldn't be happier. The fact that my music resonates with a lot of people is the best feeling in the world. I'm really grateful for what's happening to me and I'm living this precious time with a lot of tenderness for everyone. I wish I could play live in front of people and see them smiling and singing with me, but I'm sure it will happen one day! I hope that this album made people feel a little better or understood during these times (sorry I sound like an ad).

AC: Before we let you go, what is the year ahead looking like for you, and how can we best support you and your music?

RL: I hope to be able to play everywhere in Quebec this summer, but it's really too soon to tell... I will definitely work on my second LP, taping it in the woods in the Laurentides, probably in Fall. A bright year is ahead of me and of all fellow artists. People will want to date [again] and everyone knows that bringing your crush to a good show is the way to go baby!

Vanille (She/Her)

Instagram | Facebook | Bandcamp | Spotify | Bio

Zoë Argiropulos-Hunter (She/Her) is the Co-Founder and Editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, radio host & DJ, and a musician.

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Review: Priors Break-In 2021 With My Punishment on Earth

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

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

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

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

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

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

Priors

Instagram | Bandcamp | Big Cartel Store

Written by Alex Kerkhoff

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Won't You Come Through? The Black Creatures Talk Grief, Community Care, and Neopets

The Black Creatures by DOMvisions

Won’t you come through and kick back with The Black Creatures? The Kansas City based power duo have released their music video for D'ummm, and I’m not gonna lie, it’s been on repeat all morning. It’s the perfect mix of sweet, laidback tunes and community love. The track is off their 2020 album Wild Echoes.

Their music provides a deep introspective look into themes of grief, love, and mental health, particularly within the Black community. Jade and Xavier wanted to make music that allows people to imagine things that may not exist right now. They explain, “Music is very political. It permits us to draw out the blueprints for what we want to create.”

I had got the chance to chat with Jade and Xavier, covering everything from meaningful community activism, to what their songs would look like as Neopets. Check it out below.

Malaika Astorga for Also Cool: For those who don’t know you, how would you describe yourselves as individuals and as a band?

Jade of The Black Creatures: I'm Jade Green, a singer, prison abolitionist, and Pan-Afrikanist. I'm nonbinary, and I want a world without starvation, homelessness, or police. The Black Creatures became a thing when I was going through a really hopeless time in my life, and since then it's the only thing that has consistently made sense.

Xavier of The Black Creatures: I'm Xavier and I would describe myself as unimportant in the same way that trees, rocks, birds, water, and dirt are. I'm the same as everything else: here.

We, as a band, are a collection of our greatest inspirations and fears, filtered through our understanding of music to support and uplift people who are like who we were as kids; the lonely, confused, hurt, angry, joyful, passionate, and curious.

Also Cool: What’s the music scene like in Kansas City? I know you met over the Internet initially in your senior year, and I’m wondering what the IRL and online creatives spaces in your scene are like. I’m also interested in what serpentine green lipstick has to do with your friendship.

Jade: My experience being in the KC music scene for the last seven years has been mostly what I made it. But the environment is undeniable; the music scene here is almost as segregated as the rest of KC, the home of redlining (which is the practice of drawing districts into ridiculous shapes to preserve its whiteness, property values, and funding).

At first, I was really green - I didn't come from a family of musicians, I was sort of shunned (and simultaneously emulated) by the white punk kids I ran with in high school, and I really had no background in being a recording artist. At first I felt like everyone was laughing at me all the time. When I stopped caring about what people thought of me and just started focusing on learning and growing, it really changed the trajectory of the band I think.

Xavier: The KC music scene is admittedly underrated. No one outside of Kansas City would expect so much amazing music so many incredible artists to come out of the Midwest. There's an unparalleled range of styles and approaches here. While I don't deny other places having an equally wide variety, I just think (at least for us) there's a lot of intermingling. We've played shows with punk bands, jazz artists, rappers, metal bands, noise artists, DJs, the list goes on. There is a surprising number of shows and festivals from local to nationwide, all put together by artists and performers from HERE. Or maybe I'm just not well travelled; ask me again in a few years!

The Black Creatures by Beth Taye

AC: I love your undying chaotic love for creative creation. From Sonic, to Charmed, to a huge range of musical inspiration, you seem to pull your creative forces from many different places. What are some of the most influential pieces of media, whether they’re musical or visual, been for both of you as artists and people?

J: Media consumption was very important for me growing up in the 90s and early 2000s. Watching The Fifth Element as a child gave life to my love for funk, outer space, and opera. Video games like Final Fantasy X-II & Kingdom Hearts opened my mind up to even more otherworldly possibilities, and companionship that spans beyond time. Musically it was Aaliyah, The Gorillaz, Dir en grey, and Missy Elliott that inspired me then and now to make visceral, unapologetic music - hoping it heals and breaks some curses along the way.

X: Within production and lyric writing, I've been inspired by things completely unrelated to music like Shigeru Miyamoto's approach to game design in Super Mario Bros, teaching all of the mechanics of the game in the first level in the first few seconds. I copy this approach musically by introducing the listener to a theme through melody or rhythm to kind of define the "rules" of engaging with that particular song. Or, like in visual mediums, white space (think of the unpainted parts of art on canvas) can be used to actually fill out the piece, or direct the eye, or cause tension.

Ultimately, a relationship between a song and the listener can be informed by silence. Many films have definitely inspired some work, like Annihilation, Interstellar, The Boy, and The Blair Witch Project to name a few!

The Black Creatures by Beth Taye

AC: You’ve mentioned that your activism is very community-oriented, and IRL. In an age of digital activism and performative infographics, can you tell us a bit about how you connect to your communities IRL, and the importance of maintaining that kind of connection?

J: I'm learning now what Angela Davis meant when she said the personal is the political. The most sustainable efforts of "activism" I engage in are part of my daily life: urban farming, conflict resolution services, working with children, volunteering at Food Not Bombs KC, helping Black and Indigenous folks buy houses in this predatory housing market situation our city has... speaking of which, my friend is about to lose their house because the city decided they want to build a shopping center there. In a city with several abandoned shopping centers already... yeah. I guess another form of daily activism I engage in is bringing contradictions to light. I don't say this to brag, but to give other people ideas on how to make trouble for the dying culture that wants to take us with it.

X: Honestly, keeping a network of colleagues, associates, and friends who know people who provide information, resources and/or services, and people who simply have needs is another way we approach this. At every level of society something can be done in some capacity; it can be as simple as connecting a hungry friend with someone who provides regular meals, to something as frontlines as connecting activists with someone who knows the right information.

AC: If your songs are like Neopets, can you tell us what D’ummm and Wretched (It Goes) would look like?

J: D'ummm gotta be MAD BUBBLEGUM CUTE. Like a purple-and-white Polish Frizzle chicken with nasturtium and phlox blossoms in the feathers. Chunky and funky. Life of the party. Wretched would be like a Hotep tuxedo penguin with a Kufi (hat) who speaks nothing but the truth. He also chews up shrimp to feed his children. He has braved many storms and he is loyal.

AC: Your project ranges across the Internet, from your music to your YouTube videos. How do you find balance creating content and creating just for yourselves?

J: Honestly, a lot of what I put into The Black Creatures then and now started as personal journal entries and notepad notes. What's wonderful about being part of this musical project is that Xavier has always encouraged my personal growth. If I ever was "too much," he wouldn't show it — we would just find a different way to exert all that energy and it always turns out alright.

X: Understanding my own limits is incredibly important to me. So is knowing when to say no. Finding balance, for me, is mostly about knowing myself well enough to avoid overwhelming myself. It's admittedly an ongoing process because the goal is to always know myself better. I try to extend that to the band as a whole. So, as a band, our combined processes keep us mostly balanced in regards to our workload.

AC: Who are some artists/musicians from your scene that we should know about?

J: God I LOVE THIS QUESTION! PLEEEEASE check out Les Izmore, Bath Consolidated, Collidescope, and Betty Maun.

X: I strongly recommend TideCruz, Mess, Ebony Tusks, Bad Alaskan, VP3... how long can this list be????!?!?

AC: Last but not least, what do you have coming up this year? Is there anything you want to shoutout/highlight?

J: We are planning to give everyone a new video from us before Valentine's Day, and a lot more later... but I don't want to spoil anything (yet)! You're the first to know about our upcoming video.

X: Issa mystery.

The Black Creatures

Website I Instagram I FB

YouTube I Spotify

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Premiere: Claire Ridgely's First Solo EP, Flowers for a Friend

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Photo Credit: Fayality

Makeup & Styling: Genevieve Sauvé

First we were googling how to develop a widely-distributable vaccine, then it was round two of impeachment research - and now we’re down a TikTok spiral being told how to manipulate the stock market. Is anyone else feeling a little tired of trying to stay on top of all the nonsense? What we all need is some sunny music to dance (or cry) to - and Montreal’s pop sweetheart Claire Ridgely has just the remedy, and we are obsessed.

With a voice fit for summer, she’s been a force in the Montreal indie scene for a while. After graduating from the 2020 SOCAN Incubator for Creative Entrepreneurship and receiving a FACTOR Artist Development grant, over the past year, Ridgely has gained a lot of recognition for her warm, close-to-home songwriting sensibility. Her voice garnered significant attention from features on pop singles by Robotaki, Pat Lok, and Said the Sky - and familiar labels like Majestic Casual and Kitsune Musique. If you listened to the Canadian R&B duo, adhoc, you may also remember their song together called “the heat”. We fondly remember her rooftop performances for the iconic Montreal event series called Bliss.

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Now it's really Claire’s time to shine - after dropping four singles over the past year, she’s releasing her first solo EP called Flowers for a Friend. Featuring contributions from Clay and Friends, wordsbyjuni, and Oscar Luis, the album is a collection of comfy and intimate songs reminiscent of a BFF sharing secrets with you at a sleepover. It’s well-produced pop with a story - Ridgely’s lyrics recount personal narratives that aren’t always as bubbly as the beat, but that makes them all the more alluring. On a cold and snowy January day, Flowers for a Friend is a reminder that the warm days of summer will return, curfew will eventually end, and we’ll be breaking hearts and soaking up the sun at Jarry pool once more. 

Dive into the summertime-dream music video for “Island” below:

Follow Claire Ridgely on Instagram

Listen to Flowers for a Friend on Soundcloud or Spotify

Premiere: Kue Varo Has Something to Say with Debut Album Daffodil-11

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Kue Varo, photo courtesy of Ariana Molly

After much anticipation, it’s finally here – Montreal-based artist Kue Varo (she/her, he/him, they/them) has released their debut album, Daffodil-11, and we couldn’t be happier.

Kue Varo is the solo project of Kat Spreen, a musician and multi-instrumentalist with a passion for creativity and authenticity. Daffodil-11 is the accumulation of years of writing, working and playing in her local DIY scenes, whether that was during her teenage years in the traditionally conservative city of Calgary, or the artistic hub of her current home, Montreal. 

Album standouts are a-plenty, including “Dreaming” – an emotional freefall of a track in which Varo pleads to anyone who will listen: “Is this the waking life / Or have I died in my sleep? / I used to have something / I thought I could keep.” Shoegaze fans will be entranced by “Fully Clothed”, a feminist anthem that cloaks the listener in reverb. Between bouncy guitars and wails of release, “Animals” will get you thinking about your relationship with social media. Can you tell we’re a fan?

Float away and feel the feels with Kue Varo on Daffodil-11 – and take a look at our November interview, where she dished on identity and its influence on her creative expression. If you need us, we’ll be ~vibing~.

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Kue Varo, photo courtesy of Ariana Molly

”Daffodil-11 is a reference to Kurt Vonnegut's Slapstick, which is my absolute favourite book of all time," said Spreen. "It’s roughly about human decency for human [decency’s] sake, without attachment to outcome. This album starts with an angry introduction to the planet, and ends with me trying not to bury her. It’s a very vulnerable and sometimes uncomfortable undressing."

Daffodil-11 was recorded at Montreal's St Zo Studio. The album features Matthew Spreen on rhythm guitar, Chris Dadge (Alvvays) on percussion, Scott Munro (Preoccupations) on synth, and Rena Kozak (Child Actress) on bass and production duties. The seven songs on Daffodil-11 each have one of two personalities attributed to them.

"Although I believe strongly that traits assigned a gender are silly, I enjoy exploring duality in the form of gender to help come to terms with what was imposed onto me," Spreen said. "Gender presenting is a fun visual way for me to do so through my art. Each song on this album has one of two personalities attributed to it: the mod princess light and magnificent of the 1960’s and the grungy 1970’s/90’s beatnik poet/failed artist who is bitter and feels entitled to be. These traits simultaneously exist within me and it’s incredibly liberating to lean into them as a form of expression and creativity."

Listen to Daffodil-11, out now on all major streaming platforms.

Kue Varo · Daffodil 11 (January 28, 2021)

Kue Varo

Website | Instagram | Spotify

Soundcloud | Bandcamp | Apple Music

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Premiere: Lindus asks, "After the Haze, What?"

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Cover art: Bénédicte Morin

Whether it’s work fatigue, COVID-fatigue, or just feeling plain tired of being in situations, the experience of being stuck in a fog seems ubiquitous. Lindus has been roaming the shadows of the underground music scene for over a decade. Now based in Toronto, he’s freed himself from corporate shackles and produced a highly emotional 5-track EP called After the Haze, What? for Liquid Love Records’ third release. This psychedelic house record is the product of transcending the barriers of an unfulfilling lifestyle and stifled creativity, of growth, and of bravely asking the question, “What comes next?”

Check out our interview with Lindus - and don’t forget to listen and support - below:

Lindus makes his Liquid Love Records debut offering a heavily emotional and unique five-track EP of deep, psychedelic, house. “Rubber” kicks off with a minimalist, bass-laden take on the Eastern European micro sound: think Rhadoo making modular synth loops. Things speed up on “More Underground”, a Montrealer’s take on Jeff Mills retold through distant memories of summer loft parties and winter mornings spent at the mythical Stereo club. Haze gives way to texture and melodies with the delicate euphoria of “In My Wires” and “For These Places We Loved” - rhythmic dance tracks while basking in the melancholic, distant calls of re-pitched vocals and outlandish synths. It's finally time to leave the club and things wrap up with “Try Not To Forget”, the kind of pronounced dark techno hit whose energy contrasts the fading body of the early morning raver. Lindus has been a bedroom musician for over a decade and is currently based in Toronto, Canada, where he works on themes of originality, process and the possibility (or lack-thereof) of transcendence in music. After The Haze, What? EP drops Wednesday 27th January via Bandcamp. 1. Rubber (Loop Mix) 2. More Underground 3. In My Wires 4. For These Places We Loved 5. Try Not To Forget Bandcamp: https://linduslindus.bandcamp.com/album/after-the-haze-what

Maya for Also Cool: How did you get into making music?

Lindus: I'm part of the internet generation - it's where my first connections came from. Sites like OiNK [Oink’s Pink Palace, now shut down], the first private torrent site, introduced me to some extremely nerdy internet stuff, which then expanded into music and music sharing.

I never really discovered much music through friends - most of it was through there - and the people on it listened to a lot of post-rock, like Godspeed [You! Black Emperor] and Explosions In The Sky - then everyone started getting into Burial’s end-of-the-world vibe. It was a time when the internet was a communication hub, but not as standardized as it is today. You had to crawl through lots of forums.

In 2010, MUTEK did a crazy showcase in Montreal. They featured Kode9, Spaceape, Flying Lotus, and Martyn - they were really on top of it that year. I started getting into dubstep and discovered clubbing through that - which in retrospect was a weird introduction to [the scene]. So my musical brain at the time looked like a mix of dubstep, psytrance, and all the Montreal post-rock bands like Godspeed You! Black Emperor, Silver Mt. Zion.

Also Cool: When did you start producing your own tracks?

Lindus: There's something about the world of dance music where there’s a high chance that someone who is consuming it is also participating in creating it. Especially back then, no one was buying gear - we were all making beats on the computer. There was a sense that anyone could try it. Lots of people downloaded the free version of Fruity Loops [FL Studio] and tried their hand at making music. That was when going to parties and making music started to overlap for me. I began making loops and sharing them online - before Soundcloud became so popular, people were using other platforms, like Myspace.

AC: Your write-up on the record describes a melancholy night at Stereo - do you have an emotional connection to that nightclub?

Lindus: Around 2011, there was a split in the scene - something broke at a local level, where what was originally supposed to be about music started having social consequences.

People started going into totally different scenes - some went from dubstep to bro-step, and some people realized they needed something new. A notable transition track was Joy Orbison's Hyph Mngo - it's deep, it's physical - like dubstep - but it sounded new. So a lot of dubstep heads transitioned to house and techno, myself included.

At one point people started hosting parties at this place called Velvet. One time I showed up with my roommate - we were like 18 or 19, just these awkward guys who went to these parties they found a link to online. When we showed up to Velvet, we got bounced - the bouncer actually pretended that we got the wrong address.

To me that was a sign that something in the scene had changed. The people putting on those parties were making a kind of shiny house music that was becoming really popular at the time - and all of a sudden these new venues would check you when you came in. That was totally unlike the [more relaxed] dubstep parties. At that point, it was a departure from the [underground] scene - it became more corporate. There was a car brand called Scion that put a bunch of money into these parties - I think that's when Red Bull also started getting involved - it felt really stale.

Maybe a year later, I went to Stereo for the first time, and it felt like a new community. It was like discovering a new part of dance music that I didn't know, because I didn't grow up with house or techno at all. When you're in there during the weird hours, like seven-thirty to nine [A.M.], you’d notice a special type of vibe - and the music made so much sense for the room.

That's also when I understood why people had to play house and techno in certain settings - you’re not going to play dubstep at seven in the morning when most people in the room are tripping. I tied the utility of the music with the scene and the space - and suddenly things made sense for me.

Then I just kept going. I definitely went to some weird nights. I saw Solomun there, which made me realize, “wow, they can really pack it with bros,” then I went to CLR Chris Liebing nights, where everyone was dressed in black and the music had really clean and crisp production and sounded super mechanical. I also went to see Danny Tenaglia and other house classics there - and those nights were great. It felt like I was entering into dance music history.

AC: How do you think SoundCloud affected the development of underground music culture - and the politics of it?

Lindus: Form became really important. I usually think of the Low End Theory stuff [the experimental club night responsible for Flying Lotus’ rise to fame, among others]. When that album came out, it was just at the beginning of the Internet. Everyone picked up on the formal characteristics of it - like the sidechaining, the pads, and the unquantified beats. Because of the Internet, like a week later, people from Sweden were copying those beats. Music felt really decentralized. You could also say democratized, because there were more people taking part in creating [these new genres].

With dubstep, there was this messianic thing. There was this vision of a scene in the UK - and with me being far away in Canada, experiencing this new genre from the UK felt full of promise. It didn't have anything to do with the formal characteristics of the music - it was more about the vibe, the projects, the communities. When people started getting good at Ableton and making really quick clones of beats, it made it hard to situate the music and sound within a scene. You no longer knew who to look to for leadership. Now it's easy to connect with a lot of people online and you can build community through the online medium.

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Credit: Liquid Love Records

AC: Why sad nights at Stereo?

Lindus: Dance music got so big, and happiness became such a key part of the messaging that was used to sell it. Suddenly everything was like a Zedd music video - starting with some lady working at her boring office job, then the beat drops, and all of a sudden she's dancing on a beach.

Transcendence and dissociation through dance music became a push for happiness. They lowered the booth and stereo at some point, and that was a big change because all of a sudden, the DJ was like right there, six feet away from you. You got sold so much on the idea that every night you went, you had to have [the time of your life] - so my anticipation would really build up. With time, I became more attuned to the fact that things didn’t really have to go that way.

There was this one night that I went to Stereo with Martin [Liquid Love Angel], and we saw Jeff Mills. Immediately after his set, Mills suddenly disappeared with a small group of people - there was just no community vibe in there. It was really the antithesis of the dance music "promise" that you're going to go in and find community and warmth.

It felt grim - Jeff Mills played for like three hours and one minute. That's probably what the contract said, but it wasn't just about how that specific night went, it was about the industry of expectations and selling you this dream. It became even more commercial with things like Boiler Room and hyper-produced videos of parties with messaging like, "This could be you..."

AC: So what is it about a club culture that isn't necessarily the foam parties and euphoria that get marketed to us?

Lindus: Like with any artform, you can experience different emotions through music - there are sad tracks, you can feel melancholia, dissonance. Sometimes you actually can't lose yourself in the music - and maybe that's a good lesson to have. Compare that to times when you feel like ravers are in disregard of the world that they're in, where raving seems to be all about consumption and taking drugs. Everything is focused on the self. Or when you see people throwing water bottles at Stereo - it's stupid - and you can really feel the disregard for the context and the space that these people have. They don't give a shit about your experience - they're only there to have a “great” night.

Another thing is that the sadness you might feel is not necessarily the minor-chord type. You feel it with the cliché of leaving a club in the morning and seeing people go to work. Why does it feel weird to be on the subway at 10:00 AM on a Sunday and seeing people way older than you going to their real jobs? How do you relate to that?

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Credit: Liquid Love Records

AC: Coming back to the album, and more specifically its title, did you transition from a corporate job into making music? What's the story behind that?

Lindus: I studied philosophy in grad school. When I graduated, I didn't really know what to do. I was in Toronto and there were just so many corporate jobs. So I got one, and it was soulless. It's a cliché that corporate work has no soul, but working for one of the big insurance companies, I was thrown into this completely regimented life - there was no originality. Everything was processed and repetitive. At one point I just couldn't do it anymore, so in August I quit, after over two years.

I found a space with some friends, and I was so over the structured lifestyle, that I decided to just smoke a lot of weed, sit in this basement, and make music. It was such a strong response to everything that I had experienced - a real loss of hope from being in that regimented world where you couldn't really want anything, where the barrier between what was true or not was really blurry. Corporate messaging was so often around keeping people motivated and engaged - that involves mountains of deception. I got out of there with such a deep feeling of nihilism - without even really realizing it - but [in the basement] there was nothing to do but smoke weed and make music.

AC: So what's after the Haze? What's the story behind the album title?

Lindus: It's in reference to that hazy time after leaving my corporate job. Standard stuff like going to therapy, starting to figure yourself out, building a healthier relationship with yourself in the second half of your twenties.

I really enjoyed the Haze - I found a lot of comfort in being stoned, going to parties, and things feeling kind of approximate. I also always liked music with tons of reverb. When I abandoned the corporate lifestyle, I still felt the haste of it. Wake up, get high, go to the studio - I was still totally drowning in those loops.

At one point, I faced the question: what do you do after that? The Haze is kind of atemporal - you're high, then you're tired from the high, then you sleep, and then you get high again. It's hard to make change from within that circularity. It's kind of like being in a relationship, when you're at a point where you want to know what comes next. You can't really put it into words, but there's a striving for [growth].

This project is me striving for something beyond the Haze.

After the Haze, What? is available on Bandcamp at the link below:

After the Haze, What? by Lindus, released 27 January 2021 1. Rubber (Loop Mix) 2. More Underground 3. In My Wires 4. For These Places We Loved 5.

Written and produced by Lindus
Mixed by Lindus.
Additional arrangement by Martin Cadieux-Rouillard.
Mastered by Cristobal Urbina at See You Mastering.
Cover by Bénédicte Morin

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Saturday Sermon: Racquel Jones Disrupts Traditionalism with "Sacrilege"

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Racquel Jones, still from “Sacrilege” music video by Lacey Terrell

Racquel Jones is a vibrant and ruthless Jamaican rapper, visual artist and model. In her recent music video for “Sacrilege,” she brings horror movie visuals into a Catholic church. By simultaneously horrifying and intriguing her audience, Jones forces us to reflect on the dangers of blind faith in religious doctrine. Through rap flows and poetic verse, Jones aspires to disrupt hate-fuelled tendencies associated with religion, and exposes the toxic headspace that tradition can impose; proactively leading us to dig our way out.

We had a chance to chat with Jones about religious identity, spiritual practice, and the personal experiences that led to the making of her music video. Beware: this interview is not intended for people caught up in conventional ways of thinking.

Spencer Nafekh for Also Cool: Between the freaky visuals in the music video, the blaring synth in the song’s chorus and the prayer-like poetry you incorporate to denounce religion, “Sacrilege” is a very incendiary track. The intense anti-religious messaging in your work surely is not without reason, though. From personal experience, can you elaborate on the impact of religion on your life?

Racquel Jones: I am a Black person who grew up in Jamaica (a Christian country), in a very Christian family. My mother is a preacher. I’m a descendant of people who were enslaved and taught this religion, and said religion was also a crucial tool in the enslavement and oppression of my ancestors. The impact of religion on my life is devastatingly vast, more than I will ever be able to adequately express. It is so impactful that it sadly cannot be undone. So devastating that even after now knowing better, my being is unimaginable without the scars and mental rewiring of my true identity and heritage warped and erased by religion.  

Also Cool: I agree, it’s shocking how religion and tradition can warp our identities and alienate us. Do you think spirituality is something that people can practice while still being passionately anti-religious? Would you consider yourself a spiritual person, and if so, what’s a good example of some of your own spiritual practices?

Racquel Jones: For sure. Spirituality has absolutely nothing to do with religion in my opinion. I think the basis of the lies surrounding religion stem from that… They want you to think otherwise. Spirituality, to me, is my deep [soulful] connection with my inner self, my ancestors, the energies in the universe, and the powers within. Examples of spiritual practices I do are: meditation, introspection, forgiveness, self care and self love, practicing empathy and loving in spite of. 

AC: One thing that really stood out to me in the “Sacrilege” music video was the freaky, horror movie-esque aesthetic which your director Alex Di Marco creates through eerie lighting and unsettling special effects and costumes. As a big horror movie buff myself, these elements were all things I could instantly appreciate! Was the purpose of this aesthetic to reflect religious practice in a horrendous light, or does it also come from an admiration for horror movies in general? If you are an avid watcher of horror movies, could you name a few faves?

RJ: It was intentional. I cannot think of anything, aside from racism, that is more horrific, horrendous and evil than religion. Because of this, I do not like horror movies. I have lived through the real horror of cult like practices I’ve seen, and watching horror movies evokes PTSD for me. I could never sit through a horror film, especially the ones with demons, exorcisms or anything religious based. I like The Silence of the Lambs, though. Is that horror?

AC: As your first high-production music video as a solo act, the “Sacrilege,” music video can be set apart from your other video works, such as “Letter to the Editor,” which showcased your rap flows alongside the American electronic duo Thievery Corporation. It was also filmed during the COVID-19 pandemic, which I’m sure came with its own unique setbacks. How was filming the “Sacrilege” music video a novel experience for you? Any funny or interesting behind-the-scenes stories which took place during filming?

RJ: Well I was supposed to have a congregation in the video and that couldn’t happen because of COVID. We were going to simulate a whole church experience, from the pulpit to the pew. Something funny did happen… Well, partially funny. The actor scheduled to play the role of Black Jesus in the confessionals initially, showed up to set breathing heavily, sweating and seemed like he was showing symptoms of COVID. He was kept outside, paid and asked to leave. Turns out he was just having an asthma attack. Needless to say, he was very upset.

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Racquel Jones, still from “Sacrilege” music video by Lacey Terrell

AC: I’ve heard that you’ve recently been dealing with some issues in getting the “Sacrilege” music video monetized on YouTube, and that you suspect this is likely due to video’s charged religious imagery. I imagine that the issue of online promotion and monetization is especially frustrating for a unique artist such as yourself. Can you speak a little more on this?

RJ: I am not exactly frustrated or upset even, because I expected the backlash. There’s always resistance to change. And there’s always biased censorship. I didn’t expect that people were going to be happy that I’m ripping Bible leaves to roll my joint, burning a photo of “Jesus” and calling the Virgin Mary a bitch. Being anti-religious is a threat to the comfort and hope of people. And for them to find out the lies they’re told, or even exploring the idea that religion is built on the premises of lies, evil, control, segregation and false hope causes pandemonium, fear and panic among people. We are wired to find comfort in the things that hurt us. And religion is the most genius example of that. So, I figured my video is seen as a weapon and a threat as opposed to feeding the narrative they prefer. My responsibility is to put the message and the art out there and let it do its thing. If YouTube or Google fails, there are other ways. 

AC: One thing I find impressive about the “Sacrilege” music video is how much its themes and colours can be paralleled with your paintings, which I’ve seen showcased on your Instagram. It seems as though you are passionate about building your creative vision from the ground up, and mixing artistic mediums to express certain thoughts and feelings. How much does visual art tie into your creative practice when it comes to your poetry, singing and songwriting?

RJ: They are all the same. Sometimes it’s chaos in my head because they all function together, and they all speak to me together at the same time. None can operate without the others. Over time I’ve learned to master listening to them all. I am happy that I finally now have the outlet to do them all simultaneously, because before, being forced to separate them was driving me crazy. It seemed unusual and confusing to people in the past that I do them all, and I was often asked to choose and focus on only one. I don’t listen to people anymore, I listen to the voices of the arts in my head and only those. 

AC: If “Sacrilege” is a reflection of what’s to come on your upcoming album, IgnoRANT, then it seems there will be no lack of killer bars and strong spoken word for listeners to look forward to. Want to speak a little more on this project, as well as the inspiration for its name?

RJ: Man, I don’t think they’re even ready. It’s nothing like I’ve ever heard before and it scares me sometimes. “Sacrilege” is one of the few normal sounding songs on the record in terms of structure. Myself, along with the producers, followed no pattern or mold, but let ourselves be purely obedient to the art and the emotions. It’s scary but brilliant, and everyone who's heard it so far has had a strong reaction. In terms of concept, for me the title IgnoRANT is a rant about ignorance. It’s being cognizant of the fact that we’re all ignorant to something. It’s being vulnerable about being ignorant and the openness to learn and understand. It’s the recognition of the damages caused by ignorance. It’s knowing that it’s impossible to ever know everything and that we will always be ignorant, but it’s possible to love and have empathy despite ignorance. IgnoRANT is really examining and addressing harmful stereotypes under a microscope in an in-depth way and also through microcosm.  It is honest, pure, intense and raw. 

AC: Sounds like lots of thought and experimentation has been put into this project, and I’m really excited to check it out once it releases! Lastly, knowing you are a multi-medium artist, are there any recent artistic undertakings outside of your music that you’re feeling excited about? 

RJ: The record is just half of the project. I’m excited about the visual arts I’m creating to go along with the record. Each song will be accompanied by a piece of art that further explores and explains the concepts in the song. Aesthetically, these are explored through surrealism, expressionism and iconography. I’m excited about completing the art and exhibiting both the music and the art together. I am almost done making the art. 2021 will be an interesting year.

Racquel Jones

Instagram | Facebook | 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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This interview has been condensed and edited for clarity

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Sounds from Mothland Volume I: Montreal's Music Scene, Refreshed

Via Mothland

As we settle into Montreal winter, music is, once again, one of the only things keeping us going. Lucky for us, Mothland has released Sounds From Mothland: Volume I, a compilation of bangers that provides the optimism needed to get through the season. 

The record features various artists and genres, including Yoo Doo Right, Paul Jacobs, VICTIME, Gladys Lazer (ex-Yonatan Gat trio), Spaceface (mem. of Flaming Lips), Red Mass, and more. It’s a roundup of everything your Spotify playlist has been missing, from disco tracks like Marcheé Pt. 3, to beautiful sparkling melodies by Gladys Lazer, and even krautrock post-punk tunes from Atsuko Chiba.

The compilation came out of a period of uncertainty about what the future might hold for Mothland, with each song touching on significant themes relatable to all of us contemplating our existences and missing our music scene.

"We found ourselves with more questions than answers," says Mothland, "But like the caterpillar-turned-moth we worship, we had to evolve and take flight into the night, trusting a distant light to guide us.

Guided by this light, we started putting together a compilation that would feature inspirational artists and dear friends we've had the pleasure of working with over the years. Because these are truly strange times, it meant the artists would have to further step out of their comfort zone, sharing budding ideas, and creating something new and spontaneous." 

And take flight they did. The compilation offers a fresh look at Montreal-favourites and a welcome introduction to all-new songs, all while supporting Montreal's music community. 

Mothland quotes their inspiration for the project coming from, "Legendary releases like This Mortal Coil's three albums via 4AD, Once Upon A Time In Shaolin by The Wu-Tang Clan, Brian Eno's No New York, and Subterranean Pop's classic Sub Pop cassettezines."

"We aimed for a gritty, community-oriented project. Much like homemade mixtapes consisting four-track demos punks would share amongst friends in an era when mistakes were kept on recordings, Sounds From Mothland Volume I is raw because rock & roll isn't supposed to be perfect. Living in the digital age, we also thought the physical cassette itself was a great way to showcase music as an art piece, the sum of many incredible creators."

Via Mothland

The bands were also able to weigh in on the compilation's significance and the inspiration behind their featured tracks.

Yoo Doo Right: "This track was our response to Mothland's request for an irregular/b-side/demo that would put us outside of our usual comfort zones. With the thought of making a disco song, "Marche Pt. 3" is what came out of it. We immediately knew we wanted to collaborate with Jasmine Trails on this track, adding her breathy, enchanted approach to the song. All in all, we wrote, recorded and finished the track in a couple of weeks."

Spaceface: "For "Chemical Sea (Wash Me Away)", we revisited one of the tunes on our first EP that I wrote when I was 16. The intention for this redo was to give the weight of the lyrics more emphasis. While the original Spaceface version had a great rhythm, we felt the vibe made the content sound as if it were aggrandizing drug use to solve your problems. And while drugs are fun and can be used to expand your worldview, the lyrics from the chorus are meant to point towards a sense of hopelessness amidst chaos and loss while the verses offer small tokens of hope and light in dark times, which felt strangely appropriate in these times. The line "don't drown yourself in worry... even the brightest minds are in the dark" is meant to comfort while accepting the truth, which is often a little bleak. 

Vinyl Williams played bass over a mix of drum machine and standard drum kit. The song also features a blend of three pedal steel takes from three players: Ray Suen, Paul Taylor and Yohei Shikano. It was mixed and produced by Jake Ingalls & Omar Yakar, and engineered by Calvin Lauber."

Paul Jacobs: "I wanted to record some beats in 7/4 and track some bass on top. Figured I'd add some guitar since I have one. 

Then I thought, a shaker would really get this going. Next thing you know I'm singing on the dang thing. After that point, why not add some synth? It's a song about appreciating the moments of creative inspiration and acknowledging the fact that it comes and goes." 

"To us, Mothland exists to whoever needs it. It's a conceptual place where to be free, where to forget our troubled existence, and where to hide when need be. For this project, we've simply captured some of its beautiful and frightening sounds, hoping to share them with the rest of the world." -- Mothland

The compilation is dedicated in loving memory of Claire Vincent Larocque.

Listen to Sounds from Mothland: Volume I on Spotify below, or buy it as a limited edition cassette from the Mothland website. 

BARBUDO: The British "Pop-Funk Pizzazz" Brother Duo

Photo Credit: BARBUDO

BARBUDO is a Pop-Funk/Psych band from Havant, Portsmouth. Brothers, Ben and Harry Stanworth and Elliot Salter just released their latest single “Magnolia Mansion.” This tune is filled with funky and psychedelic undertones, fervent vocals and is topped off with a seriously groovy bassline. The unique pairing of these elements creates a fresh distinct sound that fully surrounds and captures audiences worldwide.

They take inspiration from 70’s funk, soul and disco pioneers and add on their own unique, modern twist. Their songs are intricately oozing with soulful melodies and charming themes. If you just want to get up, have a good time and dance - these are your guys.

We had the pleasure to talk to BARBUDO on topics ranging from the band’s visions, who they’d choose in a disco-dance off, their biggest influences and creative processes.

Sierra Kaylen for Also Cool: Hey Ben and Harry. What’s up? How’s life?! 

BARBUDO: Good thanks! Staying afloat during these strange times.

Also Cool: How would you go about describing your band and overall vision to those who haven’t heard of you before?

BARBUDO: We call our sound Nu-Eyed funk - a fresh take on Classic Funk, Soul and Psychedelic grooves.

AC: I’m hearing a lot of funky and psychedelic undertones on your singles: Are there any artists from the 60s - 70s that have influenced your work? I’m hearing a lot of Parliament- Funkadelic and absolutely loving it!

BARBUDO: Yeah we are big P-Funk fans and love music from those eras. We take inspiration from various 60s & 70s artists, spanning from The Beatles to The Isley Brothers.

Photo Credit: BARBUDO

AC: What’s the creative scene like where you live? Has it impacted the art you make? 

BARBUDO: There are some great bands in Portsmouth, who constantly inspire us to improve. We are all different but it's fun to gig together and learn from each other.

AC: BARBUDO is a brother duo, how did this come about? Harry and Ben - how is it like working together as siblings? 

BARBUDO: A bit of brotherly love never made life difficult for a band ... did it?

AC: “Magnolia Mansion” is your new single. How did the song come alive? Why did you decide on the name? 

BARBUDO: The song came into fruition when experimenting with a Tascam tape machine. Ben made this riff and set of chords, which wound up turning into the song. We chose the title as we felt it encapsulates the escapism of the track; it's a place in which you can disappear.

Photo Credit: BARBUDO

AC: Who was your favourite artist of 2020? If you were to pick one artist as a collective, who would it be? How has this person influenced your creative process? 

BARBUDO: We've been listening to a lot of Mac Miller this year. Something about his lyrics really hit home. And obviously, the beats bang. We also love releases by Sault and The Black Pumas.

AC: We are living through very strange times right now, what do you do to stay motivated and dedicated to your music?

BARBUDO: This year we have tried to find a good balance of doing things to look after ourselves alongside the music. Exercise is really important, as well as getting out of the house for long walks. Basically just doing things to clear our minds so that time spent on music is more productive. 

AC: Were you guys always interested in music and pursuing it? Where do you think you’d be without it?  

BARBUDO: We've been playing together in bands since we were teenagers. It's a passion we pursue completely and dedicate most of our spare time towards. But most of all the songwriting process is so enriching and meditative. I don't know what we'd do without it. More yoga maybe!

AC: Choose your fighter on the disco-funk dance floor: Prince or the Bee Gees? 

BARBUDO: Prince - little man, big attitude.

AC: Who would you like to collaborate with in the near future? Also, If you could go into the past and collaborate with any funk musician, who would it be? 

BARBUDO: We would love to collaborate with Thundercat. He's such a talented and tasteful musician and seems [like] a good laugh too. Also, we would love to go back in time and have a jam with Watts 103rd Street Rhythm Band - such tight grooves.

AC: What’s your top piece of advice to musicians who are just starting out? 

BARBUDO: Might be a bit cliché, but don't do it for anyone other than yourself! It's very easy to fall in the trap of thinking "will people like this/it is good enough?" Just focus on how the creative process is rewarding in itself, regardless of whatever success does or doesn't come your way.  

AC: Finally, how can we best support your band and music? Any final messages you’d like to leave to the people who look up to you?  

BARBUDO: Please follow us on socials and keep steaming our music! We have a vinyl for sale on Bandcamp too if that's your kind of thing. Our message is: Thank you all so much for your support. It's great to have anyone engaging with something you created. We appreciate the love and have more tunes coming out soon for you!

Photo Credit: BARBUDO

BARBUDO

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Montreal's DEMO FEST Utilizes Punk Ethos in a Call to Action

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The 2020 Winter Solstice marks the anticipated launch of DEMO FEST, a huge selection of submission-based demos created by over 350 musicians around the world during the Fall season of the pandemic, as well as a dusk ‘till dawn livestream telethon, hosted by Suoni Per Il Popolo’s Suoni TV.

What started as a songwriting challenge between DEMO FEST founder, Martin Tensions, and his bandmates has now grown into a world-wide benefit for Solidarity Across Borders, a migrant justice network based in Montreal. Since 2003, Solidarity Across Borders supports primarily non-status and refugee individuals and families in Montreal through popular education, direct mutual aid and support work, and political mobilizations, including demonstrations, pickets, delegations, and direct actions. All proceeds from the sales of the DEMO FEST release, as well as funds raised during the telethon, will be donated to Solidarity Across Borders.

We had the chance to chat with Martin Tensions and DEMO FEST team member Sasha Pozzolo about how their community mobilized to beat the woes of isolation while advocating for migrant justice, making DEMO FEST more than a compilation.

Zoë Argiropulos-Hunter for Also Cool: Hi Martin and Sasha! Thank you so much for collaborating with Also Cool to chat about DEMO FEST. To start, can you introduce yourself to our readers and tell us more about who you are and what you do?

Martin: I've been in and around “DIY punk” since I was a teenager; playing in bands, booking shows, going on small tours. Playing and participating in music isn't something I want to “make a living” from, but it's always been the center of my friendships and creative endeavours. I used to organize mixtape exchange clubs for my friends every year, which I think could be described as a forerunner to DEMO FEST.

Sasha: Similarly, I’ve been in and around DIY/punk since I was a teenager and playing in bands actively more so for the last five years. I have a nerdy history of studying photography and going to library school; I’m really into meshing punk into image making, subcultural documentation, and how punk is archived. I make up ¼ of I.F.O. which is a punk and punk-adjacent collective event organizing group. We ran the festival I Can’t Believe It’s Not Paris last year. We are acting as support staff for DEMO FEST and will be running the livestream today.  

Also Cool: Can you tell me about how you've managed such a wide-reaching project? How was it originally conceptualized, and how has it felt to watch it expand into such a large-scale action?

Martin: When the stronger lockdown measures came into effect in Montreal in March, all live shows were indefinitely postponed. All my bands stopped jamming. A lot of my friends were talking about taking the time to try and work on solo projects, writing songs with collaborators remotely by sending tracks back and forth, or learning some new instruments and/or production/home recording methods. I had a small burst of energy, trying to demo tracks for my bands or other projects at home, but that energy tapered off. I knew that was happening for a lot of people around me. Without shows or tours, there seemed to be a lot less motivation to actually finish anything.

Originally, I thought of doing a “challenge” with three of my band mates where we each had to finish a solo isolation project by a certain date, hoping we could all motivate each other. I shortly realized I could just invite more people, make it an open invitation, make it a benefit, etc. Once I put it all together and started talking to people, I thought maybe 50 of my friends would do it. My wildest dream was getting 100 demos. I had a pretty good feeling and hope that it was going to tap into something for a lot of people, but didn't really expect it to spread too widely. Seeing that happen as more and more people registered to participate, and then finish, has been very cool and validating. Many people have expressed that it was the perfect thing to get them through an otherwise isolating and creatively stagnant Fall.

Managing the project has not been too difficult. Many people have stepped in to help: Sasha and the I.F.O. crew have been involved from day one, Will Killingsworth of Dead Air Studios has been mastering most of the demos, members of Solidarity Across Borders have been coordinating and advising the fundraising (and helping us reach out to press!), we have friends helping with the art and graphics, managing the massive amount of Bandcamp logistics, and of course spreading the word. The last few weeks have been a bit busy and stressful handling all the submissions and getting them ready, but before that it has not felt difficult to manage at all!

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AC: Branching off of that, what are your thoughts on the idea that artists are often pressured, or even expected, to create works inspired by tragedy and the feelings attached to it? Was this a roadblock that many of the DEMO FEST contributors, or even yourself, encountered during lockdown?

Sasha: I think that there is a lot of voyeurship in artistic creation of all mediums. We are living in such a bizarre time, yet I don’t feel there is a particular emotional bar to meet right now. I have noticed less work being made about despair, but this could also be that there is less work in general. Perhaps it’s a collective understanding that we’re all doing poorly?

As far as DEMO FEST goes, I always felt that the project promoted the opposite intention. Although it was put forward as a “pandemic project,” there was no onus to dwell on the pandemic itself. I heard that 2020 is the year of escapism— maybe we accidentally tapped into that zone by offering a platform to distract ourselves from the pandemic. I’d like to think it’s a little more wholesome kind of escapism. This was a fun little push for people to make music that they put aside, that they never had time for, or maybe they never had conceptualized before having a little DEMO FEST pep talk. 

It’s difficult to continue to make something when a lot of joy is taken from what you are making and how it is received. DEMO FEST doesn’t create the same reciprocal energy as a live event, but regardless of working on a solo project, working remotely, or with a band, it does give a sense of collective agency. In addition, I think that the notions of productivity and spectatorship (or lack thereof) have the ability to place a looming constraint on how, what, and where people will make music. By encouraging projects to occur now and in this manner is to ultimately encourage music being made for the sake of music being made. This coupled with DEMO FEST as a benefit, which collectively and exclusively releases music, I think, makes it an anti-capitalist initiative. It’s both fun and important to analyze what makes art function, what we want from it, and what we can get from it on our own terms. 

AC: I'm curious to know more about your thoughts on demos, as they make-up the DEMO FEST corpus. What elements do demos hold that make them significant, both culturally and sonically, and what made you choose to prioritize launching a demo-exclusive release?

Martin: I realize that 'demo' means a lot of things in the "music industry.” For me, it means a punk demo tape. If you are a band in punk or a punk-adjacent genre, a cassette tape with 2-5 songs is the first thing you release, and that's called your demo. I didn't want to end up with compilation of individual songs. Instead, I wanted people to fully realize a new musical project or produce a complete release for an existing project in this new pandemic context. I wanted people to be empowered to experiment with a new instrument, new collaborators, or a new way of making music and take it to a completed state. Demos don't have to be super well-polished or produced, and they shouldn't be too long… But they should full “demonstrate” (haha) the vibe and sound of the band/project. And I just love digging through piles of new demo tapes. So, calling it DEMO FEST and asking for demos seemed like the thing to do.

AC: This project certainly speaks to the power of community across many spheres. What has surprised, or inspired, you the most about the journey of DEMO FEST and watching the level of inter-community collaboration progress throughout?

Sasha: With entire honesty, the sheer scope of the project was both shocking and heartwarming. It’s been intriguing to see some of the ways that DEMO FEST spread; through friends, through one-degree-of-separation, through both Blink 155 and Barely Human podcasts, and also through absolute mystery. There were online discussions about the best way to record something without a lot of equipment, what benefits certain free programs offered, as well as offers and requests for collaboration on tracks. In true punk solidarity, Will Killingsworth shared so much time and expertise with mastering to tie together everything. Have you ever had a hang out with someone where you both work separately on something, but you’re in the same room? I feel like that was the general community feeling, and it was really wholesome. 

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AC: Before we let you go, do you have any closing thoughts that you'd like to share, and can you tell us how we can support and engage with DEMO FEST?

Martin: Well thank you for helping us spread the word! All of the info and links are collected on the website. You can also follow us on Instagram. The important date is today, the Winter Solstice. The DEMO FEST Bandcamp will go live around noon. All 200+ demos will be there to stream for free and purchase for download. All proceeds from all of the DEMO FEST efforts are going to Solidarity Across Borders, and you can also check them out and donate to them directly. They are seeking one-time donations but also people to sign up with recurring monthly donations! I’ll let Sasha explain the other stuff.

Sasha: The dusk ‘till dawn DEMO FEST livestream will start at 4PM today and run until 8AM on December 22. We will be playing at least one song from every project submitted to DEMO FEST, all of the music videos that have been submitted, and doing a very special screening of the newest edition of Will Mecca’s video-zine Paranoid Anxieties. A schedule will be posted today through DEMO FEST social media. We’ll be screening video collages made by I.F.O. Connor Crash, have a chat room open, and be giving regular updates on Solidarity Across Borders donations!

As for the USB boxsets! Orders will end on December 22. The “All Dressed” Full Team boxset has already sold out, but each of our individual boxes are still available. Each box will contain a USB key card with DEMO FEST artwork on one side, and artwork by Jane Harms on the opposite. There will be DEMO FEST pin packs and a personal mixtape/playlist from one of us. Every person will be putting in secret special other items in each box. You can read our little bios on and order boxsets from icantbelieveitsnotparis.bigcartel.com!

I’ve launched the beginning of a new project called Rock and Roll Highschool. It’s an online event that will happen every Thursday in February and March, which will host short presentations on anything punk and punk-adjacent. It’s very low pressure and meant to be a fun semi-social activity that people can engage with during the next few months. Presentations can be done orally, with a Powerpoint, on a chalkboard, etc., and can be anywhere from 5-45 minutes. There are people signing up for subgenres (like power violence, pop punk, and crust punk), regional music scenes (like UK twee pop, Japanese hardcore, and Belgian synthwave), or doing workshops (on embroidered and cross-stitching patches). Anyone is invited to present and/or participate in the online meetings. The deadline for submissions will be January 14, and the first lecture series will be on Thursday February 4, 2021. 

There is more information and a very quick submission form available here.

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DEMO FEST livestream poster by Sasha

DEMO FEST

Website | Big Cartel | Bandcamp | Instagram | Facebook | Livestream

Solidarity Across Borders

Website | Instagram | Facebook | Twitter

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

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Premiere: Misao McGregor Celebrates Self-Definition With Debut "Kid In The Corner"

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Kid In The Corner album art

If you haven’t already met her, Misao McGregor is a name you won’t forget. Based in Los Angeles, McGregor has an impressive resume. First, she is a member of PlayGround-LA’s Writers Pool Playrights Program for the 2020-2021 season and has had her works produced in major cities such as Connecticut, Seattle and her hometown of Los Angeles. Second, she is the founder of Sacrosanct, a digital community blog that aims to highlight and uplift the creative expression of queer, trans and non-binary BIPOC through community centered activism. Today, she adds to this list of achievements through the release of her debut album Kid In The Corner. Written, recorded, performed and produced by McGregor, Kid In The Corner exhibits her exceptional gift of storytelling, and in her own words: “seeks to provide a voice for those who feel marginalized and disenfranchised while also showcasing her unique and individual experience as a queer, non-binary, mixed-race human in this world.”

We were so excited to meet McGregor and learn about how this album, with roots in indie, pop and soul, has grown with her over the years as “an homage to the experiences that have shaped [her], both good and bad, and acts as an end to a chapter only to start anew.” Read our full interview with the 24 year old singer-songwriter below!

Zoë Argiropulos-Hunter for Also Cool: Hi Misao! Thank you so much for chatting with me. To start, congratulations on the release of Kid In The Corner! As you've said yourself, your album encapsulates all the experiences that have shaped who you are during your 24 years on this Earth. How did you conceptualize such a powerful work and see it through from start to finish? Did you have any inspirations guiding you along the way? 

Misao McGregor: Thank you so much! I guess everything sort of came together in a narrative that served to illustrate my life’s experiences, particularly in the ways that I’ve grown over the last couple of years. All of the songs on the album were written within the last five years and represent different formative experiences within my life. So in terms of any kind of inspiration, I just decided to sit back and listen to what my body and my soul needed to hear. Music has always been a therapeutic tool for me and it’s allowed me to discover new insights into my subconscious. So taking a back seat and listening to what I needed in order to heal from certain experiences allowed me to be guided by the music, and ultimately presented itself through the making of the album. 

Also Cool: Branching off of that, the album draws on your own experiences with marginalization and disenfranchisement: How have you maintained self care throughout creating such a vulnerable work?  What advice would you give to other creatives using storytelling as a form of radical healing to mitigate anxiety, stress, burnout and so on? 

MM: Oh, this is a great question! There were times when I really needed to step away from the work. There are a lot of moments in the album where I talk about my struggles with eating disorders, depression, and anxiety. At times, I didn’t want to face those things through music because I was already facing it in my everyday life. But at the same time, music has allowed me to validate my own feelings and express my struggles through a means of creation. If anything, viewing music as a tool rather than an artistic obligation allowed me to put the work down and walk away when I needed to.

I firmly believe in taking a breath of fresh air during the creative process to gain a better perspective, or just to clear your mind when you’ve been so entrenched in something artistic. I try to focus on my basic human needs in those moments, you know, making sure I’m eating, breathing, drinking water, meditating, doing yoga, etc. I often find that even taking a small break from the artistic process can actually help keep me grounded, so that when I do return to the work, I feel like I can approach it more authentically. 

AC: Along with composing this album, you are also behind it's production - which is so amazing! Tell me, what was it like occupying both roles as artist and producer when realizing Kid In The Corner? Did the scenario impact your relationship with or feelings towards any of your songs? 

MM: Woof, it was a ride! I’ve taken piano and voice lessons from a young age, but only within the last two years have I started to explore producing my own work. I actually found myself feeling like a fish out of water in that sense because I was entering new territory, but within the realm of music which has always been familiar to me.

In terms of being both the producer and the artist, those roles seemed to come fairly easily to me. I recorded this entire album in the back bedroom of my parents’ house completely on my own. While at times that felt isolating, it was also kind of my greatest fantasy to have complete creative control, but then if things went wrong, I only had myself to blame. If anything, knowing what I wanted the final sound to be like gave me a better idea of how to deliver the vocals while recording. I knew what elements I wanted to highlight, which also made mixing the record easier as well. I think with such a comprehensive understanding of each song, I actually managed to discover new themes and ideas. After listening to these songs on constant repeat for the last two years, I went through stages of feeling numb to the meaning of these songs, and then rediscovered how important they were, and are, to my personal development. As challenging as it was to wear several different hats in this process as artist, producer, mixing engineer, marketing and public relations, etc., it’s an experience I honestly wouldn’t trade for the world. 

AC: Of course, COVID-19 hinders how we all interact with art at the moment... But how are you hoping to share this album with the world in person when it becomes possible? Do you have a vision for what your ideal performance would look like? 

MM: I know, COVID has put a damper on pretty much everything in our lives. I’ve just been so lucky that my family and I have managed to stay healthy and safe throughout this entire period of time. But! I am excited to be facilitating a giveaway for two different digital booklets that I made to accompany the album: One standard edition with lyrics to each song, and another exclusive addition with accompanying personal essays and childhood photos. If I had an ideal performance in mind, I honestly think I would rely a lot on simply piano and voice. While producing my own work has been so much fun, my roots will always be just sitting at the piano and singing my heart out. I suppose my ideal performance for the album would take place in an intimate environment given the personal nature of the album, and would feature a lot of storytelling and meaningful interactions between myself and the audience. 

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Misao McGregor, photo courtesy of the artist

AC: Alongside music, you are also a playwright. Though both mediums in your case tackle similar themes of identity, friendship, family, sexuality, and trauma, does your approach to storytelling change depending on the form it takes? If so, how do you manage being a multifaceted author? 

MM: Oh, absolutely! I have found that with songwriting, I write solely from my own experience and it is much more introspective and personal. But with playwriting, I’m able to take on different roles through different characters and allow the contradictory parts of myself to battle it out within a dramatic setting. I think playwriting actually forces me to place myself in others’ shoes, while songwriting lets me sink into myself and validates my own personal experiences. It’s kind of a nice balance between the two because I’m able to explore various iterations of myself while still broadening my perspective through other people’s points of view. Playwriting also involves a lot more research, whereas songwriting is much more instinctual for me. 

AC: That last question leads me to ask if you can tell me about your project Sacrosanct, and what the creatives behind it, such as yourself, are aiming to do through your own modes of self-expression? 

MM: Yeah! Sacrosanct is a community blog that provides a space for queer, trans, and non-binary BIPOC to share their art and voice their personal experiences, while simultaneously [using the] platform to heal, self-define, and self-actualize through art and wellness. I started this project in June of this year, and have managed to collaborate with and feature over 50 different artists ranging in disciplinary fields from writing, poetry, music, visual art, photography, dance, sex work, academia, wellness, fitness, fashion, food, and community activism.

I, myself, am fair-skinned and can easily [present] as a white, straight, cisgender girl, though I identify as a gay, non-binary femme of mixed-race Japanese and European descent. I take my privileges very seriously, as they have provided me an easier existence in this world, and have also allowed me to benefit from the various forms of oppression that continually marginalize and disenfranchise Black and Brown queer, trans, and non-binary folks. More than anything, I wish for Sacrosanct to be a space that can reflect the diversity of experiences within queer, trans, and non-binary BIPOC [communities], because each individual within these categories of identity brings a different perspective, background, and cultural understanding to what it means to exist in this world. 

AC: Before we let you go, are there any other projects that you're working on that we should keep a look-out for? 

MM: As of right now, Kid in the Corner and Sacrosanct are the main two projects I have been working on to keep me occupied throughout 2020! I will absolutely keep making music and continue facilitating the blog, but in terms of any organized plans, I don’t have any at the moment. Though I’m sure that won’t last for long!

AC: Finally, how are you planning to celebrate the release of Kid In The Corner? 

Since there won’t be any opportunities to gather with loved ones in person, my plan for right now is just hopping onto Instagram Live and celebrating virtually with friends! I don’t think it’s really hit me yet that this album is going to be out in the world. Being able to share it with others will definitely help me feel like I accomplished something that represents who I am right now in this moment in my life

Misao McGregor

Website | Instagram | Youtube | Facebook | Soundcloud

Listen to Kid In The Corner out now on all major streaming platforms

Listen to Kid in the Corner on Spotify. Misao McGregor · Album · 2020 · 11 songs.

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

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Alicia Clara's "Hazemaze" is an Glimmering Ode to Self-Reflection & Growth

Alicia Clara by Tess Roby

“I poured some gold in your cup // to squeeze out some hazy truths // we move on up // and as the afternoon lingers on.” (Alicia Clara, Hazemaze)

Self-awareness is often one of the hardest lessons to learn, and re-learn, especially when it comes to relationships. Alicia Clara sings to this process with her latest single “Hazemaze,” a song about her “obsession with fixing people, and wanting to turn them into (her) idealized version of them(selves).” But according to Alicia, “This often ends in me fooling myself, and, ultimately, in a little bit of a disaster. It’s my little self-deprecating song!”

With silky lyrics, and upbeat instrumentals, this psych-pop folk track is surprisingly upbeat. It’s the kind of song you sway around to in your bedroom, doing your makeup, while you think about how beautiful it will be to be able to dance with friends again.

This is the latest single off of Alicia Clara’s upcoming EP Outsider/Unusual, (prod. Michael Kalman) which is set to release early next year on Hot Tramp Records.

Listen to Hazemaze now.

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