Debaser's Pique Continues to Shine with Summer 2024 Edition

Alice Longyu Gao by Rebecca Judd

In the three years since its inception, the artist-driven event series known as Pique has evolved with spectacular speed. As you can tell by the AC archives, we (and many others) have come to celebrate Debaser’s creative ingenuity and their collaborative spirit, anticipating this quarterly function with all that we have. Although the summer 2024 edition was threatened by gloomy weather, the collective joy of this season’s creators and attendees proved enough to temper the storm.

Approaching the Arts Court at around 6:00 PM, I first encountered a swarm of art and food vendors sprawling the side of Daly Avenue. The smells of BBQ wafted through the air as people strolled along the sidewalk, browsing a plethora of handcrafted wares ranging from screen printed tees to custom press-ons. The Art Market brought Pique’s magnetic aura to the streets, appetizing event-goers and delighting passerbys.

Moving through the Courtyard entrance, I was greeted by the beginning of the Montreal Steppers’ buoyant performance. Enlisted as part of guest curator Chukwubuikem Nnebe’s musical programming for The Seeds We Carry, the Montreal Steppers use movement to communicate stories of Black history and futurity, ultimately promoting a vision of interconnectedness and justice for all. Performers Kayin Queeley and Shaina Thornhill showcased the magic of step while guiding the audience through several exercises, with Queeley reminding the audience that “...it’s a gift every time we make music with our bodies.”

The Seeds We Carry by Kosisochukwu Nnebe, photo by Rebecca Judd

In the SAW Gallery, conceptual artist Kosisochukwu Nnebe’s exhibition for The Seeds We Carry celebrated its grand opening, and Pique attendees flowed through the gallery with awe and appreciation. As noted by curator Joséphine Denis, the video works and installations that comprise this collection serve as a testament to “the methodologies of enslaved Black women.” Drawing inspiration from her sister Nnedimma’s thesis on the presence of cyanide in cassava, as well as her Igbo ancestry and the displacement of Igbo communities, Kosisochukwu’s work depicts manifestations of anti-colonial resistance and ancestral interlinkage. This exhibition—along with the dynamic musical programming by Chukwubuikem, her brother—stood out as a compelling element of the festival.

Cynthia Pitsiulak and Charlotte Qamaniq of Silla, photo by Rebecca Judd

Back in Club SAW, Inuit throat singers Silla delivered a vibrant and intimate set to a delighted crowd. The duo of Charlotte Qamaniq and Cynthia Pitsiulak exuded warmth as they performed songs such as “Imigluktaq (the Button Song)” and “Kitturiaq (Mosquito).” It was a privilege to learn from Silla about the background of this practice, and to celebrate their cultures through an interactive sing-along.

Tangerine by Rebecca Judd

Upstairs in the Alma Duncan Salon, PURE PULP kept the party going with hours of crowd-pleasing jams. This new dance party series, led by Mars Souleil (DJ Trinidaddy) and CONTRA, uplifts the creativity of South Asian communities by facilitating the sonic expression of artists from across the diaspora. I particularly enjoyed DJ Tangerine’s set, which featured throwbacks from the likes of Kid Cudi and Soul II Soul.

But standing out as the evening’s show-stopper was none other than Alice Longyu Gao. From the moment the NYC-based multidisciplinary artist took to the stage, xe enchanted the masses with xyr command of the harp and relentless enthusiasm. Gao shrieked in sweaty faces and flailed xyr limbs about, performing songs like the electric “Come 2 Brazil” and xyr new release “Lesbians ˂3.” What made the night even more memorable was Gao’s last-minute DJ set, having stepped up to replace Pelada. Many had mourned the missed opportunity earlier on in the night, but something truly shifted when Gao returned. Xe oscillated between remixes of Camila Cabello and Rihanna with ease, searching for a cigarette while maintaining razor-sharp concentration. Switching gears to the enduring power of SOPHIE’s “Immaterial,” Gao held all of the Arts Court in the palm of xyr hand.

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Pique

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Debaser

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Rebecca Judd is the features editor of Also Cool Mag.

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“We’re on the Come Up”: What the Capital Music Awards Mean for Ottawa’s Vibrant Music Industry

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The Angelique Francis Band performing at the Capital Music Awards, photo by Laura Collins

"This city has talent," JUNO Award-winning Ottawa singer Angelique Francis declared as she kicked off the 5th annual Capital Music Awards. The awards ceremony, recently held at the Bronson Centre Music Theatre, recognized a diverse range of Ottawa artists, bands, venues, and music industry players across 13 categories. Winners were selected through international juries and public voting, showcasing the city’s global appeal as an establishing music capital. The room was full of musicians and industry champions nominated for categories including Newcomer of the Year, Best Production and Arrangements of the Year, Video of the Year and Music Educator of the Year. Organized by the Ottawa Music Industry Coalition (OMIC), the awards highlighted the excitement around music coming out of the city. 

The Awards indicate growing opportunities for Ottawa artists to make a name for themselves and propel their careers while staying true to their hometown. Francis, for example, hosted the Capital Music Awards as a proud member of the local scene just weeks after walking the Grammys’ red carpet in Los Angeles.

Angelique Francis hosting the 2024 Capital Music Awards, photo by Laura Collins

Indie rock band Pony Girl—nominated in five categories—energized the crowd with the first performance of the night, and later took home Single of the Year for “Laff It Off.” Their returning presence at the Capital Music Awards speaks to the success of their recently-released albums on Paper Bag Records, playing shows across the country and continuing to tour internationally this year. 

Reflecting on the band’s experience as an Ottawa-based group, Pascal Huot of Pony Girl shares: “We are part of a community here. We’ve found support and other folks to work with. Working on this project in Ottawa over the last ten years has helped us expand our network in town. Lately, we’ve been meeting more people we don’t know at shows — and that’s exciting!” He acknowledges the many pockets of creative people throughout the city and events like Pique and the Capital Music Awards for helping further a sense of culture in Ottawa.

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Pony Girl posing with their Single of the Year trophy, photo by Thai Duy Cuong Nguyen

“The Awards are more than an event,” Huot emphasizes. “There are many moving parts to putting on events and bringing together the community. Especially in an industry context, it’s not particularly easy or fun to bring resources into the arts.” Huot stresses the importance of these events and organizations that create profitable opportunities for artists working in Ottawa. He also highlighted the need to advocate for higher standards, professionalism, and accountability in the music industry. However, he believes one of the biggest things people can do to show their support is to simply show up: “Go to shows. Buy merch. Reach out to your network and see if you can find opportunities [to support] your favourite local artists.”

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Pony Girl performing at the Capital Music Awards, photo by Laura Collins

N'nerjie, an emerging R&B-soul artist and winner of the Songwriter of the Year award for her smooth, heartfelt storytelling on "Tug of War," expressed her love for Ottawa's music scene: “Honestly, I love being an artist in Ottawa. I think the music scene here is incredible. The community is beautiful, and there’s so much talent in this city." As someone who didn’t grow up in Ottawa, N’nerjie says she’s grateful to have found her way in the city and expresses the significance of celebrating all facets of the city’s music ecosystem. 

“Events like the Capital Music Awards show not only artists, but other people in the city, that we are being recognized and our work matters, our talents matter, and it’s not going unnoticed. People can think that nothing really happens in Ottawa and it’s this small little city, but honestly, there’s a lot of great stuff happening here,” they add. 

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N’nerjie winning Songwriter of the Year at the Capital Music Awards, photo by Laura Collins

Arts and culture are at the heart of any city. It’s how stories get told, communities are strengthened and opportunities are created. Erin Benjamin, President and CEO of the Canadian Live Music Association (CLMA) (and this year’s recipient of the Community Impact award), highlights the broader implications of supporting Ottawa’s music industry. “A thriving music scene adds exponentially to the quality of life in Ottawa, creating a place where people want to live and visit. Ottawa’s live music community is a major part of the solution as we work together across all sectors to overcome challenges, seize opportunities, and build a world-class city.” 

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Erin Benjamin winning the Community Impact award at the Capital Music Awards, photo by Laura Collins

Benjamin emphasizes how bolstering the industry benefits not only those within it, but also citizens and visitors alike. “Music doesn’t just impact us emotionally, but also economically, socially, and culturally. By understanding our local music ecology and finding ways to nurture and foster it through collaboration and effective policy, we can leverage all that being a true music city means.”

With performances throughout the night and wins from artists including Hannah Vig, Grey Brisson, LeFLOFRANCO, School House, Joly and The Commotions, the 2024 Capital Music Awards proved the talent is here to make Ottawa a music city, with an audience poised to support its growth every step of the way. 

As Scott Ruffo, co-owner of The Brass Monkey, said in his acceptance speech for the Live Music Venue of the Year award, “Ottawa needs to be put back on the map, and that’s what we are trying to do.”

See the full list of winners here.

Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.

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Step Into Nice Wave's Comforting Paradise with "Warm Glow"

Nice Wave by Priscilla Mars

Something new is brewing in SoCal – emerging indie duo Nice Wave have released the music video for their second single “Warm Glow.”

Comprised of Dakota Blue and Bella Schilter, Nice Wave fuses an appreciation for the musical heritage of California with nods that span across decades. Dakota and Bella formed Nice Wave as an escape from the mundanity of everyday life, a therapeutic outlet for experimentation. Nice Wave capitalizes on these intentions with the “Warm Glow” music video, unveiling a blissfully delicate break from reality.

The music video—directed by Blue and LA-based cinematographer Priscilla Mars—features Schilter waking up in a garden, swaddled by her pastel quilt while surrounded by lush greenery and vivid flowers. Rather than succumbing to confusion, Schilter meanders through the beauty of this landscape, peering through a looking glass and sipping tea (à la Alice in Wonderland).

This relaxing imagery is enhanced by Schilter’s hushed vocals and Blue’s swirling guitar, which are guided by the rhythmic compass of beats sampled from Jarond Gibbs. Said the band of this release: “"Warm Glow" is not merely a song but a captivating experience—an invitation to let go of reality and immerse oneself in a world where timeless allure and modern indie elegance converge.”

Free-falling yet conscientious, “Warm Glow” illustrates the depth of Nice Wave’s potential.

Watch the music video for “Warm Glow” below.

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Nice Wave

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Rebecca Judd is the features editor of Also Cool Mag.

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Nilüfer Yanya, True Blue, Patche, Kaya Hoax and More: Also Cool's Playlist Refresh

Cola by Craig Scheihing

Buzzing from the high of our fourth straight induction into Cult MTL’s Best of MTL issue, we’re pleased to serve you another helping of tunes.

This edition of Also Cool’s Playlist Refresh features sharp new sounds from the likes of Two Shell and Patche. Save our regularly updated Playlist Refresh on Spotify to keep up with what’s cool.

Nilüfer Yanya by Molly Daniel

Nilüfer Yanya - “Like I Say (I runaway)”

Nilüfer Yanya has marked her move to record label Ninja Tune with the riveting new track “Like I Say (I runaway).” The British artist’s swirling vocal repetitions move in step with a percussive shuffle, giving way to a floodgate of fuzzed-out guitar as she falls through time and picks up the pieces. 

Watch the liberatory music video for “Like I Say (I runaway),” directed by Yanya’s creative director and sister Molly Daniel.

Two Shell by Nancy McNulty

FKA twigs via Valentino

Two Shell and FKA twigs - “Talk to Me”

After teasing new release “Talk to Me” with chopped-up vocals by everyone from Jungkook to Taylor Swift, British dance duo Two Shell have found a home in FKA twigs. “Called you just to check you really meant the words that you said / I'm so hurt, cut my hair, putting makeup / With one chance, I just wanna be the one that you love,” twigs cries in her comfortably-tragic cadence. The floor drops from beneath her feet as she pleads to her lost flame, before Two Shell swoops in with a high-speed techno storm to obfuscate the tears.

True Blue via Bandcamp

LUCY by Annabell P. Lee

True Blue - “Airplane Mode (feat. LUCY [Cooper B. Handy])”

Not new, but still fresh: NYC musician True Blue’s twinkly-trap collab with AC fave LUCY (Cooper B. Handy). “Airplane Mode” pairs True Blue’s hushed angelic tones with LUCY’s carefree edge, delivering an F-U that is majorly infectious. Bonus points for LUCY’s interpolation of Fleetwood Mac’s “Dreams” – a cheeky surprise jab to heighten the vibe.

Cola by Amy Fort

Cola - “Albatross”

Ahead of their sophomore album Gloss, Cola, the band formed by ex-Ought members Tim Darcy and Ben Stidworthy, and drummer Evan Cartwright, have released yet another indie banger – “Albatross.” The track (out on Fire Talk) is accompanied by a gorgeous abstract music video by Max Farrel.

Darcy explains:

“This song had a few lives before it took its final form. (...) The lyrics, which center around "an albatross"--something that greatly hinders accomplishment. From there I started thinking about a horse race and perhaps some trainer watching a slow motion replay to try identify what's wrong with an animal's stride, hence the chorus."

“Mandy” by Patche (art by Will Dereume)

Patche - “Mandy”

Montreal’s “ultrasupermegagroup” Patche has come out of hibernation, offering their latest “Mandy” as a transition into the spring, and a first taste of their upcoming album Document. The project brings together members from lô Pelgag, Alex Burger, Mon Doux Saigneur, Lumière, zouz and a thousand more projects, mixing their skills while jamming the sh*t out of their modular synths and organic instruments.

110% - “Ordinary”

The Montreal duo 110% return with their mellowed-out new single “Ordinary.” The track brings us into their world, floating through mundane tasks with a moody rhythm, getting us through the day the best they can. It’s a perfect soundtrack for your commute home & late night walks.

Kaya Hoax and Magi Merlin (art by @zachnf_ and @pietre.pigeon)

Kaya Hoax - “Hot Girls with ADD (feat. Magi Merlin)”

Hot girl alert ❗ Local icons Kaya Hoax and Magi Merlin have teamed up to make a summer banger with the same energy as “Bad Girls” by M.I.A. “Hot Girls with ADD” details the perfect night out, hopping in a limo, ignoring dumb boys, and celebrating their hard work. The track is accompanied by a lyric video with 8-bit animation and gorgeous Y2K styling.

Bladee, Ecco2k, Thaiboy Digital - “TL;DR” 

We’re in a Drain Gang renaissance, with “TL;DR” leading the way. Drain Gang (Bladee, Ecco2k, Thaiboy Digital) teamed up for their collaborative single along with staple producer Whitearmor to create a filthy and addictive beat. Ecco2k’s glossy vocals shine in the track, with fans celebrating that he’s “back to using his old voice.” The music video brings us along for the ride on a grainy, blue-toned party night, with gorgeous light editing creating an electric, effervescent glow highlighting the crew. 

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Maryze and Skyler Cocco Release Sparkling New Cover of “COOL”

“COOL” by Maryze and Skyler Cocco

“COOL” by Gwen Stefani might just be one of my absolute favourite songs in the whole world, so it was nothing short of delightful to hear that Montreal talent Maryze released their own version on Wednesday. At the same time, it’s not an easy task to re-capture such magic. All too often with covers, the listener will yearn for a tasteful rendition only to be let down and left with a tarnished vision. 

But, luckily for you and me, this is not the case – Maryze and LA-based artist Skyler Cocco have teamed up to combine their vocal talents with bold stylistic choices. Their take on “COOL” is a delight for the ears, self-described as a “modernized sapphic version with an 80s nostalgic feel” while being so much more than that. It is easy to over-80s a song, which can make it feel corny, inauthentic, and hard to listen to, but this cover captures the essence of the decade and of Stefani’s yearning to maximize a vibe that is truly timeless.  

Of the single, Maryze states: 

“There’s something about “COOL” that always felt evocative to me. It wasn’t necessarily Gwen’s biggest hit, but the melancholy of a past relationship that didn’t go up in flames – where there’s still a lot of sweetness, even if things didn’t work out – always rang true to me. I was inspired to do a cover and Skyler was at the top of my list to collab with! We’d had a couple studio sessions so I knew our vocal tones blended well and that her production had a super polished 80s feel.”

The cover was created by a fully female team, performed by Skyler and Maryze while being produced, mixed and mastered by Skyler herself. The release follows Maryze’s French dance-pop success “Langue,” which went viral on Instagram and TikTok and gained her 25k new followers. The “COOL” visualizer, directed by Priscilla Mars, is out today and I’ve already had a special glimpse. The soft, warm colours allow you to be swept off to an 80s pop dreamscape. Watch and enjoy!

Regardless of whether this is your first introduction to “COOL,” or whether you’re curious for a new spin on a well-known song, let the harmonies of Maryze and Skyler Cocco take you on an emotional experience.

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Maryze

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Skyler Cocco

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Minou (she/her) is part of the core editorial team at Also Cool Mag. She is an artist and newly-passionate writer based in Montreal. You can check out her beaded art on Instagram and her website.

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Sunglaciers Sharpen Their Psychedelic Edge with "Regular Nature" (Mothland)

Sunglaciers by Em Medland-Marchen

Two years after the release of the explosive Subterranea, Calgary post-punk quartet Sunglaciers have resurfaced with Regular Nature, out now via Mothland. 

Spanning 15 tracks, this latest endeavour pulls from familiar motives to paint a truly vibrant picture. Sunglaciers have always stood on the edge of experimentation, anchored firmly in rock n’ roll while nodding to new wave, garage, and whatever else they please. But Regular Nature comes imbued with the conscious resolution to find something new between the folds. 

Said the group of this dexterous new record:

“We want to make you dance. We want to make you think. We want to make you think while you’re dancing and dance while you’re busy thinking. This is an album for the body, brain and heart. It’s compassionate, frustrated, communal and dreadful. In a world of information overload, where everything comes at you at once, Regular Nature is trying to normalize the phenomenon. This is chaotic music for a chaotic world, a three-way conversation between outer self, the subconscious and the mad world.”

Regular Nature begins with “Fakes,” a compellingly frenzied track that reads like a hi-fi, edgier Devo. “All style, not a lot of substance / Shut out, shut out the noise” chants multi-instrumentalist Evan Resnik as he scorches through a doom spiral. “Right Time” puts a surfy foot forward, propelled by winding guitars and striking snares. But while the band is not afraid to reach an electric climax, best portrayed with the psychic anguish of “Kafka,” it is the wistful freefall of slow-burner “Rotten Teeth” that delivers true refreshment: “I still have dreams of love with no beginning and no end / How can that be if I am walking out the door again?”

Regular Nature is a psych-rock saga, supercharged with exhilarating instrumentation while boasting meditative subtleties. Fortified by its stylistic depth, the album tells an engrossing story of the turmoil that awaits us all.

Regular Nature

out March 29, 2024 via Mothland

1. Fakes

2. Right Time

3. Undermine

4. Cursed

5. Kafka

6. I Remember the Days

7. Interlude

8. Frog Mask

9. A.I.

10. Reef

11. Not Ready

12. Rotten Teeth

13. Gov Shut

14. One Time or Another

15. Waiting for Nothing

Written & performed by Sunglaciers (Evan Resnik, Mathieu Blanchard, Kyle Crough, and Nyssa Brown)

Select instrumentation by Chad VanGaalen, Daniel Monkman, Chris Dadge, Nate Waters, and Cassia Hardy

Recorded by Mathieu Blanchard & Evan Resnik

Additional recording by Chad VanGaalen

Produced by Sunglaciers

Mixing, additional production & digital mastering by Mark Lawson

Mastered for vinyl by Richard White

Artwork by Nyssa Brown & Evan Resnik

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Sunglaciers

Instagram | Bandcamp | Spotify | YouTube

Rebecca Judd is the features editor of Also Cool Mag.

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PREMIERE: Motorists Crush the 9-5 Slog with Instant Hit "Call Control" (We Are Time/Bobo Integral)

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Motorists, shot by Kyle Berger

Toronto power-pop trio Motorists beckon summer sunshine with their new single “Call Control”, out today on We Are Time/Bobo Integral. “Call Control” is the band’s second offering from their forthcoming sophomore album Touched by the Stuff, set to release May 24th, 2024. 

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The well-crafted hit is certified a ripper from start to finish. An ode to the unglamorous grind of creatives, “Call Control” nods to musicians making ends meet at their day jobs with the hopes of hitting the big time (or simply being the second band on a local bill). Despite being a relatable anthem for the overworked and underpaid, “Call Control” beams with enough fuzzy pep to get you out of bed, morning after morning, for the rock n’ roll. 

On “Call Control”, bassist Matt Learoyd shares:

“My other songs are going for the literary award and trying to get heady with it. For this one, I wanted a song that was simple, hummable, and doesn’t get lost in the weeds with a thesaurus. It’s our attempt at a Go-Go’s style bopper that describes the powerlessness of trying to eke out a living as a working musician while knowing at the back of your mind that it probably will never be enough to have autonomy over your own future.” 

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Motorists, shot by Kyle Berger

Flush with feel-good college radio sensibility, “Call Control” is the soundtrack to blowing off steam with a smile: gas on the pedal, windows down, nowhere to go.

Want to feel the breeze and let go? Get behind the virtual wheel and experience “Call Control” to the fullest with Motorists’ interactive game, created by singer/guitarist Craig Fahner below!

Motorists

Instagram | Bandcamp | Spotify

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

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From Bartender to Headliner: Montreal's Alix Fernz Turns Heads with Debut Album "Bizou" (Mothland)

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Alix Fernz by Antoine Giroux

Alix Fernz is the beloved enfant terrible lighting a match on Montreal’s music scene. Formerly performing as Blood Skin Atopic, Alix Fernz is the moniker of 24-year-old singer-songwriter Alexandre Fournier. Arriving April 19th via hometown label Mothland, Bizou is Fournier’s debut album under this new alias. 

On Bizou, Fernz leads us down a drainpipe into an unabashed, palpitating reverie of studded leather, troublemaking and lipstick-stained dive bar mirrors. Produced in the bedrooms of three different apartments, with vocals tracked on Fernz’s iPhone mic, Bizou fearlessly criss-crosses remnants of bratty 70s-punk with new wave romanticism in a blistering 32-minutes.

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Bizou album artwork, credit: Alix Fernz & Nora Mejdouli

Mixed by Emmanuel Éthier (Choses Sauvages, Corridor, P’tit Belliveau, Population II), Bizou is Fernz’s first studio effort. After parsing over Bizou for nearly three years, Fernz is anxious for its unveiling at his album listening party this Thursday at Montreal nightclub Le Système.

“I got signed to Mothland after the album was done, but it's been worth the wait to release it for real,” says Fernz. “Teasing things out single by single has worked well, I saw the [streaming] numbers and I was like ‘holy crap!’” he laughs. 

Beyond its subversive aesthetics, Bizou is a coming-of-age record for Fernz, expanding on his experiences and growing pains as a suburban outcast.  

“Bizou has helped me a lot, as a period of self-learning,” explains Fernz. “A lot of the songs are angry and bring up a lot of unsavoury old feelings. I don’t like writing from the first-person, so I’ve created other versions of myself—personas—to write about the tough stuff and disconnect from my teenage years—trying to figure things out, feeling out of place in private school, doing drugs and shit. When I’m onstage singing these songs, I feel like another person, like someone else.”

The characters of Bizou come to life in the album’s accompanying music videos, where Fernz takes cues from latex magazines and 80s fashion to shapeshift from a nightmarish, botox-injected fiend to a lace-clad pierrot clown. 

With the adoption of his new stage name, Fernz has already encountered significant milestones as he aims to take his musical career to the next level.

“I moved to Montreal when I was 17, and started making music shortly after as Blood Skin Atopic. Switching to this solo project has helped me evolve out of a little DIY guy, now that I actually have [a label] backing me up,” explains Fernz. 

Fernz's it-factor has been established by his electric live sets attracting festival audiences, despite previously only having one single online. Since sharing “Wax”—the inaugural single from Bizou—in late 2023, Fernz has played POP Montreal, M For Montreal, Le Phoque OFF and Taverne Tour. In between, he’s gripped show-goers across Montreal’s signature stages and recently toured outside of Quebec for the first time.

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Alix Fernz by Antoine Giroux

Along with his musical forays, Fernz is a tattoo artist by day and a bartender at Montreal venue L’Esco. 

“I tell my boss [at l’Esco] all the time that I owe him my career,” says Fernz. “Meeting all these artists night after night is one of the main reasons that I can say that I am where I am. It’s priceless. I recently stayed after my shift to see Model/Actriz from New York after hearing their soundcheck and my mouth was like, watering the entire time,” he laughs. 

With all the buzz surrounding Bizou’s arrival, Fernz has started to perceive a shift in his reputation from local bartender to micro-celebrity. “I still don’t know how to react when people recognize me from my shows at work,” he smiles. “Working at L’Esco is like the epitome of ‘Oh! I know you… but I don’t know from where?’”  he adds. “I’m finding more and more people recognize me on the street from music than tattooing—I see my clients at the bar all the time. It’s definitely weird, but I enjoy it.” 

Despite this, Fernz remains humble and committed to his creative growth. When talking about what’s next, he reveals he’s already got a new project in the works. Hinting at what the future holds, Fernz describes his new songs having more of a pop direction, but maintaining his signature oddball edge. “I have ten demos already. Bizou has been a huge learning opportunity for me in being able to work on music with other people and introduce [the project], but I can’t wait to work on something else!” he exclaims. 

Catch Alix Fernz on tour this spring and pre-save / pre-order Bizou before its release this Friday!

April 28th - Toronto @ The Baby G 

May 10th - Sainte-Thérèse @ Santa Teresa  

May 16th - Montreal @ POW POW (album release show)

May 23rd - Chicoutimi @ Bar à Pitons 

May 24th - Québec @ Le Pantoum 

May 25th - Rimouski @ Bains Publics  

Alix Fernz

Instagram | Bandcamp | Spotify | Youtube

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

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The Dandy Warhols Go The Distance at Le Studio TD

The Dandy Warhols’ setup at Le Studio TD

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

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

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

Zia McCabe of The Dandy Warhols

Zia McCabe of The Dandy Warhols

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

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

Brent DeBoer and Courtney Taylor-Taylor of The Dandy Warhols

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

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The Dandy Warhols

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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PREMIERE: Night Lunch Trashes Post-Breakup Blues in "Junkyard of Love" (Music Video)

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Night Lunch by Aabid Youssef

Suitcases packed for their SXSW debut, Montreal misfit pop entourage Night Lunch unveils their new music video for “Junkyard of Love.” Coming off the band’s 2023 sophomore album Fire in the Rose Garden, “Junkyard of Love” is a gritty reimagining of the Brill Building ballad for today’s broken-hearted. 

On “Junkyard of Love,” Night Lunch frontman and music video star Lukie Lovechild shares “‘Junkyard of Love’ is a song about loneliness and isolation. Cannon fire says just how silly we can be, planting us firmly as the butt of the joke.” 

The prescription for coping with a dying flame is different from person to person. Some indulge at the bar of a local watering hole, take up ping pong, or find themselves in the depths of Reddit rabbit holes in the middle of the night. For Night Lunch, a cynical personification being “down in the dumps” in their oddball Phil Osborne (Osborne Oddities) cut depicts Lovechild as a lover scorned, wrestling with stinging bruises in a psychedelic scrap yard. 

Watch the premiere of Night Lunch’s “Junkyard of Love” below!

Director Phil Osoborne on “Junkyard of Love”:

“Lukie gave me some footage that he and Marlee shot in a junkyard. I edited what I thought were the best parts then did some rotoscoping of Lukie over the footage using a computer screen as my rotoscope machine. Going frame by frame with paper on the screen, tracing him playing guitar or dancing. These parts were inspired by Rick Raxlen's animations. Then I decided to improvise some more animation based on what is said in the lyrics, including some junkyard-type creatures such as a love tank shooting hearts out of its eyes. All drawings were done using sharpies on 8.5” by 11” paper. At least 600 drawings in total.”

Catch Night Lunch on tour across the USA & Canada this spring:

March 12th, 2024 - Austin, TX @ SXSW (Swan Dive)
April 19th, 2024 - Québec City, QC @ Le Pantoum
May 10th, 2024 - Sainte-Thérèse, QC @ Santa Teresa

Night Lunch

Instagram | Facebook | Bandcamp | Spotify | Apple | Youtube 

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

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Snow Strippers, Ducks Ltd., Haruomi Hosono, Kim Gordon & More: Also Cool's Playlist Refresh

Kim Gordon by Danielle Neu

It seems that every musician we like here at Also Cool has released new music in the past few weeks, so we put it all together for you to enjoy.

This edition of our Playlist Refresh includes everyone from Kim Gordon to Haruomi Hosono, and you can listen along via our regularly updated playlist on Spotify.

Snow Strippers and Turnabout - “Luctus Mane (Snow Strippers Remix)”

Snow Strippers (Nice Bass Bro) have permeated the music scene with their signature sound, reviving the nostalgic appeal of late-2000s electroclash with haunting vocals and hyper-pop nods. In their latest endeavour, the Detroit duo step up to remix Turnabout’s “Luctus Mane,” softening its trap metal roots with a celestial touch. Vocalist Tatiana Schwaninger’s hypnotic inflections rise above the distortion and conjure a light all their own.

Allie X by Marcus Cooper

Allie X - “Weird World”

Avant-pop fixture Alexandra Hughes, better known as Allie X, has emerged with her third album Girl with No Face, out today via Twin Music Inc. This new record anchors itself in a swath of ‘80s synth-pop and dark wave—entirely self-produced by Hughes—and “Weird World” marks its latest single. This impassioned track mourns the notion of a past life while erupting with freedom, sprinkling a touch of German musings over eerie instrumentation fit for the likes of Drab Majesty.

Kim Gordon - “I’m A Man”

Kim Gordon has offered the second cut from her forthcoming album The Collective, set to release March 8th via Matador Records. Swiftly following The Collective’s breakout single “BYE BYE,” “I’m A Man” is an equally noisy testament to Gordon’s triumphant domination of post-rock. Awash with a blistering collage of dissonant guitar and an ear-splitting trap underbelly, “I’m A Man” is best played cranked at full volume, with Gordon’s meditations on the disappointments of Western masculinity taking centre stage. While some have argued that Gordon’s reflections harbour passé feminist sentimentality, we wonder if Gordon (now 70) is making space for the music she would have wanted to write in her Sonic Youth days.

Watch the video for “I’m A Man,” starring Gordon’s daughter Coco Gordon Moore.

Hot Garbage by Laura-Lynn Petrick

Hot Garbage - “Look at My Phone”

Toronto psych rock four-piece Hot Garbage barreled into 2024 with Precious Dream, the band’s second full-length on Montreal indie label Mothland. Flush with rippers from front to back, Precious Dream sneers with dark surf flirtations, motorik rhythms, and sinister synth-laden chaos. The album’s second track “Look at My Phone” is a super-charged headbanger for coping with the horrors of this cruel world.

Tyla by Annie Reid

Tyla - “Butterflies”

Tyla hit superstardom after releasing her Grammy Award-winning song “Water.” Quickly after, she dropped her debut EP Tyla via Fax and Epic Records and proved she wasn’t going to be a one-hit wonder. “Butterflies” highlights a softer, almost ethereal side to the singer – let this song transport you to a magical place!

Nick Schofield by Christopher Honeywell

Nick Schofield - “Resonant World”

Self-proclaimed “ambient raver” Nick Schofield (Best Fern, Saxsyndrum) recently dropped his third solo sonic venture, Ambient Ensemble, via Halifax label Forward Music Group. Along with a band of masterly local collaborators (Yolande Laroche, Philippe Charbonneau, and Mika Posen), the Hull, QC-based electroacoustic composer achieves otherworldly splendour on Ambient Ensemble. Likened to works by masters Brian Eno and Philip Glass, Schofield's delicate yet profound Ambient Ensemble is a kaleidoscope of lush, instrumental bliss.

Loving - “Any Light”

Loving has been a longtime staple of Also Cool’s playlists, bringing well-considered tenderness to the Canadian indie music scene. “Any Light” is the title track of their latest album, guiding us into the contemplative world of Jesse Henderson and David Parry. The 10-track album weaves through themes of love, existential uncertainty, and "the psychic consequences of living in an increasingly digitized world."

Max Leone - “Kirkland”

There’s nothing that hits harder than going back to your hometown just to discover that your memories have been paved over and replaced by parking lots and big box stores. California-based Max Leone submerges himself in this flavor of bittersweet nostalgia with his latest release “Kirkland,” which is accompanied by a music video made of home videos that act as a portal into his childhood. Watch the video below.

Moon King - “Go To My Head”

Comfortable in a cold blue light, Moon King brings us yet another slinky synthy single “Go To My Head,” off of his upcoming album Roses (which is set to release later this year on Arbutus Records). Inspired by loops found on ‘future music’ CDs from the mid-90s, FM synths, and 808s, the track rounds out with his layered, pitched-up vocals – perfect for grooving to anytime, anywhere.

Born at Midnite - “*69 (Patrick Holland Remix)”

The great music minds of Montreal have merged to create an absolute banger remix of an already great song. Born at Midnite's “*69 (Patrick Holland Remix)” will soon be added to DJs’ USBs worldwide, and dancefloors everywhere will rejoice.

In the words of Born at Midnite: “If you are anything like me, the second you hear Pat’s remix of *69, the tears will roll, everything you’ve ever heard will suddenly seem irrelevant, tingles will go up your spine and you’ll drop your Timmie’s on your Rick Owens Crocs.”

Ducks Ltd. by Dylan Taylor

Ducks Ltd. - “On Our Way To The Rave”

“Memories I'll barely retain, We're on our way to the rave.” Relatable for almost every party person, and eerily reflective of the theme of our FSR radio show (music ranging from the indie rock show to the rave), Ducks Ltd. have returned with an excellent single off of their recent album Harm’s Way.

Reliably jangly, and always fun, Tom McGreevy and Evan Lewis of Ducks Ltd. deliver a highly-anticipated expansion on the sound they established in 2021. We were able to catch their set at Taverne Tour this year, and are happy to report that the sold-out show was one of the highlights of the festival.

Haruomi Hosono & Mac DeMarco - “Boku Wa Chotto”

Mac DeMarco has teamed up with Japanese legend Haruomi Hosono for their latest release, “Boku Wa Chotto,” via Stones Throw Records. While it may seem like an unlikely pairing, Hosono has long been one of Mac DeMarco’s musical idols and had previously covered his song “Honey Moon” in 2018. For those unfamiliar with Haruomi Hosono, we suggest listening to his 1978 album PACIFIC and the classic track “SPORTS MEN” off of his 1982 album Philharmony as an introduction to the incredible world of Hosono’s Japanese pop music.

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PREMIERE: Alix Fernz Enters a Black Lagoon Alternate Reality in "Muselière"

Alix Fernz by Antoine Giroux

Allo, and welcome to the world of Alix Fernz. The local post-punk artist has been taking over the Montreal scene over the past several months, most recently playing explosive sets at M for Montreal, Taverne Tour, and Le Phoque OFF. We've been fans of his work since seeing Alix perform at Système earlier last year, where he somehow managed to crowd-surf the dancefloor. It's also become the norm for us to greet each other by saying "AllO," inspired by Alix's song “Muselière”, so we couldn't pass down the chance to premiere the music video.

As we enter Alix's subconscious, we're greeted by a Black Lagoon-inspired version of himself, chasing him relentlessly in and out of his dreams. We follow Alix's alter ego as he robs a vintage shop, parties too hard, and gets kicked into another dimension where he gets into even more trouble.

"Through a character named Benjamin, the lyrics from “Muselière” recount my experience at a private school where freedom of speech was frowned upon. It's the first track of the album, a key song filled with intensity." – Alix Fernz

Alix Fernz by Antoine Giroux

“Muselière” gives us a taste of what's to come with his debut album Bizou, which is set to be released on April 19th via Mothland. Bizou depicts, through honest and anchored lyrics, a red-lit reality, the scene for nocturnal musings ranging from petty fantasies all the way to lurid nightmares. Singing about bar life, Alix delves into psychosocial disorders, drug addiction, and fear while drawing inspiration from high heels, lipstick, transvestism, fashion, and weirdos. He lays out along masqued syllabic beats the accounts of a coming-of-age in an era wherein likes and memes are all the rage. It's a beautiful delirium at the crossroads of art, pop, punk, and psychedelic rock, hitting the hearts of fans of Hubert Lenoir and Crack Cloud.

Catch Alix on tour across the USA & Canada in the coming months:

March 6th, 2024 - Montréal, QC @ La Sala Rossa (with Omni)

March 11th-16th, 2024 - Austin, TX @ SXSW

April 28th, 2024 - Toronto, ON @ The Baby G

May 16th, 2024 - Montréal, QC @ Pow Pow (Montréal Album Launch)

May 23rd, 2024 - Chicoutimi, QC @ Bar à Pitons

May 24th, 2024 - Québec, QC @ Le Pantoum (Québec City Album Launch) 

May 25th, 2024 - Rimouski, QC @ Les Bains Publiques

Alix Fernz

Bandcamp | Spotify | Apple Music | Youtube | Instagram | Facebook | TikTok

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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What's Cool at Taverne Tour 2024

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It goes without saying that Taverne Tour is our go-to fest for thawing the wintertime slump. In line with years past, the 7th edition of the Montreal music festival is packed from brim to brim with stellar inter-genre programming, highlighting artists from the city’s local music scene and beyond. On this weekend from February 8th-10th, here is our list of must-see acts from the festival’s lineup. Read along while jamming to our offical Taverne Tour playlist below.

Full disclosure: Some shows have already sold out — we hope you scored your tickets in time!

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Ben Shemie via Taverne Tour

Montreal’s Ben Shemie—known as lead vocalist and guitarist of art rock outfit SUUNS—moonlights with his experimental solo pursuits. Playing on his classical compositional training, Shemie dabbles in astral string arrangements, frenzied, yet melodic, feedback loops and contorted vocals in his latest avant-pop feat. 

Shemie plays La Sala Rossa Thursday, February 8th.

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DahL via Taverne Tour

With their forthcoming album That’s It in the works for March, Montreal’s DahL has perked up our ears with their savvy splicing of trip hop know-how, post-punk textures and arresting flow. The project is the brainchild of Nassir Liselle and Purplefield, who have joined forces with long-time collaborator and producer William Winston on synthesizers and Edward Scrimger on drums for an unparalleled live performance. 

DahL plays La Sala Rossa on Saturday, February 10th. 

Tickets are sold out!

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Daniel Romano’s Outfit via Taverne Tour

Daniel Romano’s Outfit is road tripping once again in anticipation of their next release, Too Hot To Sleep, arriving March 1st on You’ve Changed Records. Sporting power pop sensibility on Too Hot’s first two offerings—“Field of Ruins” and “Chatter”—we’re keen to experience the Welland, Ontario group’s newfound spunk alongside their longtime country flare. 

Daniel Romano’s Outfit plays La Sotterenea on Saturday, February 10th. 

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Marie Davidson via Taverne Tour

Reigning queen of Montreal’s clubscape, Marie Davidson, made an impressionable comeback performance at M For Montreal this past fall. The local electronic music producer, singer, songwriter and poet floored the audience with her coy stage presence and enthralling beats. Knowing that we’d accept a taste, but are eager for more, Davidson’s appearance at Taverne Tour is sure to bring the house down. 

Marie Davidson plays Le Belmont on Saturday, February 10th. 

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Pantayo via Taverne Tour

Toronto ensemble Pantayo promises to entrance audiences with its harmonious dialog of kulintang, electronica and indie pop. Combining traditional Filipino music with contemporary influences and experiential sounds, the queer, diasporic Filipinx quintet inspire mesmerizing, powerful and grooving atmospheres through collaborative percussive magic.

Pantayo plays Le Ministère on Friday, February 9th.

Tickets are sold out!

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Safia Nolin via Taverne Tour

Revered Quebec City singer-songwriter Safia Nolin is a breath of fresh air amidst our heavier Taverne Tour selections. Strumming with tenderness, Nolin’s stilling voice is like a reverie paired with her uncluttered, frank acoustic compositions. Nolin’s recent EP ET SI, DE/main l’oiseau chills with its poignant dexterity — charting fragility and renewal all at once. 

Safia Nolin plays Le Quai des Brumes Thursday, February 8th. 

Tickets are sold out! 

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Slash Need via Taverne Tour

Our standing review of Toronto’s Slash Need is that we would gladly let them step on us. The duo’s floorboard-thumbing crossover of industrial punk and performance art is always a treat. For seduction, camp, leather, lace and hounding instrumentals, look no further than this spectacle of daring debauchery.

Slash Need plays Le Ministère Thursday, February 8th. 

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Sun Entire via Taverne Tour

Sun Entire is a three piece shoegaze outfit made up of Montrealers June Moon, Nico Serrus and Ivan Urueña. Hot on the heels of their debut LP Fit To Break, the band intrigues with their honeyed sound — awash with 90s-tinged, luminous whimsy.

Sun Entire plays L’Escogriffe on Thursday, February 8th. 

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Sweeping Promises via Taverne Tour

All the way from Lawrence, Kansas, post-punk pair Sweeping Promises charms with their playful take on raw angularity. The band’s 2023 LP Good Living is Coming For You inspires shoulder shimmying from back to front, complete with surfy bass riffs, vintage synths and Devo-esque vocals. 

Sweeping Promises plays La Sala Rossa Friday, February 9th.

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Roost.World via Taverne Tour

Fall into a dark wave rabbit hole at our Taverne Tour co-pro with Burlington, Vermont synth troopers Roost.World. Shake the week’s edge off with the Roost.World’s intergalactic goth rhythms, and introspective sets from special guests Lola 1:2 and Marontate.

Join us at Casa Del Popolo on Friday, February 9th!

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Taverne Tour

Website | Instagram | Festival App

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Public Appeal: The Fight for Queer Creativity

Public Appeal by Uma Nardone

Public Appeal (she/they) didn't come out of nowhere – her rise to notability is profound for all the ways they have worked to create music that people want and crave. Growing up in the rural south of France, Discord forums, and Internet algorithms fed her artistry, and moving to Montreal allowed for the exposure necessary to become a star. With mentors and inspiration coming from places like NYC and LA, Public Appeal has found her voice through years of listening to Club Eat and Charli XCX. 

When asked to describe her genre, they tell me there's no need for labels – her music is meant to serve and make you feel good on the dance floor. It's a pursuit I can't discredit in any way, shape, or form. I think communal love for Public Appeal comes from this honesty. In her music, there is an expression of something almost too real for simple minds to handle. With performance being center stage in this era of the Montreal music scene, brutally realistic and dystopian pop beats are what we need to make it through the weekend.

“Indie sleaze is where I draw my inspiration – the irony of playing with archetypes is where you have the most fun.”

When making her music, Public Appeal is asking questions. Her process could be compared to the Barbenheimer phenomenon: the brains of nuclear physicists, but an almost plastic-like beauty and playfulness going hand-in-hand. Indie sleaze becomes ultra-meta as a new generation of artists take on ideas of aesthetics, Tumblr and Instagram, allowing for nuanced forms of consumption. 

Public Appeal by Uma Nardone

As we sit in a park discussing everything from childhood celebrity crushes and the meaning behind lyrics, Public Appeal runs me through her outfit. The level of indie sleaze that one can exude is showcased. The shirt is her father’s, her jewelry was found on the street, mismatched Doc Martens that got switched at a party, and Jack Antonoff spectacles without lenses. Everything from head-to-toe is a collage – a moment in time and an inside joke, yet still eye candy for strangers. 

Her music is similarly a family affair: it's perverse because we can all relate and imagine the scenarios expressed on her latest EP, Mind Your Business. This can be seen in “I Wanna Party With You”, which addresses the awkward dynamic of going out with a lover while being over the feeling of them – easy enough in a city like Montreal, and relentlessly relatable.  

Sometimes the care and attention given to artistry is not noticed when people are making their music on a laptop in their bedroom – yet I believe the best forms of expression come from raw experiences, and Public Appeal allows for that. They study histories of music and genre, searching through old interviews of favorite artists and diving deep into the Soundcloud ether to find inspiration. 

Public Appeal by Uma Nardone

Recently, Public Appeal has delved into the history and sounds of electroclash, introducing even a music lover like me into a world I've never known. With hundred-song playlists and concert lists with footnotes, a sense of care and need for good music is instantly seen in her way of being. This is all the proof needed to express the love they have for music that wirelessly connects to listeners as well.  

“My music can't be labeled! It's androgynous and hot, it makes you feel like party drugs – careless but curious, let it take hold of you!”

Public Appeal is a lesson in balancing work ethic and production as well as attitude and style – the perfect equation for sexy music. They put in an effort within the scene that I can only attribute to the sanctity of protecting queer spaces. 

With so many people taking up space in the industry without the boldness that warrants the spotlight, her music lets her talent shine without ego or force. Self-awareness is used similarly in their music, as indie sleaze is used in all its campiness – allowing for a tangle of fun and intelligence that is an exact portrait of a time and place. As they've told me, music is a tattoo, something that comes from an ache and gets spread all over the city for everyone to feel.  Public Appeal knows her music will change completely with time. But right now, Mind Your Business is the moment and a force to be reckoned with, with future live performances and new music in the works, the possibilities are endless. 

The MIND YOUR BUSINESS REMIXES EP will drop in the new year, featuring appearances from artists like babynymph and bounce2. Stay tuned, as the sound of Public Appeal’s grows and evolves for all to witness, for the betterment of dance floors everywhere.  

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Public Appeal

Instagram | Spotify

Uma Nardone is a writer based in Montreal.

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2023 in Review (Also Cool's Top Albums)

2023 in Review - Also Cool’s Top Albums

Listen along with the official Sounds Cool 2023 playlist!

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100 gecs - 10,000 gecs

100 gecs - 10,000 gecs (Dog Show, Atlantic Records)

Can an album be both cohesive and chaotic? 100 gecs defend their reign as hyperpop harbingers, bringing feral music into the mainstream. Starting off strong with a THX sample, “Dumbest Girl Alive” screams into the void with relatable–yet questionable–choices, like texting people back that you should probably leave on read. 

The throughline is glitchy, punky, technicoloured rage, sometimes with an in-your-face attitude, and sometimes more laissez-faire. “757” is a barrage of party-anthem lyrics, while “The Most Wanted Person in the United States” gives more of a “I guess I’m a serial killer or something” attitude.

Overall great listen if you’re okay with being overstimulated. Read our review of their show with Machine Girl here.

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Alice Longyu Gao - Let’s Hope Heteros Fail, Learn, and Retire

Alice Longyu Gao - Let’s Hope Heteros Fail, Learn, and Retire

Unphased, unapologetic and unfiltered, Alice Longyu Gao’s breakthrough album Let’s Hope Heteros Fail, Learn, and Retire opens with one of the greatest lyrics of all time, “Imagine a world with no heteros.” Hot off the heels of her first world tour, the NYC-based wildcard and self-proclaimed CEO of ALG enterprises is delightfully impossible to keep up with on Let’s Hope. A bombastic concoction of hyperpop (understatement), industrial metal, EDM and flirtations with pop punk and sometimes dinner theatre-esque polka, Longyu Gao’s Let’s Hope makes one thing clear: gender is just as real as genre (it’s not).

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Blonde Redhead - Sit Down for Dinner

Blonde Redhead - Sit Down for Dinner (Section1) 

NYC avant-rock trio Blonde Redhead gifted listeners Sit Down for Dinner this past September after a five-year marinade. Beguiling yet humble, tormented yet sexy, Sit Down for Dinner marks the band’s first release in nearly a decade, and perhaps their most genuine musings to-date. This balancing act is translated elegantly in the band’s live rendition of Sit Down for Dinner, with an evident chemistry that can be best described as the kind of mind-reading that comes from powerful creative kinship. 

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Club Casualties - Bridge Under Water 

Club Casualties - Bridge Under Water 

This was easily one of our most listened-to albums of the year. Club Casualties is the joint project of LUCY (Cooper B. Handy) and Nick Atkinson, with Bridge Underwater being their second full-length album. The project provides a more dance-centric take on the duo's independent musical identities, while still highlighting their vocal-focused approach. The album also includes collaborative tracks with God's Wisdom, Mal Devisa, Sen Morimoto, and thoughtfully-layered vocals from both Nick and Cooper. 

Bridge Under Water feels like biking home after a summer evening that may or may not have impacted the direction your life is taking. The album is best listened to start-through-finish via Apple headphones.

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Debby Friday - GOOD LUCK

Debby Friday - GOOD LUCK (Sub Pop) 

Not to brag, but we’ll note here that we have it on the record that Debby Friday’s GOOD LUCK was ranked one of our most-anticipated albums of 2023 before its release and Polaris Prize win: 

“On ‘So Hard To Tell’, Friday subdues her metallic, industrial-punk foundations to unveil raw, reflective and luminous R&B by allowing her unmodified singing voice to surface. [...] Upon first listen, the dynamism of ‘So Hard To Tell’ made Friday’s GOOD LUCK one of our most-anticipated albums of the year (yes, already!).”

(Also Cool Playlist Refresh, January 21st, 2023) 

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Jordan Gardner - Rhythm Acceleration

Jordan Gardner - Rhythm Acceleration (CRSL)

If you go out dancing in Montreal, you’ve probably seen Jordan Gardner on at least one DJ lineup – whether it be at Datcha, Système, or an underground rave. Rhythm Acceleration is his first EP, drawing on rhythmic inspiration from the UK, Detroit, Chicago, and his many years in the field (AKA in the club). The album also features Montreal party scene staple Martyn Bootyspoon, who provides fiery vocals to “Rhythm Acceleration.”

The album’s sound is across the board party-ready, but draws inspiration from the spiritual unification that occurs on the dance floor, the ubiquitous pulse of Maori Hakka, and the the legacy of the Maroons, a revolutionary group in Jamaica that rebelled against the British colonists who enslaved them. Also Cool’s standout track, “Celine Dior,” is inspired by Gardner’s love for fashion, Chicago house music, and dancehall.

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La Sécurité - Stay Safe!

La Sécurité - Stay Safe! (Mothland) 

Interview with La Sécurité by Rebecca L. Judd (June 15th, 2023):

“From the arresting synths of debut track ‘Suspens’ to the domineering bass line of ‘Serpent,’ the band has set a standard of heightened sonic volatility, and the remainder of the record continues that thrill. Stay Safe! provokes the senses with its bilingual musings and jagged new-wave arrangements, traversing between subjects like flirtation and bodily autonomy with the same crafty cool. “

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Lil Yachty - Let’s Start Here.

Lil Yachty - Let’s Start Here. (Motown Records, Quality Control Music)

Rap-rock has picked up in popularity lately, and is easy to get wrong. Lil Yachty, however, brings a beautiful, elevated take on the genre, enlisting the likes of Alex G, Unknown Mortal Orchestra’s Jake Portrait, and Daniel Caesar, as writers on the project. There’s no misdirected angst, but rather careful consideration of the blending of genres and evolution of his sound.

We had the opportunity to see Lil Yachty perform live with his band earlier this year. The show’s production was excellent, with his live band all equally highlighted and clearly appreciated on stage. Lil Yachty performed flawlessly, providing an interlude featuring all his top hits, and then returning to the second half of the album to close out the show. Overall the album was unexpected, and one that’s easy to return to for deeper listening, or for a casual addition to your psych-indie-rap-rock playlist. 

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Nabihah Iqbal - DREAMER

Nabihah Iqbal - DREAMER (Ninja Tune) 

With her sophomore studio album DREAMER, English musician, producer, DJ, broadcaster and curator Nabihah Iqbal reimagines her approach to music to overcome creative burnout. Conceived in its earliest forms on harmonium and guitar after her studio—and DREAMER’s buddings—were burglarized, Iqbal’s anticipated return transverses spacey dream sequences with 80s synth pop sensibility. For fans of A.R. Kane and Broadcast, look no further.  

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No Waves - Postcard

No Waves - Postcard (Stomp Records)

Montreal’s punk scene sweethearts No Waves shared their first EP this year after signing with Stomp Records. The album is a compilation of songs written from when they were teenagers, and thematically is as emo as you can get. Postcard covers everything from the feeling you get when life starts to change a little too quickly to hometown angst. The obvious sonic comparisons are Surf Curse, Joy Again, and FIDLAR, but the band pulls inspiration from CRABE, LUCY (Cooper B Handy), ultra-pop hits, hyperpop and the Mexican punk scene.

Listen to our podcast episode with No Waves to learn more about the band, their inspiration, and Postcard.

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Sasha Cay - Spin

Sasha Cay - Spin (Lighter Than Air) 

Spin is the striking debut record of Montreal born-and-raised indie rock singer-songwriter Sasha Cay. Recorded amongst friends in her bandmate’s home studio, Spin is a stunning, silvery portrait of vulnerable vignettes shared from Cay’s heavy heart. Between twinkling tunings and Cay’s hushed vocals, the songstress’ gritty inclinations shine through in both songwriting and sentiment. 

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Turnstile & BADBADNOTGOOD - New Heart Designs

Turnstile & BADBADNOTGOOD - New Heart Designs (Dine Alone Records)

Hardcore-turned-jazz is an unexpected, but deeply appreciated, fusion of genres – especially when it comes from two of Also Cool’s favourite artists, Turnstile and BADBADNOTGOOD. 

Turnstile have always been arguably accessible as a hardcore band, drawing inspiration from classic hardcore song structures and indie rock sounds. It was a surprise to see them transform so elegantly with the help of BADBADNOTGOOD’s jazz fusion. However, for those of us who grew up going to BADBADNOTGOOD shows, you would know that although their music is pleasantly jazzy, there is almost always a moshpit IRL.

It’s the perfect album to get to know both bands, and stretches the boundaries of what a collaboration from two artists in very different genres can sound like.

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Maryze and Morganne Create a Raunchy Queer Paradise with "Langue"

Maryze and Morganne in the “Langue” music video

Montreal’s stormy-sweet popstar Maryze has embarked on a spicy new chapter, teaming up with LA’s Morganne to drop the irresistible queer banger that is "Langue".

The two viral artists first connected on TikTok in 2021, forging an online friendship before meeting in LA in the spring of 2023 for writing and recording sessions. Together with Montreal producer (and Maryze’s longtime collaborator) Solomon K-I, the trio concocted an indulgent dance pop single about exploring queer identity. Maryze and Morganne deliver their flirtations with an edge, transcending linguistic barriers by imploring their crush to get raw and risqué: “J’aime la façon que tu parles / Même si le sens est flou / Watching the sounds leave your mouth / Et je tombe à genoux.” “Langue” plummets the listener into a descriptive fantasy.

Maryze by Lindsay Blane

Morganne by Max Rubin

Thanks to its alluring bilingual edge and pulsating composition, “Langue” has already enjoyed an impressive organic reach, charming audiences across borders and oceans. Maryze and Morganne have solidified their collab’s potency with a strong social strategy, shooting content in Paris, Montreal, Chicago, and LA, and it has paid off immensely – garnering praise from legendary hitmaker Bonnie McKee and THE Duolingo owl himself.

To complement their vision for “Langue,” Maryze and Morganne teamed up with LA cinematographer Priscilla Mars to produce the single’s provocative music video. The two artists and their pals team up for a debaucherous romp, flexing their chemistry under hedonistic red lights, marking the cherry on top of an infectious creative collaboration.

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Maryze

Instagram | Bandcamp | Spotify | TikTok

Morganne

Instagram | Spotify | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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Population II Get to the Heart of their Sound with Latest Album “Électrons libres du québec” (Bonsound)

Population II photographed by Starly Lou Riggs

Playful and alluring, Population II’s Électrons libres du québec is an enigma wrapped in a fever dream. These new sounds by the Montréal-based band hang above Earth’s atmosphere like a twisted multicolour satellite. Sure, it’d be easy to call them “psych-rock”, but that would be an oversimplification. Instead, this powerful trio successfully brews a multi-era potion, seamlessly collecting jazz fills, funky basslines, and emphatic synth in their intergalactic cauldron. 

I had the honor of chatting with the band in their practice space—a treasure trove comprised of Tristan Lacombe’s synth and guitar pedal collection and Pierre-Luc Gratton’s drum set—complete with a rubber chicken in the kick drum (a gift from their tour, they tell me). The wall across from Sébastien Provençal’s bass gear is adorned with a cute Sesame Street-themed bedsheet. Ah, and don’t forget their iconic collection of troll dolls (my favourite is the one with earmuffs and a blue star belly button), as featured in the band’s L’Esco video interview, “L’Autel 4461”. Needless to say, it’s abundantly clear that this ragtag group have been friends for a long time. 

In fact, they’ve all known each other since high school. Tristan, Pierre-Luc, and Sébastien all grew up in the North Shore, just north of Montréal. “[Tristan’s] father is the reason we’re playing together,” Sébastien laughs. “He’s like the guru of the band, if I can say, definitely a guru.”

Incidentally, some of the band’s early independent tracks caught the eye of John Dwyer—of the prolific rock band Osees—and Population II signed on with the rocker’s label. The group’s premiere album, Á la Ô Terre, came out hot on Castle Face Records in 2020. After returning from tour with the aforementioned legends, Population II are back in Québec with Électrons libres du québec, released via Montreal-based label Bonsound.

“We were at Ursa for [someone’s] show and I was going home very late to go to sleep,” Pierre-Luc recounts how they landed on their current label. “And then I received a call [from] someone and she’s like, ‘Hey, come to the park, there’s that person who works for Bonsound.’ So I go to the park and I talk with Valérie [Bourdages]… We talked for, like, two or three hours.” Pierre smiles and adds, “And the next week, we were on Bonsound.” 

Population II photographed by Starly Lou Riggs

Pierre-Luc, Tristan, and Sébastien have a sweet and honest chemistry that comes through in their music. It’s truly as if they can read each other’s minds. That could explain how their music is so bold and intricate, yet seems to come naturally. “We’re really fortunate to have crossed paths and to have this sensibility for the same music and art. We’ve been playing since we were fourteen/fifteen, so sometimes we don’t even talk,” Sébastien speaks to their innate intuition together. 

While the three have known each other a long time, Pierre-Luc is the newest addition to the band. Tristan explains, “We had a different line-up of that band and it was instrumental music. It was basically just jams and we were making long songs with a different drummer. And then we wanted to play with Pepe [Pierre-Luc]. In the first months that we were playing together, he was playing and one time had a mic and started singing. And [it] completely changed the band.” 

“Not singing like a karaoke singer,” Sébastien adds with a big grin, “It’s more like face-melting. Like, ‘How in the world did that little guy do that?’”

“Our first band broke up and we had a show booked,” Tristan recounts. “It was at L’Esco, and when we were kids it was really big, so we couldn’t cancel. So we were just like, ‘Okay, we have to do this show,’… We had to play that show and then we added Pepe and he just added his personal background.”

Pierre-Luc’s lyrics are simple. His vocals act as an instrument all their own—impressive, as he is the drummer and lead singer. These belting vocals, akin to ‘60s garage-style, compliment the wall of sound in instrumental: Tristan’s alternating synth and guitar, and Sébastien’s booming bass. Pierre-Luc shares that his words are meant to “break the fourth wall”.

Électrons libres du québec is truly a powerhouse of an album. From the space-like sonics of “Orlando”, to ripping funky bass licks in “Beau baptême”, to the discorded cacophony of “Pourquoi qu’on dort pas”, the whole thing screams epic. 

Listening with a fine-tooth comb, their influences seem fairly visible to the naked eye: ‘60s and ‘70s psych rock, definitely some classic jazz, and the likes of Funkadelic. Admittedly, Population II are very open-minded when it comes to music. We chatted about Sébastien’s dad being a ‘70s disco DJ (very cool), Pierre-Luc’s use of 6/4 jazz timing, and Tristan's affinity for exploring all genres.

“Oh yeah, there’s a lot of jazz. You wanna talk about that jazz, all that jazz? We’re all about the jazz,” Sébastien says emphatically of the band’s rhythm. All that, before leaving me with a list of recommended bands to add to my roster: ‘60s German band CAN, Canterbury scene legend Robert Wyatt, and Canadian ‘70s rock bands Simply Saucer and Aut’Chose . 

“There’s something good in a lot of different genres,” Pierre-Luc says as the band reflects on their own “genre”. 

“I literally listen to everything and I don’t want to stop myself,” Tristan tells me. “When I was younger, I was trying to be this cool kid: ‘Pop music is not for me. Oh, I don’t like country.’ And one day, I had a narrative shift. I want to be able to love everything.”

Tristan Lacombe of Population II, photographed by Starly Lou Riggs

“Mainly on Électron, we were really listening to those Canterbury prog bands like Soft Machine,” Tristan explains. “Mixing that with like… Krautrock bands that we love, and just a more naïve and primal energy of early proto-punk. Basically, it was a dumb and really naïve way of playing those styles of music.” While Tristan says naïve, what I hear is “experimental”. Population II has this in abundance—a childlike wonder for music and a desire to just play. 

As it turns out, the band writes most of their songs in an improvisational way, jamming out ideas. They record their sessions and revisit from there. “We’re always, always recording,” Sébastien says. “Ideas are always flowing and it’s just because there’s this chemistry, this weird chemistry about the three of us being in a room.” Sometimes he’ll come in with some bass lines as a “foundation”, but the band seems to thrive on improvisational form.

All the music videos for Électrons libres du québec came to fruition in a similarly experimental fashion. Released both individually and as one full-album piece, Bonsound’s own Hugo Jeanson is the genius behind the strange colourful masterpiece. Tristan explains, “He wanted to have something that would work with the cover, just textures and stuff… We just had total confidence with him and we were just like, ‘Do your thing, have fun!’ And it looked good.”

“What was really cool,” Sébastien adds, “is that when we invited him [to] the rehearsal spot, he saw the whole vibe… He asked us to play every song on the records and he filmed us.”

Tristan was a fan of Hugo Jeanson’s visual art before they got the chance to work with him. “It was strange,” he mentions, “because since I was a teenager, I knew about his posters and stuff.” Hugo’s a bit of a music poster icon in Montréal, now operating as the Head of Label Marketing with Bonsound. “Yeah, we were just like, ‘Okay, this guy is the one who is making those crazy posters, he has good taste in music, he works there [Bonsound], we wanna work with this person.”

The band has had some luck, stumbling upon talented artists to join them on their journey. Pair this luck with musical skill, a charming demeanour, and a curiously open mind, it’s really no wonder the trio has come to put out such a killer record. “There’s a lot of layers to the band,” Sébastien tells me as we wrap up our conversation. “You just gotta witness us and hang out with us.”

The group laughs as Pierre-Luc sums it up this way: “In the end, we’re just normal guys shredding.”

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Électrons libres du qu​é​bec

released October 6, 2023 via Bonsound

1. Orlando

2. C't'au boute

3. C.T.Q.S.

4. Beau baptême

5. Tô Kébec

6. Lune Rouge

7. Réservoir

8. Rapaillé

9. Pourquoi qu'on dort pas

Pierre-Luc Gratton – percussion, vocals

Tristan Lacombe – guitar, organ, oscillator, piano, synthesizers

Sébastien Provençal – bass guitar, synthesizers

Emmanuel Éthier – violin on “Reservoir”

Colin Fisher – saxophone on “Pourquoi qu'on dort pas,” “Réservoir”

Emmanuel Éthier – production and mixing

Trevor Turple – sound engineer

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Population II

Instagram | Bandcamp | Spotify

Starly Lou Riggs is a queer agender visual artist from the United States, currently based in Montreal.

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Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

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

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

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

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

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

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

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

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

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Pony Girl

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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What's Cool at M For Montreal 2023

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What better way to curb the effects of daylight savings than a weekend of music? The wide-ranging curation of the M For Montreal music festival returns from November 15th-18th, 2023. Offering exceptional programming from two distinctive lineups, the shows from the festival’s Official Selection are available exclusively to festival delegates and pro pass holders, while the Marathon bills are open to music fans alike. Discover Also Cool’s M For Montreal top picks in the highlight below, featuring never-before-seen artists for the mag to keep on your listening radar. Also Cool’s official M For Montreal playlist will be updated with more must-see acts in the week leading up to the festival.

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Cartel Madras via Bandcamp

Marathon

Calgary-raised, Chennai-born Cartel Madras promises to stir a fervent atmosphere. The Desi experimental hip hop duo, composed of sisters Eboshi and Contra, commands audiences with their explosive blend of trap, punk, house and South Indian aesthetics - a genre they’ve coined as “Goonda rap.” For bold flows and anthems of resistance, hit Sala Rossa for the Consequence showcase on Saturday, November 18th.

Cartel Madras at M For Montreal

Alix Fernz via Instagram

Marathon

Sainte-Thérèse expat Alix Fernz (AKA Blood Skin Atopic) is the latest mistfit darling of Montreal indie label Mothland. Thriving in the allure of mischievous freak-pop, Fernz’s debut single “Wax” intrigues with its tightroping of post-punk and synthwave. Fernz plays alongside Hippie Hourah, presented by Simone Records, at Ausgang Plaza on Saturday, November 18th.

Alix Fernz at M For Montreal

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Blesse by Gaëlle Leroyer

Official Selection

blesse is the sonic renaissance of former Zen Bamboo members Léo Leblanc, Charles-Antoine Olivier, and Xavier Touikan. Hot off the arrival of their debut album normal (Simone Records), the Montreal trio recently rocked Festival De Musique Émergente and Le Phoque Off with their distinctive garage-meets-hyperpop flare. See what all the fuss is about on Thursday, November 16th at Quai des Brumes.

blesse at M For Montreal

Heaven For Real by Beatrice Scharf-Pierzchala

Marathon* (available to pro and festival pass holders)

Quaint Toronto-via-Halifax art rock outfit Heaven For Real is the brain child of twins Mark and J. Scott Grundy. Between jangly rhythms and playful musings on every day life, the group has endeared audiences with their breezy, yet contemplative, songwriting for over a decade. Embrace the warm and fuzzies at their M gig, presented by The Current, at Café Cléopâtre on Saturday, November 18th.

Heaven For Real at M For Montreal

Poolblood by Kate Killet

Marathon* (available to pro and festival pass holders)

Polaris long-lister poolblood—the nom-de-plum of Toronto singer-songwriter Maryam Said—has made a splash with their full-length debut mole (Next Door records). Recorded entirely analog, poolblood’s mole is a tender, lush collection of bedroom-folk introspections. For a moment of poignant stillness, catch them alongside Heaven For Real at Café Cléopâtre on Saturday, November 18th.

poolblood at M For Montreal

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M For Montreal

Website | Instagram

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Dizzy's Katie Munshaw on Growing Up and Getting Vulnerable Behind a Mask in New Self-Titled Album

Katie Munshaw of Dizzy by Boy Wonder

“They come into my head and rattle around in my brain until they become something bigger,” says Katie Munshaw, vocalist of Dizzy, of the lyrics she writes for the band. “I’ve always been like that. I'm really lucky [that,] growing up, I went to an elementary school with a songwriting program, so I’ve been writing songs since grade 5 or 6,” she adds. “It’s always been a big part of my life and how I express my emotions.”

Hailing from Oshawa, the indie pop band includes Munshaw as the lead vocalist and main songwriter, and three brothers, Alex Spencer (guitar), Mackenzie Spencer (bass, vocals) and Charlie Spencer (drums, synthesizer, guitar, vocals), who’ve been playing together since high school. Their first album Baby Teeth was released to JUNO acclaim, including nominations for Breakthrough Group of the Year and Alternative Album of the Year. They are back with their third album, the self-titled Dizzy, released this summer.

Soft, sparkling, and devastating, Dizzy is a retrospective album reflecting on the heartbreaks of the past and gnawing on fears for the future. Their music blends dreamy melodies and soft vocals with some 90s influence, a sound reminiscent of bands like Soccer Mommy, fittingly referenced in the opening track, “Birthmark”.

Katie first started writing the album in 2021 (“What else was there to do then?”, she jokes), following the band’s sophomore release (The Sun and Her Scorch) a year before. Katie’s own life— her trials, tribulations, and collaborations with her band—influence her writing. Each song is a burst of stories and memories: the only thing tying them together is that they’re hers. 

“So much of our second record was about getting old and dying—something weighing on my mind a lot at that time. I’d just turned 23 or 24 and was thinking ‘Oh god, my life is over.’ When it was time for this record, I thought I couldn't keep writing about getting older and death,” Katie says. The resulting Dizzy mostly reflects on the past and the present – heartbreak, disappointment, nostalgia, self-reflection, moving on, and ultimately acceptance. “It's about being in my late twenties and finally getting to know myself a little more,” she adds.

Part of this involves recognizing external pressures and how they impact her. “I turned 25 and people started asking me about getting married and having a baby,” Katie says. “Jaws” is a faster-paced change in the middle of the record, and the one song where Katie allows herself to “get that anxiety out.” To an upbeat, Lorde-esque cadence, Katie sings, “I don’t remember getting older, but somehow I’m here / falling for the same tropes as my mother dear.” 

While its name was inspired by a night out with her “movie geek friend” talking about the 1975 film, the lyrics to “Jaws” explore societal expectations and grappling with the choices that come with it. “Are these things we actually want or tropes we feel pressure to take part in?” Katie muses. 

While the band’s first two albums were self-produced, this one involved collaboration with famed writer and producer David Pramik, known for his work with artists including Selena Gomez, Oliver Tree, and Chloe Moriondo, whose recent album Katie was a fan of. 

“We wanted to be very precise about every decision made. That clean production was what we were looking for,” Katie says on working with David for this record. “We made a big list of people we wanted to work with, whittled it down, and reached out to him, emailing him “Barking Dog” and maybe “Starlings” and saying we loved his work.” 

Katie notes how his sound is very different from their own, which is what they liked about him, despite initial hesitations about bringing in a producer for the first time. “It’s always hard to let someone in and have someone critique your baby,” she says, “...but he’s the perfect person because we’re all so introverted and he's this extroverted ray of light when we can be downers.”

It wasn’t until the end of the recording process that the band collectively decided to self-title the album, though it’s an idea Katie liked from the beginning. She references an interview fellow Canadian musician Haley Blais did with Coup De Main Magazine, where she says of her own album, “If I could erase everything I’ve done before and have this represent me wholly, I’d be okay with that,” highlighting how, in many ways, she considers this her first album. “That’s how I feel about this record,” Katie says. 

While the album lays bare parts of her life and anxieties, physically, she does the opposite. Katie dons a painted mask on the cover of the album, shielding her face from the cover and any of its visual material. “The mask came in pretty late,” Katie says. “I was working with my friend Ryan on visual stuff and being a baby about having my photo taken. After a few years of isolation, I did not want to be on camera.”

She recalls that he joked “Well, if it's so hard Katie, why don't you wear a mask?” And that’s what they did. “It was hard to convince everyone,” she said, but they fought for it, and then spent weeks trying to find the right mask for the job. “We went down a rabbit hole,” Katie says. “We ended up narrowing in on this one vintage brass mask we loved, [but we] didn’t look at the dimensions, so it showed up the size of my palm,” she laughs. “And we were shooting videos a week later so we panicked. Ordered a paper mache mask and begged my friend to help paint a mask.” 

The resulting mask, with green-painted lips, black-rimmed eyes and swirls of pink, blue and purple makes an appearance across the band’s music videos and promotional material for the record. In a world that scrutinizes how people look, her choice to shield her face challenges expectations and brings the focus squarely on the music, its message and the people who relate to it. “I think it’s interesting for a person, particularly a woman, to make the decision for herself to take her physical appearance out of the question,” Katie says. 

In the video for “Knock the Wind”, you see a masked Katie looking wistfully out the car window, as the song’s lyrics ruminate on making choices and taking action. It’s a song she has said is about “...how you can live somewhere your whole life and never really feel at home,” demonstrating one of the biggest appeals of this record. Dizzy’s vulnerable, melancholic and hopeful; a masked voice anyone could find themselves behind. 

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Dizzy

released August 15, 2023 via Royal Mountain Records

1. Birthmark

2. Close

3. Open Up Wide

4. Starlings

5. Knock The Wind

6. My Girl

7. Jaws

8. Salmon Season

9. Barking Dog

10. Cell Division

11. Stupid 4 U

12. Are You Sick Of Me Yet?

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Dizzy

Instagram | Spotify | Bandcamp

Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.

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