Arbutus Founder Seb Cowan Opens Système - Montreal’s Newest Nightlife Venue

 

Système by Sarah O’Driscoll

As we welcome Système into the neighbourhood, it only feels right to reminisce on the venues of previous years that helped shape Montreal's scene into what it is today. From Torn Curtain to Poisson Noir, La Plante, Silver Door, Cyberia, and of course the iconic Durocher lofts where Arbutus first had their HQ, venues and shared spaces have always acted as incubators for the scene, allowing creatives to find each other.

We spoke with founder Seb Cowan (Arbutus Records, N10.as) about the space, his experience in Montreal from the late 2000s to now, and his inspiration for this new venue.

Système by Sarah O’Driscoll

Malaika for Also Cool: Tell us about the space and why you wanted to open a club.

Seb for Système: It's a 1700sqft space located at the confluence of Little Italy, Villeray and Petite-Patrie. It has the feel of a wine bar in the front with a dedicated dance floor in the back. I wanted to open an establishment like this for a few reasons.

The inspiration first came when I moved here in 2007. Montreal can be a transient city, and many people move away. It can act as a springboard for creative talent, and especially if one sees success, they often move to larger cities like New York and LA.

I noticed that those who did stick around put back into the community in tangible ways by starting venues, labels, festivals, etc., the foundation of which in turn helps the next generation of artists. I was conscious of that and made a point to do the same with projects like n10.as radio and now with Système.

I also, like many others, moved to Villeray a few years ago and felt a sincere lack of a bar with a musical offering. There's Le Ritz, of course, but you tend to only go there when you're interested in a particular show, so it doesn't function as a social hangout like Casa del Popolo or Datcha does. There are plenty of fun bars in the neighbourhood, but most don't really have late-night music as a core part of their mission.


Also Cool: What can we expect IRL? What kind of shows are you interested in book, and what's on the menu?

Seb: I'm trying to decentralize the booking, or, to be more specific, I'm looking to find people who will then make the bookings. This way, rather than the bookings reflecting the sole taste of the person doing them, they can incorporate the diversity of all the different people who, in turn, are putting together the evenings. Also Cool presenting a night is exactly that! There will also be a full food menu, but we've only started piloting and testing a few items. The idea is it'll be a snack bar :)

Système by Sarah O’Driscoll


AC: How have other spaces in Montreal (or elsewhere) influenced your decision-making with Système?

Seb: My decade-plus of throwing loft parties at Lab Synthèse, La Brique, the Arbutus loft on Durocher, etc have all given me the education I needed to pull off a good party. I have to say it's been incredible to have the cops come, and then leave, without the party getting shut down or me getting a fine. It's a first for me!

Places like Nowadays (New York) and Brilliant Corners (London) are incredible, and I'm sure contributed to the concept either directly or indirectly. I'm also a big fan of architecture, design and urban planning, and the chance to plan and design a space from the ground up was a real privilege. I love seeing how people interact and use it in ways I never thought of. It's going to continue to evolve and remain flexible. I think it's important to learn, adapt and change when new ideas present themselves.



AC: During a time when many of our beloved spaces have closed down, what's something you hope that Système brings to the community?

Seb: I want to develop a space that performers will use to try out new things and experiment. Not to worry about making the perfect set, but rather just focusing on playing great songs and having fun trying something new. I hope the space is a little extra-ordinary (certainly the sound setup is!) to help catalyze this.

I'd like the patrons to have fun, make memories, and find new friends from which new collaborations and projects will emerge. I want it to be the kind of place that you'd go to, even if you have no idea who's performing that night. In the future, I'd like to also incorporate more live music than we currently do, but our sound setup isn't versatile enough to do more complicated live acts at the moment.

Système by Sarah O’Driscoll

AC: How can someone get involved with booking a night at Système or in any other way?

Seb: Get in touch! We'd love to hear new show or event proposals, but please be patient as we're a very small team and have a lot on our plates right now trying to just get this thing off the ground. We're even trying to set up a Google form where the bill could be selected by the crowd for one night a month. We'd have to control for those who are already booked and any spammy submissions, but I think it could be a great way to get people more involved with the space and have artists play that maybe wouldn't otherwise have the opportunity to do so.

Come dance at Système this Saturday, July 23rd, from 10pm-3am. Free before 11, $10 afterwards. It'll be a disco-themed night curated by DJ Flleur B2B Revlux, Sperdakos (Cyberia, Disco Troopers), and Transpacific Express (NGL Flounce & Frantz Lin), VJed by Amelia Scott.


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


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Tune In and Drop Out with The Shivas' "Doom Revolver" (Suicide Squeeze)

 

The Shivas. Photo courtesy of Tyler Bertram

After 16 years of making music and touring, the sound of Portland’s The Shivas is nearly impossible to pin down. That being said, their latest release “Doom Revolver” comes close.

This single marks the band’s first release since their 2021 album Feels so Good//Feels so Bad. Released by Suicide Squeeze Records as part of their Pinks and Purples singles series, “Doom Revolver” embodies the act of letting go. From the opening riff of an electric guitar–which seems to bubble and cascade over itself–to the reverb-heavy harmonies, this EP implores you, after several particularly tumultuous years, to relax and not attempt to struggle against the flow.

Released on May 23rd, “Doom Revolver” is the sonic culmination of nearly two decades’ worth of sonic exploration. The Shivas have tapped into every sound across the spectrum, ranging from the folk-rock tendencies of the Mama and the Papas to punk riffs that are characteristic of the Strokes. Such a fluctuation between sounds may seem inevitable when considering the musical trends and changes that this band has witnessed over the course of its evolution. Formed in 2006 while most of the members were high school students, the growth of The Shivas’ sound has mirrored that of its young members, and arguably the alternative rock scene at large. 


Now in 2022, “Doom Revolver” realizes that nothing in life is expected, and that it's necessary to take things as they come and roll with the punches. Indeed, this single expands on the themes explored in Feels so Good//Feels so Bad—namely, that of enlightenment through acceptance. Born from the chaos of the COVID-19 pandemic, The Shivas’ most recent music has taken on the message of embracing what comes.

The Shivas. Photo courtesy of Kevin Olmedo

“Doom Revolver” opens with an almost-twangy electric guitar, competing with heavy drums and crashing cymbals for dominance of the overture. This cacophony illustrates the chaos that is antithetical to the message of the song, immediately imbuing one with the sense that it would be best enjoyed outdoors with a warm PBR in hand. 

The instrumental intro then breaks. Singer and drummer Kristin Leonard’s vocals harmonize beautifully with guitarist and singer Jared Molyneux to create a quasi-psychedelic experience wherein the listener feels engulfed. As the song enters its first verse, the abrasive guitar riffs fade away—allowing a more psychedelic and 60s-influenced sound to take center stage. Enveloped by these hypnotic vocals, one can not help but find peace in their message, “Don’t run, don't have no fear / There’s nothing you can do, the end is here.” 

If you’re looking for the summer anthem to help you ‘turn on, tune in, and drop out’ after a long hard start to 2022, “Doom Revolver” has you covered.

Stream “Doom Revolver” below!



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ALSO COOL x Système Present DJ Yuki, Sperdakos, Transpacific Express

 

When was the last time you got invited to a disco party? More often than not, we see people asking the Internet void, "Where's the party?"

Well, this is your official invitation to ALSO COOL x SYSTÈME this Saturday from 10 pm-3 am. What’s better is that it’s free before 11, and $10 afterwards.

Système is a new venue founded by Sebastian Cowan (Arbutus Records, N10.as) with weekend dance nights and events. The space operates as a bar and restaurant located at 7119 St-Hubert (in Plaza St-Hubert), in the same HQ as Arbutus and N10.as.

We're taking over Système with a range of disco pros, including DJ Yuki, Sperdakos, and Transpacific Express, who will be DJing alongside VJ Amelia Scott

DJ Yuki, known under the banners of the bands Jesuslesfilles or IDALG (Il Danse Avec Les Genoux), has animated Montreal evenings for a long time in various well-known taverns (Rockette, Escogriffe, etc.).



As the co-founder of Montreal-based events Cyberia & Disco Troopers, Sperdakos organizes & DJs underground events with a focus on providing an opportunity to both new and established artists alike, and an emphasis on keeping the dancefloor energy high.

Transpacific Express is a Montréal-based promotional and curatorial collective dedicated to bringing the best of global Asian city pop, hip-hop, neo-k-pop, R&B, and house music to dance floors across Canada. The collective is headed by NGL Flounce and Frantz Lin.

Usually a high BPM rave DJ repping their African origins, NGL Flounce nurtures their soft spot for Asian music through their event collective, Transpacific Express. Enamoured of all things dancy, they know where to find the aggressive and sultry Korean hip hop as well as the bounciest city pop tracks.

Frantz Lin reps city pop, hip-hop, and R&B to the bone. One half of the Transpacific Express crew, Frantz grew up with the 90s education of cruising and dreaming on the overpasses of Asian supercities. His tunez of choice always chase that feeling of crying beautifully in the club.

Come dance at Système this Saturday, July 23rd, from 10pm-3am at 7119 St-Hubert, Montreal. Free before 11, $10 afterwards.


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DISTORSION Takes Over Entrepôt 77 with Holy Fuck, Hot Garbage, Petra Glynt & More

 

Our favourite psychedelic moths are back at it again with DISTORSION > Entrepôt 77. It'll be loud, a ton of fun, and includes Also Cool favourites like Holy Fuck, Hot Garbage, and Petra Glynt. 

The festival runs from July 22th to 24th at Entrepôt 77 (77 rue Bernard), a mythical Montreal landmark located in Plateau Mont-Royal, at the junction of Mile-End and La Petite Patrie.

Ever since the festival's very humble beginnings, the moths organizing DISTORSION have made a point to settle in unique locations to present their psychedelic masses. This year is no different, but there is a slight twist: the event will take place mostly in daylight! Rest assured, though, the moth team has you covered with some of the very best noisy and experimental outfits out there.

Amongst the headliners, attendees can catch transcendent electronic artist Holy Fuck (Toronto, ON), multi-faceted psychedelic collective Golden Dawn Arkestra (Austin, TX), krautrock ensemble Orchestre Tout Puissant Marcel Duchamp (Geneva, CH), plus a selection of up-and-coming post-everything outfits from Montreal and abroad!

Check out the full schedule below:

FRIDAY

9 pm - HOLY FUCK

8 pm - GRIM STREAKER

7 pm -CRASHER

6 pm - PETRA GLYNT

5 pm - DJ SET

SATURDAY

9 pm - GOLDEN DAWN ARKESTRA

8 pm - PANTAYO

7 pm - HOT GARBAGE

6 pm - ZOON

5 pm - KARMA GLIDER

4 pm - EFY HECKS

2 pm - DJ SET

SUNDAY

8pm - ORCHESTRE TOUT PUISSANT MARCEL DUCHAMP *

7 pm - LA SÉCURITÉ

6 pm - MOTHERHOOD

5 pm - N NAO

4 pm - LARYNX

2 pm - DJ SET


See you in Mothland!

Tickets I Complete Schedule

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

 

Pony Girl via Bandcamp

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

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

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

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

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

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

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

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

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

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

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

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

On Big Pharma, Zoon shares: 

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

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

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

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

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


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

 

Aura, photo courtesy of Ana Maria Hernandez

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

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

Aura, photo courtesy of Ana Maria Hernandez

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

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

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


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

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

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

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

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

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

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

Aura, photo courtesy of Ana Maria Hernandez

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

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

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

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

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

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

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

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

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

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


A Love Story

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

  1. OUF! (snippet)

  2. A Love Story

  3. flip phone freestyle

  4. guesss nottt

  5. Culo de Oro

  6. Canvas

  7. fuck off (demo)

  8. Su Música Suena (demo)

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

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

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

Cover image by Ana Maria Hernandez

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


Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.


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

 

Aura, photo courtesy of Ana Maria Hernandez

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

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

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

Aura, photo courtesy of Ana Maria Hernandez

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

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

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

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

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

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

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

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

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

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

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

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

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

Aura, photo courtesy of Ana Maria Hernandez

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

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

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

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

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

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

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

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

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

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

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


A Love Story

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

  1. OUF! (snippet)

  2. A Love Story

  3. flip phone freestyle

  4. guesss nottt

  5. Culo de Oro

  6. Canvas

  7. fuck off (demo)

  8. Su Música Suena (demo)

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

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

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

Cover image by Ana Maria Hernandez

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


Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.


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MISZCZYK, Heaven For Real, LVL1 and Chinese American Bear - Also Cool's Playlist Refresh

 

Chinese American Bear via Bandcamp

The sun’s out and Also Cool is here to set the pace. We’re coming at you with our bi-weekly Playlist Refresh, and we invite you to take a breather and add these new releases to your listening shuffle.

Starting off strong is the teaser track “In The Dark”, from Ontario composer MISZCZYK’s yet-to-be-released album Thyrsis of Etna. Out on July 15th via We Are Time, Thyrsis of Etna brings together a treasure trove of talent, such as Stereolab’s Laetitia Sadier, Pylon’s Vanessa Briscoe Hay, The Space Lady, Marker Starling, Chad VanGaalen, Motorists’ Craig Fahner, and many more. The warm and dubby song, featuring the rosy vocals of Latitia Sadier, evokes the timelessness of endless summer days and leaves us writhing with anticipation for MISZCZYK’s solo debut. 

Along with the song and album announcement on May 16th, We Are Time released a playful stop-motion video for “In The Dark” by animator Jesse Yules. Watch below! 

Okay, cheating a little bit on this next one… but March wasn’t that long ago. Halifax-born, Toronto-based slack rockers Heaven For Real have recently come out with a new music video for their track “Green Winter”, taken from their most recent EP Sweet Rose Green Winter Desk Top Tell This Side Autumn Of The Fighter Hot In a Cool Way (Mint Records). Directed by HFR’s own Mark Grundy, the music video for “Green Winter” follows bandmate Scott Grundy on a freaky adventure with a hybrid storyline of Rocky Horror Picture Show meets Little Shop of Horrors. The video also stars fellow musician Dorothea Paas, who sang guest vocals on the band’s song “Autumn Of The Fighter”.

Switching tempos, our next recommendation comes doused with a syrupy sheen that fits perfectly with summer’s haze. Ottawa-born, Toronto-based singer-songwriter JAD hits a heartbreaking high with “Don’t Let The Sun Set On Me”, a wistful track dedicated to the highs and lows of temporary entanglements. Across eight minutes of brooding folk, JAD captures what it means to bask in a bittersweet afterglow. Soon to return from a month-long residency at Chateau Orquevaux, we cannot wait to indulge in his latest sonic directions.

Next is 星星 (“Stars”) from NYC sweethearts Chinese American Bear. Complete with the pair’s signature pop dreamscape and feel-good aura, 星星 (“Stars”) is the fourth of a handful of treats from the band’s self-titled LP out on July 8th. From our mix to yours, here is a guaranteed pick-me-up single to keep you company. Let us know when you can name a better duo (FYI, the answer is never).

Although we covered them last week, we had to give another shout out to Cola’s track “Fulton Park.” The track is upbeat and slightly disjointed in the best ways, making it an easy addition to any “my life is an indie movie” playlist.

Watch the video below & read our review with Cola here.

Last but not least, we have a high-energy release from LVL1 that’s perfect for your pre-game before the queer afterhours. Perfectly bitchy and in rapid-fire Spanglish, LVL1 returns with another banger after last year’s TikTok viral hit “FVN!”

That’s it for this week’s roundup! Check out our Spotify mix for all of our previous picks + some extra Also Cool favs to help refresh your playlists.


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Take a Sip of Cola's Post-Punk Debut "Deep In View" (Fire Talk)

 

Cola’s Tim Darcy (left), Evan Cartwright (middle) and Ben Stidworthy (right) by Colin Medley

Amidst our post-truth media landscape ablaze with sensationalism, bound by the tirelessness of superficial consumer culture, arrives Deep In View, the debut LP from Canadian three-piece Cola, out this Friday via New York label Fire Talk Records.

 

Composed of long-time collaborators Tim Darcy and Ben Stidworthy —formally of beloved Montreal band Ought— and Evan Cartwright of U.S. Girls/The Weather Station, the locally-star studded post-punk outfit is void of artificiality, despite its name.

 

Rather, Deep In View relishes in poetic revelations in a era of lukewarm takes. With an observational tone akin to David Byrne’s commanding Talking Heads personas, coupled with direct, yet animated, guitar-bass-drum arrangements reminiscent of early works by The Strokes, Cola strikes political conversation on modern life with refreshing sincerity.

Chatting with Cola, lead singer and guitarist Tim Darcy attributes the band’s “triumphant honesty” as an outcome of working as a three piece.

 

“The writing process for this record was pretty nimble and we could workshop things readily,” explains Darcy. “Ben and I have been writing together for a long time, and though there were elements that we wanted to bring into this new project, there were major structural differences; like working with Evan who has such a singular touch, and writing songs separately during periods of on and off isolation,” he adds. “We wanted to keep the band a three piece and see what we could do melodically with sparse instrumentation.”

 

Since 2019, the trio draws inspiration from each other, whether through in-person sessions or building upon demos sent back and forth during the creation of Deep In View. Drummer Evan Cartwright says the nature of Cola’s experimentation is a welcomed change.

 

“There is a level of trust in this project that I don’t have in most creative situations. We all give each other so much agency to be able to redirect and change what we’re working on, which doesn’t happen in every band,” he shares.

 

“I don’t feel an impulse to control. I actually want [Tim and Evan] to change what I’ve written!” adds Stidworthy.

 

“Mechanically, it’s part of the definition of a band; a chemical reaction that happens when people bring their own idiosyncrasies to the table. What makes Cola Cola is everyone’s individual contributions resulting in this record,” elaborates Darcy.

Cola by Colin Medley

Sonically, Cola’s collaborative patterns aim to compose “worlds or moods that are difficult to pin down emotionally,” explains Stidworthy. Part of guiding audiences through an intentionally off-kilter listening experience is largely driven by Cola’s lyrics, which are often introspective, unfettered and sometimes irritable – yet always graceful.

 

“I did lean into a personal lens much more on this record than with Ought,” says Darcy. “I tapped into lyrical mindsets and characters as vehicles for my perspective as a writer.”  

Darcy’s arresting performance on Deep In View comes from adopting a more traditional “front-man” personality - quintessential to the band’s post-punk roots.

 

 “[The vocals] do have a more singer-songwriter, post-punk clunky-ness to them, (laughs). While the sound isn’t totally shocking, to us or people familiar with our past projects, listening to our songs feels different… Much more personal,” notes Darcy.

Rounding off our interview, Cola speaks of keenly of returning to touring and bringing their meditations to life.

 

“I’m excited to just get up and play our asses off!” beams Cartwright.

 

“We’re a guitar band and I think, we’ve made a good album of guitar songs. Hopefully people will experience joy and our songs will make someone feel something and experience a pivotal moment,” muses Stidworthy.

 

“Even when we played our first returning shows, they were amazing. It’s a lot to ask an audience to sit through a whole set of songs they’ve never heard before, but everyone who came out was great! So far we’ve been getting back into the flow and it’s like no time has passed. I hope that everyone gets to experience that very soon if they haven’t already,” adds Darcy.


Deep In View

Out May 20, 2022 via Fire Talk Records

Pre-order here

1. Blank Curtain

2. So Excited

3. At Pace

4. Met Resistance

5. Degree

6. Water Table

7. Gossamer

8. Mint

9. Fulton Park

10. Landers

Written by Tim Darcy & Ben Stidworthy

Supercollider, Guitar (“Blank Curtain”) & Drums by Evan Cartwright

Guitar, Vocals and Lyrics by Tim Darcy

Bass, Guitar & Keys by Ben Stidworthy

Recorded by Valentin Ignat

Mixed by Gabe Wax

Mastered By Harris Newman

Artwork by Katrijn Oelbrandt


Cola

Instagram | Bandcamp

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


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Interzone’s "Transcendental Cuisine" Marks an Exciting Comeback in the Electronic Scene

 

via Interzone

Translations of interviews in this article were done by its author.

The Transcending Experience of "Transcendental Cuisine"

After entering through a door located near the lively intersection of St. Laurent and St. Joseph, the participants descended a few short steps before arriving at the basement venue of La Sotterenea. They were greeted at the door for tickets in a small hallway lined with two doors that made up the space: the chill room on the right and the noise room on the left.

The April 29th show, titled "Transcendental Cuisine," was Interzone's first show back since the start of the pandemic – and it was remarkable. The show, which began at 8PM and finished at 3AM, featured six local artist sets ranging from live noise to techno and electro DJ sets. Throughout the night, you could go between listening to Kore, Wormhole of Doubt, Stan K, Nixtrove, Myfanwy, Neo Edo, and Matthew Raymond, and spending time in the chill room across the hallway where a bar, pool table, comfy sofas, warm light, and a merch table could be found.

The show hosted somewhere between 100-120 attendees, and both rooms were filled throughout the night. I spoke with several of the participants, organizers, and artists at the event to hear their thoughts on both the show itself and the broader collective. 

Playing for Interzone

I spoke with Jessy Myfanwy, who played her first-ever official DJ set at the Interzone show. As she explained, she had often played with her friends, but this was her first time having a curated set.

Jessy became involved in the electronic music scene in Vancouver at 18, attending underground disco and tropical house shows. She then oriented herself towards more experimental, "hard and weird" genres five years ago. 

When I asked Jessy if she had any specific musical intentions in her mixing. She explained that she liked to play "Very chaotic mixes that still have some sort of accessibility to the general population."

"I really like playing electro remixes of bangers and a lot of industrial music. [I'm] getting a bit more into techno now. I've always been really into industrial music and industrial kinds of techno. I want to experiment with genres like opera… I'm really into contemporary opera."

Jessy loved her experience playing her first show at Interzone. "They did such an excellent job organizing it," she explained. "I love when there's a mix of live sets and DJing.

[It was] my first time being to Sotterenea since before the pandemic, and I forgot how much I loved the space. Having a chill room is really important, outside of the music, because it gives space. You can be involved in different layers of participation which I really like." 

Along with the space's disposition, Jessy was happy with the turnout, which she described as a "mixed crowd" of participants coming from different scenes.

Who is Interzone – What is Interzone?

With no fixed origin, Interzone emerged out of inspirations tracing back to the European industrial scene and Tunisian upbringings. I got the chance to speak with Ghazi Bena, one of the co-creators of the collective, who described the collective – active since 2018 – as being a product of the kind of musical and artistic drives he and co-creator Habib Bardi experienced prior to their arrival in Montreal. 

Interzone also grew out of a desire to break out of the increasingly commodified rave and electronic music scene of Europe, explained Ghazi. The European electronic scene had, at that point, reached a kind of "saturation," a nearly "unreachability in which you could no longer do anything innocent and pure," he said. "It was like a structure already made, too deep-seated, too commodified."

Upon arriving in Montreal, Ghazi and Habib grew to appreciate the "kinds of territories which weren't devoured by the 'business' side we now see in the scene."

Fluid, in movement, spontaneous, explosive, absolute chaos – Interzone seeks to embody a space in which artistic expression may emerge without being submitted to the rigidity of capitalism. The very structure – or perhaps, lack thereof – of the collective illustrates its philosophical underpinnings. 

One of Interzone's significant motives is, as described by Ghazi, a kind of "effective urgency," an urgency to "organize, to create that kind of space, that space of existence." He wanted to clarify that this motive did not stem merely from the organizers. "The core of the artistic drive does not come from us; it comes from the artists' performances [who] are doing incredible things. It's the people who attend and who have a particular interest in music and performance in general…it is those who make art and music live."

The organizers were pleased with the event, agreeing that it was their most successful one. "The party was a great pleasure, [to get to] see this energy which emanates from the people and the artists…to see that people are still excited, still here." 

Ghazi noted the fun they had organizing and experiencing the event, which is crucial to what they seek to create. Although they maintain some level of artistic exigency, they seek to minimize the 'seriousness' of their collective. "There is some form of seriousness to have, but at the same time…[we aim to] not transform the serious aspect into something hermeneutic and opaque which does not accept difference.

We had so much fun…it is something which makes us live, not materially speaking…but in an existential sense."

Playing with Interzone

I also spoke with Willliam Humphrey, who describes himself as "a filmmaker and an editor" who likes "helping out wherever needed." 

William attended the event and has been involved with Interzone for several years. He described the fluid structure of Interzone: "There's this ability for everyone to take a small role or even just be present." For William, the event reinvigorated a sense of excitement regarding the artistic scene after two years of pandemic-ridden slumber.

With the impressive number of new collectives emerging into the scene, I asked William what he thought made Interzone unique. "I think what makes each one unique is their sensibility," he explained, "They're willing to take risks and incorporate local musicians with international musicians."

One example he cited was an event they organized in 2019 when they invited the England-based Giant Swan to play at a loft rave. William explained that the collective thought to themselves, "Giant Swan has never played in Montreal. Let's book them. Let's get them from the U.K. to Montreal and have them play a show with a ton of great local acts."

"It's not an easy one to do," he continued. "Financially, it's hell. But it's the exhibitions and events that they host that are so worth it."

William is equally excited for what's to come – parties, shows, and events all summer in the hot Montreal weather. As these things come back to life, I wanted to know what William would like to see change or happen in the electronic scene. "More windows [and] air circulation," he noted. "But I think more than anything, utilizing the outdoors as a space to hold events, whether it be on the mountain or in the bushes or maybe off the islands."

Interzone, the Scene, and What's to Come

As pandemic restrictions diminish and the Montreal artistic and electronic music scene comes back buzzing, there is a new horizon of possibilities to create new kinds of spaces, movements, and collectives. Interzone is coming back strong: alongside this past show, the collective officially launched their label in March, and with it released three tapes by Habib, Stan K, and a live set of Lier Lier. 

"Other than the shows that allow these brilliant people to express themselves on stage, this label has been the crystallization aspect of those expressions."

For Ghazi, it is essential for the collective to not project too much into the future. By seeking to create new existential territories of artistic expression, he explained, the spontaneity which comes with not over-projecting is vital to maintain. 

That being said, there are projects in the works, and Interzone will have more events and artistic productions for those who missed the last event. They are looking to sustain the same energy from the last event. "It is an energy that should not end."

Ghazi expressed some worry about the increased competition and business model absorbed by the Montreal techno scene. The kinds of artistic spaces or sites of expression Interzone seeks to create, strive to exist "outside of the entire system of capitalist value in which we live," explained Ghazi. "Many movements around go against this vision of art and artistic expression. They are more in a business kind of mood…they put their intentions in there."

"We are just striving to do things as…innocent as possible, without wanting to walk on the feet of others, [or] on other collectives who are doing excellent work, [with] many people who are truly brilliant and do incredible work."

 "It is in the most uncontrollable chaos and the least tangibility possible, there are things which leave their frame, which leave our conceptions, our system of values, our ways to see things, and this is what drives us, that is the drive we are looking for."

Soline Van de Moortele is a Philosophy student at Concordia/insatiable feminist, raver, and writer. 

Instagram | Wordpress

 

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Enter Panther Modern: NFTs, Community-Building & Half-Life (Sextile / HEAT)

 

LA2022 cover by Panther Modern

Picture yourself in a dark room, lasers filtering through the smoke machines. The bass cuts through the noise of the crowd and you see a group of people you think you know dancing across the room. Your body is filled with warm static, and the sensory dream of dancing with strangers takes over.

This is the world of Panther Modern, the electronic project of Brady Keehn, an NFT-savvy artist from LA. You know we love community-oriented musicians who make us feel like we’re in a dark room dancing the night away, so we reached out. 

We spoke with Brady about the elusive world of NFTs, his creative career and how he’s been building virtual communities since the 90s. 

Press photo via Panther Modern by Nedda Afsari

Brady is a singer-songwriter in the band Sextile and Panther Modern, his solo project. He explains it as, “experimental in the way that [the project] tests the algorithms of Facebook and Instagram by creating virtual avatars to see how far I can push them. I make dance music, and in the same way, it’s an experiment to see what people will dance to.”

After touring and performing on a stage extensively with Sextile, Brady became frustrated with the power dynamics that exist between audiences and performers, which is partially what led to the creation of his online avatars, JA and JB. Wanting to break that barrier, Brady now only brings a sampler with him to live shows and immerses himself within the crowd so that everyone can sing and dance with him. “It’s way more fun than being on a stage by myself. It freaks me out, it makes me feel like a monkey on a stage saying, ‘Look at me dance!’ I don’t like that vibe, I’d rather be with everyone else.”

Artwork by Panther Modern

These avatars allow Brady to access alternate identities in the virtual world. JB, for example, doesn’t sing, but he might make techno music; while JA does sing and acts more like Brady. Both are trained with all of his movements using MOCAP (motion-capture) technology. According to Brady, it’s all an experiment, while trying to disrupt the status quo. (He’s also been doing some very cool MOCAP work with Reggie Watts -- check it out here.)

To consciously push the algorithm is refreshing, especially when we can easily feel so helpless; trying to appease the robot overlords so that our followers are actually able to see the content they signed up for.

On that note, Brady expands, “The more we appease the robot, the more eyes we get, all to hopefully sell vinyl or a t-shirt. It’s exhausting and unsustainable.” And so the question remains: How can I be myself on the Internet in a way that will work for the algorithm, and won’t burn me out?

Los Angeles 2020 Artwork by Panther Modern

Going back to Brady’s roots, he has always been searching for different ways to expand his reality and to find community via the World Wide Web. Growing up in the suburban farmlands of Virginia, Brady got his first taste of escapism via online chat rooms, and through a video game called Half-Life. Already a fan of sci-fi, Brady started designing his own levels and avatars in the game, gaining interest in 3D animation and world-building. However, Brady’s futuristic escapism was cut short when he was sent to military school, and then Catholic school, and worst of all… art school. (Just kidding, but not really) 

Despite these suffocating environments, Brady looked for alternative ways of being every step of the way. It was difficult for him to accept his reality, which he says made him a big futurist, and developed his appreciation of other people who question systems of value, commerce, and power. 

And so began our conversation around NFTs. We established that the world of crypto is dominated by tech bros and financial experts, who aren’t always willing to share their knowledge with anyone outside their Bitcoin and Ethereum-fuelled worlds. The hoarding of resources and information allows a select few to control this emerging digital space, a practice which Brady is adamantly working against. 

He believes that with any new tech sphere, it’s important for artists and marginalized peoples to get in early to be able to shape their future. Brady has been sharing resources on his Twitter, giving talks with other NFT-savvy artists, as well as his process of creating and minting his own NFTs. 

Drawing from his personal experience with labels, contracts, and their meager trickle-down of funding models, Brady knows firsthand that Spotify cheques are not paying anyone’s rent. This is why he decided to release his music independently with Panther Modern, selling each track individually as an NFT. 

While he’s only recently been selling his songs as NFTs, it’s already proven to be a more viable source of income, rather than waiting for Spotify streams to roll in. Along with his collaborator Cameron Michel, the two have been able to use their income from NFTs to lease a large warehouse space that will act as a home for upcoming Panther Modern, Sextile, and other projects, including an NFT dance-centric company called HEAT. 

When I ask Brady what exactly could be an NFT, he explains that any original work can be an NFT and that you don’t need to be a huge artist to start making them. 

“It doesn't even have to just be digital. For example, say you make a painting. Take a picture of that painting, and then turn that into an NFT. Then, when that NFT is purchased, you could send the painting to the buyer.” 

The NFT market is still largely experimental, and Brady has been working with HEAT to turn dance moves and other unique sets of motion data into NFTs with the help of his MOCAP technology. This could be one way that viral dance moves (on TikTok for example) could be attributed to the original creator, and could secure income for them when those dance moves are replicated by huge artists in their music videos. The examples that come to mind, of course, are the countless Black artists who created viral dances on TikTok, only to rarely receive the credit they deserve. The technology would also allow these dances to be licensed to major video games and uploaded to your avatar there, all while still paying the original creator.

Another NFT avenue could be video game music. According to Brady, video game companies often don’t want to pay for music licenses because it’s too expensive, so they end up making their music in-house, leaving musicians completely out of that market. So, how do musicians get in? One idea he had was to mint loops to video game companies. They would then be able to use the loop (a drum beat, for example) to create their own music, and then mint that music. That way, everyone’s getting paid, and everyone samples each other. 

Then comes the potentiality of buying digital land with Ethereum. Brady actually has his own digital venue that people can explore, and when you click on his merch or NFTs, it takes you directly to his Bandcamp or NFT platform to buy that work. Big brands like Nike have begun to create their own metaverses, while other artists like Skawennati have used the ability to buy digital land in games like Second Life to reclaim stolen land and tell Indigenous histories through that platform. 

Brady got into making NFTs shortly after he started making video flyers for his shows on Instagram. Understanding that the algorithm pushes short video content, Brady took his knowledge of 3D rendering and ran with it, teaching himself everything off of YouTube tutorials. He now uses tools such as OctaneRender, Blender, Marvelous Designer, Substance Painter, After Effects, and his MOCAP suit to bring his creations to life. 

If you’re looking for an entry point to the world of NFTs, he suggested checking out Zora, Rarible, and Foundation. Brady explained that a majority of the crypto-convos happen on Twitter and Discord. He also wanted to emphasize that although the space can be intimidating, the best way to get into NFTs is to start making them yourself, especially if you’re not seeing the representation that you want to see in those spaces. While tech bros unfortunately dominate the news cycle surrounding NFTs, it doesn’t mean that communities that prioritize artists and marginalized groups don’t exist.  

“Start following the people who are creating NFTs, educate yourself, get involved in the communities. Zora requires an invite via an artist (like Clubhouse), so it's not like OpenSea, which is like a whenever, wherever, Walmart of NFTs. It’s not curated at all, which makes it hard to find good work. Marketplaces like Zora and Foundation incentivize members via invites, which then builds the community around the platform. It also reduces the cash grab schemes from investors.” 

And so, in a strange digital cycle, Brady has once again returned to the online community-gathering and world building he thought he had left behind for military school in the 90s. 

If you’re not in the NFT world, you can support Panther Modern by buying one of his very limited-run vinyl, t-shirts, or posters. He has also just released LA2022, a remix EP of his 2019 release Los Angeles 2020, which is available on all streaming platforms.

Panther Modern

Website I Twitter I Instagram I Tiktok

Foundation I Spotify I Bandcamp


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


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Jane Inc., Rose Mercie and DR. GABBA – Also Cool's Playlist Refresh

 

Jane Inc. by Shelby Fenlon

So it turns out, the sun does provide a lot of serotonin. All we needed to do was put on some headphones and take a lap around the neighborhood to some new tunes. This is the essence of our Playlist Refresh: a bi-weekly introduction to new music keeping us going.

Starting off with Jane Inc., who has just released her sophomore LP Faster Than I Can Take via Telephone Explosion Records. Entirely written and self-produced by the project’s brain Carlyn Bezic (Ice Cream, U.S. Girls), Faster Than I Can Take delights with experimental, multifaceted danceability. Embellished with “a Prince-like ability to shred harmonic guitar riffs over deep, danceable grooves, an eagerness to experiment with form, and lyricism that seamlessly links the personal and the political.” Faster Than I Can Take puts Bezic’s dynamism on full-display, with tracks like “Pummeled Into Sand” making room for a new tone of self-reflection from the artist. 

Ottawa/Hull: Don’t miss Jane Inc. with Akeem Oh and FIAMMA May 14th at Club SAW. 

Jane Inc. via Telephone Explosion Records

Next is “Immaterial Girl” from Marci, the rogue pop project of Marta Cikojevic from Montreal’s beloved soft-rock outfit TOPS. “Immaterial Girl” boasts Marci’s signature syrupy sincerity, which we can’t wait to hear in full on her self-titled debut, out August 5th on Arbutus Records

“Immaterial Girl” arrives with an accompanying music video, directed by one of Marci’s star-studded personnel Chloé Soldevila (Anemone). Let loose in Marci’s 80s dream world and watch the video below! 

All the way from Paris is French-Mexican post-punk girl-band Rose Mercie with “Sweet Place”. The track is off their latest offering ¿ KIERES AGUA ?, co-released on Celluloid Lunch and French label Jelodanti Records

The creation of ¿ KIERES AGUA ? began in 2019 when the band drew tarot cards on a beach in southern France. Following the guidance of their reading, Rose Mercie took the plunge and traveled to Mexico, where they completed an immersive artist residency to compose their second album in La Casa Del Bosque. 

On ¿ KIERES AGUA ?, Rose Mercie shares:  

“As we composed the songs for our new album, the image of a young, contemporary, yet ageless woman was conjured; a woman who left, who disappeared, got lost and then found more than ever before. We imagine this record as the journey of this woman, whom we will sometimes try to find, to guess through the clues, who seems to have gone very far from home, who no longer knows where her place is, who is changing and who is evolving. We grow stronger with her, we run, we laugh and we dance and then we sit in the sun, we let our skin warm, we realize that we are totally in the present, and that around us there are only girls, sisters, our friends, and that no one can ever lock us up.”

In need of chonky electronic beats? DR. GABBA has got you covered. The mysterious space doctor has taken over TikTok with his funky piano tunes and recent single “MAGIC RIDER”, which follows his Planet Piano EP.

DR. GABBA is an estranged doctor who invented groundbreaking devices in the new emerging school of MUSICAL MEDICINE. However, an argument about the future with fellow co-founder, HENRY J. KAIZER, led to the banishment of DR. GABBA from all future healthcare services in America.

In order to survive, DR. GABBA experimented on his own body and invented the ACID HEART, a musical medical device that keeps him alive using sonic frequencies. With this new invention and never-ending lifespan, DR. GABBA is now forced to spend the rest of his life creating music to fuel his ACID HEART and ultimately take on the whole KAIZER HEALTH CORPS.

After leaving Planet Piano, DR. GABBA and crew see a car floating around the moon known as the MAGIC RIDER. They decide to hop in and it takes them to the underground MOON CLUB for a night of dancing.  

Can’t get enough of this intergalactic music-maker? Check out his most recent track “GABBACOPTER”, released on Almost Good Dance Tapes Vol.2.

Almost Good Dance Tapes is a compilation album series created by a collection of producers and longtime friends with eclectic voices in the electronic music medium.  Ranging from techno, house, and breakcore to barely dance-able ambient and AGDT celebrates the homegrown nature of experimenting, creating, and sharing music with your friends and the world. Vol.2 is the second album in the series where the collective has really hit their stride. Expect basement-techno bangers, acid melters, light-hearted lo-fi, and much more!

You can listen along to our playlist on Spotify, and stay tuned for the next round of new music!


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Convulse, Groove and Exercise Your Demons with Gus Englehorn’s "Dungeon Master" (Secret City Records)

 

Gus Englehorn. Photo courtesy of Ariane Moisan

What’s the secret to fashioning tunes that veer from traditional genres? Watch cult classics with your guitar in hand. Having reified reveries from the eclectic fusion of Britpop and film, Gus Englehorn’s Dungeon Master gives organized existence to Dadaism’s deliberate irrationality.  

 

The album is the second to come from post-art rocker Englehorn and Estée Preda—the project’s drummer and Englehorn’s life partner. Its first single, "The Gate", was released late last year, within which a first-person narration of Hitchcock’s Rebecca is brought to life. The tune’s mélange of gasps inaugurates an eye into the surrealist content that exists throughout the remainder of the album. 

Disguised in what could be a nursery rhyme, the duo’s latest single “Run Rabbit Run” brims with playful alliterations and arcane matters. After a cacophonous fury of first-person narratives, the track slows down, allowing Englehorn’s vibrato to take center stage. The track’s accompanying video parades an endearing compilation of the twosome’s home videos—have a watch and take a ride with them down to Texas!

 

Expect bright strumming patterns resemblant of Blur’s Britpop years, vocal theatricality, and manic, oblique lyrics in the album’s surplus of nine tracks. Disguised in the most avant-garde of metaphors, a constellation of themes are canvassed in Dungeon Master: the lunacy of songwriting, a fictitious night spent on the Sunset Strip, and parasitism. 

 

For fans of Oasis, Daniel Johnston, Beck, David Lynch, and a counter to traditional artistic values, Englehorn’s sophomore Dungeon Master is for your ears. Gyrate, shuffle your feet and get lost in an idiosyncratic farrago of eccentricities as freakish as a demon themself.

CJ Sommerfeld for Also Cool Mag: First off, thanks for your time today with Also Cool and congrats on the new album! I'm interested in this transition from a professional snowboarding career to that of music – had you been making music or songwriting during your snowboarding years? What forces were responsible for this change in careers?

Gus Englehorn: Thanks for having me! I had been writing songs for years and years, pretty much the whole time I was snowboarding. I really thought it out when I was very young. I imagined a day when I would be too old to snowboard professionally, and I thought to myself that that would be a very sad day. But I also thought that if I could learn how to write songs, I could do that thereafter until the day I died. So I took songwriting very seriously the whole time I was snowboarding, and I spent all my free time trying to master the craft.

Also Cool: A few of the tracks on Dungeon Master, notably “The Gate” and “Exercise your Demons”, were inspired by different cult classics. Is film the main space where you draw songwriting inspiration from?

Gus Englehorn: Film certainly is a huge inspiration to me. I often sit with a guitar and watch movies; I’ll pause to play some guitar, and watch a little more, and then pause, and then play a little more. I guess it’s the storytelling that intrigues me,  and the way that great movies can suck you into their universe and give you a new perspective to write from. 

AC: The strumming patterns, instrumental motifs and simple vocals heard throughout Dungeon Master reminisce those revered in the alt-rock subgenre, Britpop. Which artists and albums did you draw artistic merit from when putting together Dungeon Master

GE: I love Britpop, and people don’t usually see that influence in the songs. But I love Blur AND Oasis! Especially Oasis. Some other big influences for the album were Roy Orbison, The Germs, The Pixies, Daniel Johnston, Beck, The Meat Puppets, Nirvana, Ennio Morricone, The Butthole Surfers and the song structures on Sgt Pepper’s.

AC: “Ups and Downs” puts forth a narration of the human condition. Can you tell us more about how this one came about, specifically what ‘evidence’ signifies in the verse: “Evidence is on the ground / evidence is all around / evidence is on the dot / evidence--it’s all we got”?

GE: I wanted the music to recreate the experience of writing songs: the burnouts along with the productive periods of mania right before you burn out, and the intoxicating triumphs and soul-crushing defeats. You’ll think a song is done and then the next day you will throw it away and start all over again. It’s an emotional rollercoaster, to say the least. The evidence is just all the little objects that go along with songwriting that are usually strewn about the place when I find myself writing – picks, empty tea cups, crumpled-up T-shirts, journals, books, cables.  These exist as the evidence that you’ve been working, but if you aren't getting anything done, then that's all there is…jJust the evidence. That’s one thing that is the hardest about writing songs, is that you aren’t guaranteed to get anywhere even if you work everyday for a year straight. But when something comes together, there’s nothing quite like it! 

AC: I would love to hear more about “Sunset Strip”. Is this tune a portrayal of a tripping and falling event you experienced, or is this West Hollywood mention a metaphor?

GE: To be perfectly honest, most of the songs are just plucked out of my imagination and don’t have a whole lot to do with myself – or anything else from reality, for that matter. This is one of those songs that I just dreamed up out of nowhere, seemingly. It tells the story of somebody's terrible night spent on the Sunset Strip: being kicked out of parties, bloody noses, falling downstairs, social anxiety, and almost being hit by a bus. I had never even been to the Sunset Strip when I wrote it.

AC: A reverbed and roomy guitar breaks into heavy percussions in the track that wraps up Dungeon Master –  “The Flea”. The tune’s dramatic qualities provide a fitting outro to the album. I can’t help but interpret this one as a quarantine track, which makes me wonder if it is directed towards society; most notably in the line “I’ve been your flea for years”. Who is the ‘you’ in this tune’s direct address?

GE: While it was written during quarantine like the rest of the album, “The Flea” tells the tale of a parasitic romantic relationship. I wrote it about all the years Estée (my wife who plays drums in the band) supported me while I was transitioning from snowboarding into learning how to write songs, so I’m the flea. Stylistically, we were inspired by Roy Orbison’s “Pretty Woman” and “In Heaven” from Eraserhead by Peter Ivers and David Lynch. There is something that keeps me mashing up early rock and roll riffs with subversive little stories time and time again! Lots of fun to be had doing that, for some reason. 

AC: Thanks for your words and time, Gus! Aside from your upcoming album drop, do you have any other creative endeavours coming our way?

GE: I remain entirely obsessed with songwriting for the moment, and I’m hoping I can finish a third album before too long.


Dungeon Master

Releases April 29th, 2022 via Secret City Records

1. The Gate

2. Ups and Downs

3. Exercise Your Demons

4. Sunset Strip

5. Oh Well Unwell

6. Tarantula

7. Lips

8. Run Rabbit Run

9. Terrible Horse

10. The Flea

Produced by Gus Englehorn and Estée Preda

All songs written and composed by Gus Englehorn

Recorded and mixed by Alex Ouzilleau

Mastering by Marc Thériault at Le Lab Mastering

All tracks recorded at Le Magnétophone in Québec City, QC in 2020

Published by Secret City Publishing


Gus Englehorn

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | TikTok | Facebook | Website

CJ Sommerfeld (she/her) is a Vancouver-based freelance writer with a particular interest in the convergence of language, art and society. When she is not writing, you can find her experimenting with harmonic minor progressions on her keyboard.


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Tame Werewolf Releases Italo Disco Inspired Track "5th Wave"

 

Blast off into the synth-wave world of Tame Werewolf, the electronic artist from Tehran, Iran blending J-Pop and Italo Disco.

Tame Werewolf's discography evokes 80s anime late-night aesthetics, the upbeat melodies of early Nintendo soundtracks, and granular sounds of old-school-style arcade games. He creates a unique retro electronic sound by incorporating space-synth, Italo-Disco, City Pop, vaporwave and Eurobeat influences.

Formed in 2018 by Keivan Hosseini, Tame Werewolf has since released two albums, and now his latest single, "5th Wave." Being raised as an only child, Keivan picked the keyboard as his best friend and began his exploration of music with early Persian pop, Jean-Michel Jarre, Giorgio Moroder and Koto.

He later took inspiration from Yellow Magic Orchestra and the 16-bit-age of Yuzo Koshiro, as well as the indie electro-pop of the 2010s, like M83, Hot Chip and Crystal Castles. The video game influences came in 2017 while playing “Streets of Rage,” sparking a deep dive into 80s inspired genres, eventually leading him to the Synth Wave world.

Tame Werewolf makes easy fans of those familiar with Tatsuro Yamashita, Khruangbin, and those chill-wave compilations on YouTube. We recommend starting with "Phasermania," "Lost in Lush Heavens," and "5th Wave."

Tame Werewolf

Instagram I Bandcamp

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


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Mitch Davis Ditches Hibernation on Sunny Debut LP "The Haunt" (Arbutus Records)

 

Mitch Davis by Richmond Lam

A trip around the sun has passed since we last touched base with Montreal multi-instrumentalist and do-it-yourself aficionado Mitch Davis.  In the meantime, Davis has tied a bow on his debut LP The Haunt and returned to the stage, in both in Montreal and at Austin, Texas’ SXSW music festival. Out April 29th, 2022 via Arbutus Records, The Haunt manifests a spectrum of mediations in both sound and spirit.

Realizing some compositions that predate Davis’ relocation to Montreal, The Haunt celebrates Davis stepping into his own with an entirely solo production: writing all the songs and playing all the instruments on the album, as well as recording much of the work on self-built equipment in his home studio. The result is a soulful and playful blend of jazz, funk and beaming pop; adorned with rhodes, clavinet, synth and drum machines. An album-long ode to themes of isolation and loneliness, as well as looking for love in the dawn of the COVID-19 pandemic.The Haunt achieves both breeziness and brevity for a class-act spring listening experience.

 

Speaking with Davis leading up to his album release, I asked him how the final product came to be, knowing that The Haunt has been years in the making. We started first by chatting about how Davis knows when a song is complete.

 

“It’s a feeling that comes over me once I’ve obsessed over a song. Eventually, I won’t have anything else to add or take away. When I don’t know what to do next [in production], I try to keep at it. I have a lot of friends who will move on to another song in the meantime, but more often I’m obsessively working on one song for like, a month straight, and never putting it down; never stopping, listening to it day and night. Once it starts to lose its novelty and sound like mush, I’ll take a break for usually one day or so.”

 

“Do you have any rituals that you do to get back on track when this happens?” I wonder.

 

“Hmm, I don’t know about rituals,” smiles Davis. “But, once I get sick of a song and I’ve heard it too many times, to the point where it sounds like nothing, I’ll adjust the pitch, up or down. It triggers something in part of my brain —hearing my song in a different key— and that helps me to look at it fresh again.”

With self-reliance being at the core of The Haunt, I wanted to know where Davis finds inspiration when working alone. Unsurprisingly, he is moved by other jacks of all trades.

“I’m inspired by people who, like me, play all the instruments, record themselves, things like that,” he brims. “Though I try to not have influences be a conscious thing and act on creativity in the moment, there are important, multifaceted soloists throughout music history that influence me, like Stevie Wonder, Todd Rudgren and Sly Stone.”

 

On the note of his debut being entirely self-directed, Davis then told me about the narrative structure of The Haunt.

 

“It’s funny, years ago I was trying to get myself to create an album and nothing was working. I imagined having a set of literal hats, or characters in my mind, to embody and portray the thoughts and ideas I was trying to put into music. Nowadays, I don’t have to do that as much and I’m able to just be me. That said, I do feel inspired by holding and interacting with different instruments. Even if there are just drums down on a track, or some scratch guitar. Or, I’ll play bass for 12 hours until I get it just perfect… and then I’m done being the ‘bass player’ forever, and can move on to being someone else.”

 

“Do you have a particular relationship with any of your instruments?”

 

“I have the closest relationship with the piano, one of my first instruments. I never used to be much of a bass player, but now I feel really connected to it. I do feel the most inspired by piano because it’s where I can most easily express chords and experiment.”

 

With the unveiling of The Haunt, Davis looks forward to sharing his music in a live context. To conclude our conversation, he told me about rediscovering the energy of playing with a band and the direction he plans on taking with the project.

 

“Playing with a band opens up the door to a lot of improvisation and extending my songs in a natural way, which is something I can’t do alone. There are really nice surprises that come with a live setting because everyone brings their own tastes to it. I’m looking forward to bringing these experiences into my writing process. I only just started caring about recording… Normally, when I’m writing , half of the inspiration will come from going to shows and connecting with people, like the other bands I play with, like Marci and Sorry Girls. [The Haunt] is a weird record because it was spent in isolation, but I’m grateful that it kept me busy and got me through the tough, curfew-ridden Montreal winter.”  

The Haunt is out on April 29th via Arbutus Records and can be pre-ordered on their website.

Poster by Amery Sandford

Montreal: Don’t miss Mitch Davis’ album-release show at Brasserie Beaubien on April 29th at 9PM with local supporters Night Lunch and Alicia Clara. Pre-sale tickets are available here.

Mitch Davis

Instagram | Twitter | Bandcamp

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


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Magi Merlin, Milk Jennings, La Sécurité and Scarlet Rae - Also Cool's Playlist Refresh

 

Magi Merlin via Bonsound

Do you feel like a new chapter of your life has begun, but you don't quite have the soundtrack for it yet? Look no further than Also Cool's Playlist Refresh, a bi-weekly quickie roundup of all the new music we're listening to right now.

Starting off strong with Magi Merlin's fiery new track, "Pissed Black Girl" (released on Bonsound). The cathartic dance anthem follows "Free Grillz" and channels years of pent-up frustration, transforming the anger of dealing with fake progressives into something ecstatic and life-affirming. Magi subverts the tired trope of the 'angry Black woman' through her lyrics as a means to empower herself.

Stay tuned for her upcoming EP Gone Girl, which draws inspiration from 90s house, drum and bass, Motown and acid-flecked hip hop.

Next up, franco art-punk outfit La Sécurité join our friends at Mothland and have shared their first single, "Suspens." Their music is equal parts jumpy beats, efficient minimal hooks and scratchy melodic spouts ran through a ubiquitous insomniac filter; the result of excessive exposure to La Grande Métropole's neon lights.

La Sécurité via Mothland

"Suspens" is accompanied by an official music video filmed all in one shot with handheld camera work. Éliane (a contemporary dancer, singer and musician) expresses her desire through movement to step out in the dizzy and electric nightlife. Watch the video below.

Speaking of nightlife, Milk Jennings has released his third single, "Downtown" (produced by Sam Cohen). It's a classic romantic indie rock love song about sweeping your partner off their feet and dancing the night away — a cliche that Jennings portrays through a different lens.

Downtown by Milk Jennings

In Jennings’ own words:

"I wanted to be cliche with the romance here because in truth, the song is coming from the lens of someone feeling depressed and distant in their relationship, and longing for those sweet and simple moments of romance and intimacy - but not having the energy, or will to make them happen. "Downtown" is a fantasy land - a place far from reality, where you can dance the night away with your partner. The last words in the chorus are - "Lately I've been lost in my mind / So meet me Downtown tonight." It's romantic, sad, apologetic, and hopeful all in one."

Milk Jennings' full-length album Sleep Talker is out June 3rd via Telefono (Digital), ORG Music (Physical), and Modern Sky (China).

Last but not least, we have Scarlet Rae's "Built to Spill," named after the 90s indie post-modern rock group. Scarlet's take on the iconic name follows the languid, shoegaze sound set in place by her previous singles "Seems Like Forever" and "Incandescent Wonderland".

Scarlet Rae by Jason Renaud

The single is accompanied by a music video that brings her sombre lyrics to life, shot on the streets of New York City by Kristen Jan Wong and Jeremy Reynoso. Lofi handheld camera work follows Scarlet through the subway and bars of the city while droning guitar and heavy drums balance delicate vocals. "But I'm built to spill, falling on my knees like a little girl / whisper in my ear how much I'm not real, woke up in the basement think I'm happier here."

"Built to Spill" is off Scarlet's upcoming album, set to release sometime this year.

That's it for this first edition of Also Cool's Playlist Refresh. You can listen along to our playlist on Spotify, and stay tuned for the next round of new tunes.

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


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NO WAVES Revive Garage Rock at Bar L'Escogriffe (Jess X, Piss for Pumpkin, TVOD - Blue Skies Turn Black)

 

As we thaw out from our wintery pandemic slump, we're trying to remember how to have social lives while also asking ourselves, "Who the hell are all these people at the show who I've never seen before??" 

Pre-pandemic, it was easy to find "the scene" if you tried hard enough (and went to events consistently). But that natural flow of new faces was completely interrupted, and now many are left wondering where the scene is, and how to get invited. 

My FYP on Tiktok often features 19-year-olds asking how to get invited to Montreal's underground raves and DIY rock shows, and last summer NO WAVES answered that call. They threw a wildly successful outdoor show, which was heavily documented and shared all over social media. After that show, I heard from a younger neighbourhood friend that they would be the next cool band in town. Promoters supported the claim that they brought a crazy energetic crowd, so I knew I had to see them the next time they played.

NO WAVES played at Bar L'Escogriffe on Thursday, April 14th with Blue Skies Turn Black, and the lineup could easily have fit into any 2015 surfer punk garage rock-inspired playlist. Jess X embodies a punk Cherry Glazerr energy (the Haxel Princess era specifically), while Piss for Pumpkin was described to me as 'Bikini Kill but more metal.'

TVOD (Television Overdose) brought a pure punk energy, hanging from the ceiling, spraying water all over the crowd, and getting them hyped for the headliners. Everyone at the show (who looked like they had just stepped out of my queer alt TikTok algorithm) loved it, encouraging each other to mosh, eagerly looking around for their friends to join them in the pit.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

I was pleasantly surprised that NO WAVES began their set with a zero-tolerance for harassment speech, telling creeps to gtfo and anyone who felt unsafe to tell the band or someone nearby what was happening so that they could help. Their sound is easily comparable to Surf Curse's "Buds," Vundabar's "Gawk" era, The Garden's "The Life and Times of a Paperclip," and of course (perhaps the band's namesake) FIDLAR's "No Waves." It felt like the 2015 Burger Records universe of music that I grew up with but without the reputation of SA and harassment that the label and their artists attained. 

NO WAVES had charming stage banter, introducing one song as "a real song that we wrote when we were 15," another as "a song I always say I won't show my friends and then I do," and their cover of Surf Curse's "Freaks" as "that song you've probably heard on TikTok," which made me feel old but also warmed my heart.

After the show, the drummer Sam shared with me that he was so happy that people were having a great time and emphasized that it's essential for the bands on stage to make sure their audience is as safe as possible. 

I also caught a sweet moment of a girl interviewing one of the band member's dads about the show and other attendees. She said she was making a documentary about the band, even though they didn't know how she was yet.

Uma, a long-time friend of the band and local Montrealer, had this to say about the night, "I feel like I've grown up with NO WAVES, so watching them go from playing in their parent's basements to a show like this is wild. They get better and better each time. Being able to grow up with access to this scene is life-changing. It's really beautiful out here, the crowd, the people, the music, all of it."

If anything, the show gave me hope for the up-and-coming Montreal DIY scene. It's inspiring to see people excited to be at a show, especially in what seems to be a more accepting and safe environment. 

You can catch NO WAVES' tour kick-off at Turbo Haüs in Montreal with Bummer Camp and Last Waltzon on April 22nd.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

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


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Wet Leg's Self-Titled Debut is Satisfyingly Silly (Domino)

 

Wet Leg. Photo courtesy of Hollie Fernando

As with a vast majority of things in my life, I discovered Wet Leg, a UK post-punk duo, while scrolling through TikTok. It has indisputably been a long winter and a long couple of years, and I was searching for something that could provide a little excitement in my life – a pick me up, if you will.

After just one listen, I was immediately enamoured by the effortlessly-cool sardonicism of their debut single “Chaise Longue”. The track offers their witty perspective on graduating with a degree: “I went to school / and I got the big D”. Having graduated a couple of years ago, I realised I too had gone to school and got the big D. Ha. With the song on repeat, I got out of bed and danced all day long.

Amongst the idleness of the pandemic, the duo of Rhian Teasdale and Hester Chambers have seen an exponential rise to popularity. Having joined the roster at Domino Records in November 2020, the group released “Chaise Longue” in June 2021, and have soared to new heights amongst the Britpop scene ever since. Released on April 8, Wet Leg’s debut self-titled album is available to stream or purchase on CD, LP, or baby-pink cassette.

The 12-song record comes in with punchy post-punk sounds, and sonically fluctuating and repetitive vocals. It all starts with “Being in Love'', a song that compares the whirlwind feeling of loving someone to being punched in the gut, the inability to sleep at night, and self-medicating with another drink. Setting the tone for the album, this song immediately catches your attention. 


The first few songs are upbeat, hard-hitting and extremely catchy. They cause you to sing along on your first listen, with the lyrics remaining rampant in your head for the rest of the day. There is a range from heavier post-punk songs to more mellow indie Britpop songs sprinkled throughout the album. I was reminded of the mid to late 2010s indie era (think Alvvays) with some of the instrumentation and melodies in songs such as “I Don’t Wanna Go Out” and “Loving You”. 


The entire album keeps you engaged with catchy and repetitive choruses, alternating tempos, charmingly-cartoonish vocals and playful lyrics. The lyrics are riddled with raw British cynicism, sexual innuendos, pop culture references, and dry wit. Emanating across this record is the duo’s appetite for French disco and sheer curiosity throughout its production. There is an effortless energy about the songwriting, with a stylistically-silly element throughout the album. And yes, there is even a little bit of screaming. Excuse me, what


I must admit that I am a big fan of a guttural feminine scream. It fills a gap in the post-punk and especially the Britpop scenes, while giving permission to female lyricists and their listeners to engage in a feeling that is often only excusable for cis men. Imagine my delight upon the revelation of the duo’s longest and loudest scream on “Ur Mum”, a release both chilling and relieving to hear. Perhaps such a release is one we all secretly need — we can all have a guttural scream, as a treat.

Wet Leg. Photo courtesy of Hollie Fernando

Across this album, I am reminded that there is something so raw about the way that female songwriters narrate their experiences. There’s a poignant honesty to it, with the beautifully-heartbreaking way of storytelling that lyricists like Phoebe Bridgers, Mitski and Snail Mail weave into their music. It makes your heart ache and swell when you listen to their songs, making you feel heard for the seemingly-specific life experiences and thoughts that you’ve had. On Wet Leg, the duo works this magic with a very sarcastic, dry and honest feminine voice: “I just need a bubble bath / to take me on a higher path”.   


The album finishes with “Too Late Now”, a song that has a slow build and switches tempo completely halfway through. Listening to this song felt somewhat similar to a panic attack, and I mean that in the best way possible. It features a slow beginning that abruptly shifts into frantic speaking—not dissimilar to overthinking—before a loud chaotic finish complete with distorted feedback. This track marks the perfect finish to the album, and knowing that Wet Leg began releasing music in a time without live shows, it certainly gives us a taste of how this band will perform. The album feels complete.

Wet Leg has given us a coming-of-age—or, rather, coming into adulthood—album that is deeply engaging to someone in their twenties. The album represents that feeling of being unsure of yourself and navigating the world without the slightest idea of what’s going on. That being said, with this album having been produced during the pandemic, it feels simultaneously personal in a remarkably collective sense — exposing Teasdale and Chambers’ truths, which are not unlike our own, as we all attempt to ease slowly out of this past chapter of history.

Altogether, Wet Leg provides a sense of rebirth, a liberatory thawing alongside the melting snow. It captures the energy of waking up after a raging sickness and the chaos that ensues. It’s frantic with fluctuating energy, layered with silliness, and cathartic in its completion. This album will certainly be at the top of my playlists in the months to come; I highly recommend sitting in the sun, listening to this album and defrosting. It’s chaise longue season, baby.


Wet Leg

Released April 8th, 2022 via Domino Recording Company

1. Being In Love

2. Chaise Longue

3. Angelica

4. I Don't Wanna Go Out

5. Wet Dream

6. Convincing

7. Loving You

8. Ur Mum

9. Oh No

10. Piece Of Shit

11. Supermarket

12. Too Late Now

Vocals, guitar, and writing by Rhian Teasdale

Guitar, vocals, and writing by Hester Chambers

Bass and writing by Michael Champion

Drums and additional vocals by Henry Holmes

Synths and programming by Dan Carey

Synths and programming by Jon McMullen

Production by Dan Carey

Production and engineering by Jon McMullen

Production, engineering, and writing by Joshua Omead Mobaraki

Engineering by Alexis Smith

Mixing by Alan Moulder

Mastering by Matt Coulton

Photography by Julian Hanson

Graphic design by Matthew Cooper


Wet Leg

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Maia Allan-Riley is based out of Ottawa and works in social media. Dabbling in various creative endeavours, she spends her spare time doing photography and videography, journaling, drawing, and making jewellery.


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Yves Tumor Embodies Rock and Roll Energy at Club Soda

 

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

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

Yves Tumor by Jordan Hemingway

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

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

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


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Isabella Lovestory, Magi Merlin, and Mitch Davis Reignite Montreal's Music Scene (POP Montreal / Bar Le Ritz)

 

via Isabella Lovestory on Twitter

If there's one thing I know for sure, it's that Montreal is coming back to life. The streets may still be full of half-defrosted garbage, but the music scene is in full swing. I was feeling pretty discouraged about going out (as I'm sure many of us are), but the POP Montreal show at Bar Le Ritz last night reminded me why I love this city and seriously gave me hope for what's to come.

Mitch Davis by Richmond Lam

The show began with Mitch Davis, who brought a smooth and jazzy energy to the stage, having just returned from playing SXSW. By the end of their set, the venue was almost full, with friends slowly recognizing each other and reuniting after a long winter. (It's really hard to see who anyone is in the dark when everyone's wearing a mask — I had more than one "OMG, HI! I didn't know you were here!" moment.)

Magi Merlin by Feng Jiang

Magi Merlin was up next, having also just returned from playing in the States. From the beginning of her set, it was clear that something had shifted since the last time I saw her play. Magi has stepped into herself as an artist, bringing fiery confidence and maturity to her performance. Alongside her songs from her last release, "Drug Music," she shared some new music that embodies a heated punk-rock energy. Magi's band heightened this energy, amplifying her ability to transform her anger about racism, sexism, and fake friends into a mesmerizing performance.

Isabella Lovestory was the night's headliner and brought the pulse of the room to another level. It was my first time seeing her live, and it's safe to say that I'm obsessed. As a Mexican-Canadian, I've found the complete lack of any Spanish music genres and Latinx people in the music scene completely unacceptable, which is why I was excited to see Isabella gaining so much support. Her music intersects pop and reggaeton, making for a high-intensity performance. It's perfectly bitchy, and a great addition to any perreo playlist. If you're into La Goony Chonga, Ivy Queen, or La Materialista, you'll love Isabella Lovestory.

I was standing outside with some friends after the show, and someone said that this is the kind of show we'll look back on in five years with disbelief that all of these artists were on one bill for $13. I look forward to a Montreal music scene as diverse, high-energy, and community-oriented as this show was, and I expect nothing less from the promoters booking right now. The talent is here, and I think we've all had enough of all-white guy lineups.

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


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