Choux’s "Super Moon" Takes You to an Ethereal 80s Dream World

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If the title were any indication, Choux’s new EP took me places. Choux (US-CAN) is an indie dream pop duo led by lead vocalist Lizzie Carolan based in Montreal, and multi-instrumentalist Jordan Gatesmith based in Minneapolis, who just released their EP Super Moon on November 20. The EP had been an idea for years now, and Lizzie and Jordan were given the push they needed to finish it up over lockdown. The entire project was done from a distance, with Lizzie in Montreal and Jordan in Minneapolis, in true pandemic fashion. 

For many songs, especially “Super Moon,” “Red,” and Fallen,” I felt like I was walking through a credit scene of The Breakfast Club, but a little more witchy; all of the effortlessness and unstoppable cool, with none of the awkward, gangly teen moments. These tracks help create a moment of escape to another time and space, a brief experience of movement that I have been yearning for since I’ve been stuck at home on lockdown.

The angst of a coming-of-age movie definitely comes out to play in tracks “Thirteen” and “On a Sunday,” which offer more of an indie-rock vibe. “Thirteen” really feels like howling at the moon and a total release of emotion, while “On a Sunday” elicits feelings of young love and yearning.

Final track “Underwater Dreams,” which truly feels like floating on water, beautifully concludes the project and brought me out of the movie in my mind, and back down to Earth, enveloping me in a sea of calm.  

Lizzie’s lyrics are influenced by Buffy the Vampire Slayer, a true ode to the late 80s/early 90s, which brings the sound together and accounts for the consistency in the vibe of the whole EP. Lizzie’s vocals were eerie and operatic, telling a story and setting the tone, even while the lyrics were delivered in classic shoegaze fashion and sometimes a little more difficult to discern. The energy of each song was clearly communicated through the musicality of the instruments and vocals, as well as the masterful production, executed by Ian Nygaard (Howler) and Phillip Shaw Bova, an award winning engineer behind recent albums by Bahamas, Andy Shauf, Land of Talk and Devendra Banhart. 

Overall, this EP is a beautiful blend of elements: instrumental and vocal, airy and grounded, water and earth, planetary and human. By track titles alone, it is clear that there is powerful intention driving the project. This mystic intention definitely hits the mark, and offers us a project perfect for daydreaming and for manifesting. 

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Simone is a Montreal-based dancer, educator, and writer. 

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Elijah Wolf Shares Tender New Track "At Times / At Night" feat. Photay & Josh Jaeger

Today Also Cool Mag fav Elijah Wolf shares his new track “At Times / At Night" featuring featuring Photay & Josh Jaeger (of Angel Olsen, Fleet Foxes). The single is off his upcoming album Brighter Lighting (produced by Sam Cohen), which will be out February 26 via Trash Casual Records.

“At Times / At Night" is the perfect melody for cozying at home on a chilly evening, drinking hot chocolate, and reminding yourself that you deserve the love and empathy that you give others. In short, it’s all about those warm and fuzzy feels.

“It’s a song about simply sitting still to observe the world around you, in a life that can move so fast," explains Elijah. "I wrote it one Sunday afternoon while watching a rain storm through my window. It was a rare moment where everything felt still, & I felt completely present in my life. I wrote this song as a reminder to always take the time to be still, & to look around & observe."

"After the first album sessions with Sam Cohen, I left for a month long tour with my dear friend Photay. Throughout those 4 weeks we had the chance to listen to the rough mixes & early studio versions on long drives through the different epic landscapes of the US & Canada. When we got home, we went straight back into the studio to finish up. This one features Photay on Buchla Synthesizer."

For fans of early Fleet Foxs, Wilco, and Hovvdy, this one’s for you. Listen to At Times / At Night" below.

Jak Lizard's "Orange Tracksuit" is a Ray of Sunshine

Via Jak Lizard

Energetic, upbeat and impossible not to dance to, Jake Lizard has released his latest track “Orange Tracksuit” off his upcoming EP “Humphrey.” It’s the kind of song you put on in the morning to help you get out of bed when you really don’t want to, and ends keeping you company while you make your coffee, get dressed for the day, and take your morning commute (whether that’s on the bus to work, or to your living room home-office).

“I love this song. When this one was completed in the studio, I remember looking at Ivan, and not saying anything, just silently acknowledging how much excitement I was feeling. Life is about balance. This song is about after you’ve taken a moment to reflect, where you go next. “Orange Tracksuit” tells the story of someone finding the larger than life joy that can come from a concrete object, like an Adidas tracksuit in your favorite color. ‘I tried it on, I swiped my card,’ and then was transcended to my happy place. It’s a “look good, feel good” track” -Jak Lizard

Listen to “Orange Tracksuit” below:

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Carmen DeLeon's Volverás (Prod. Tainy) is an Ode to Owning Your Self-Worth

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Growing up as a Mexican-Canadian, I listened to a lot of Spanish music at home, but would rarely hear any on the radio or my friends' mix CDs.

It has only been in the past few years that I've been discovering more and more indie Spanish music and reggaeton that has crossed over into the mainstream. Artists like Rosalía, Kali Uchis, and now Carmen DeLeon provide the Spanish-speaking and bilingual representation I wish I had all those years. 

Via Capitol Records

In case you haven't heard of her yet, Carmen DeLeon is the 19-year-old singer who took The Voice by storm. We were lucky enough to be invited to her press conference hosted by Universal Music Group’s 1824 to learn more about Carmen and her career. 

Now signed to Capitol Records and relocated to the US to make her debut; she's making waves with her latest single, Volverás. The track was produced by Tainy (the artist behind Card B's I Like It and countless other reggaeton hits), who was one of Carmen's dream collaborators. 

Via Capitol Records

Carmen told us that the track is an anthem for knowing your self-worth and not being afraid to set the boundaries you need to take care of yourself. She said she was proud to share her story with this song and is proud to be bringing bilingual Latina representation to mainstream pop/reggaeton. 

Listen to Volverás, out now. Watch the video below.

Anime, Hip Hop, & Your Inner Child: Mags Releases AMV Remixes with Backxwash, JU!CE, & More

Photo cred: Mahel Pfaff

Who else wants to be a kid again, watching their favourite anime on a rainy day? In a time where nostalgic comfort is more valuable than ever, MTL-based multidisciplinary artist Mags of Strange Froots has created a new series of mixtape-inspired AMVs (anime music videos) set to last year's Green Apple: The RMX, a short EP made up of six remixes of the titular song.

With society all but collapsing, Mags maintained her creativity through many mediums; today, she’s sharing with us her mixtape-inspired AMVs, and spoke about childhood favorite animated shows with her friends and mixtape collaborators: JU!CE, Jassah (aka Youmna), RamehS.eS (aka Shem G), Little Cashew (aka Kajo), and Backxwash.

Mags (“Granny Smith” Rmx): I think we’ve all had a hard-ass year, to say the least. As I approach my 30s (*deep existential cringe*), with more and more of my friends declaring that they are, in fact, baby, I realize how important it is for us to nurture the inner child that may have been neglected decades ago. I’m really thankful for my chosen family, and all the people I’ve met in Montreal who’ve introduced me to some of my new favorite things, from Steven Universe to Azumanga Daioh. Sometimes it feels like we’re making up for lost time, or even lost youth.

Mags: Last year I put this remix project together with these talented producers, in honour of my band’s five year anniversary; objectively five years isn’t that long, it doesn’t even have its own name as a unit.

But looking back on old photos, videos, promotional posters from festivals and more, we can be aged or grow (yes there’s a difference) by so many different things in our lives. Sometimes it’s okay to honor that growth with a renewal of fond memories from the past, especially when it’s growth for the better.

What is your relation to the anime chosen to accompany your respective track?

JU!CE  (“Calville Blanc” Rmx): Code Lyoko was a show I would always watch when I was younger. Either early Saturday mornings on Cartoon Network or reruns at certain hours. I was in love with the show and characters so much that it was one of the top shows I would watch. In terms of my style with my music, people say, "you always feel out-of-world or in another dimension," and knowing Code Lyoko is actually that, fits perfectly.

Youmna/Jassah (“Flower of Kent” Rmx): The anime Mags chose was new for the both of us, and it fit so perfectly. It's abstract, but there's clearly something deeper unfolding. The specific shots align so well with the story I created with the remix. It feels meant to be.

Ramehs.Es (“Pink Lady” Rmx): I watched Cybersix growing up, on Teletoon, when I was supposed to be in bed. It's the perfect animated reference to my already budding vigilante, dual identity lifestyle.

Kajo/Little Cashew (“Duchess of Oldenburg” Rmx): I grew up watching a channel called Spacetoon that aired Arabic dubs of anime. Case Closed was one of my favourites and the one I recall the most of. I think all the action and tactics was what caught my attention. I definitely used to go around pretending to use my watch to shoot sleeping needles at people (lol).

Backxwash (“Arkansas Black” Rmx): I like Hellsing. It is extremely edgy and very very goth. I also love the religious aesthetic towards it.

How would you describe the final AMV product?

Youmna/Jassah: I also really love how Mags inserted Strange Froots in the anime edit. Watching it felt like a trip in itself, which I aimed to do with the track, so it feels really good to have a visual to accompany it.

Ramehs.Es: The edit tells the story of childhood innocence and memories turning into something real dark, real fast, night and day, two coins, etc.

Kajo/Little Cashew: Honestly, it was hard to imagine a music video for "Duchess of Oldenburg" because it's very all over the place. But seeing the anime MV reminded me of how much I enjoyed watching anime as a kid, and watching them on Spacetoon more specifically. That channel was iconic. It makes me sad that the second I got western channels, I just ghosted anime and Arabic channels. But now that I finally found the real names of those anime (not the Arabic titles), I can look them up and reminisce. So I'm happy with how the MV turned out!

Do you have any old cartoons/anime that ground your inner child?

JU!CE: Shows that help me stay grounded to my inner child is kind of a tough take. I would say Courage the Cowardly Dog, Ed Edd n Eddy, Teen Titans, Foster's Home for Imaginary Friends, Sonic X and The Powerpuff Girls. By far, Cartoon Network was the only station I would watch, second to Nickelodeon, then Warner Bros TV. These are some shows I plan to rewatch at some point in my life. I miss the nostalgia.

Youmna/Jassah: The Jungle Book is a cartoon that grounds my inner child - I always related to Mowgli, and I loved being transported to the jungle itself.

Ramehs.Es: Cartoons with dark, spacey themes as well as proper character development. Classic Batman, Cowboy Bebop, even Static Shock went through way too much for someone his age. It was really telling stuff that taught me way more than any suburban Laval school could (haha).

Kajo/Little Cashew: I would say the ones that I loved the most growing up were Case Closed and Akachan to Boku. I remember casually seeing scenes from Remi the homeless girl [Remi, Nobody's Girl]. I will say though, the one that hit the most was Akachan to Boku, but it's just not the vibe for the track 'cause it's a very calm laid back anime, and I wanted action for the MV.

Those were my go-to as a kid. I think it's because they came out in 1996, one year before I was born, so they were airing when I was really young. I also remember that Captain Tsubasa J was a huge deal when I was young. I didn't to watch it religiously; I mostly just remember parts of the intro song (in Arabic.) Beyblade was also huge, I don't recall the show but I remember buying the Beyblades and attending a competition inside a gift store with a big ring and almost 50 guys stacked in a small room trying to watch.

When I grew a bit older, we got an orbit subscription with the western channels (Disney Channel, Cartoon Network, Tiji). I kind of forgot about anime and began watching cartoons like Recess, Pinky and the Brain, Brandy and Mr. Whiskers, Tic & Tac [Chip and Dale]. So those would be the shows that entertained me and kept me dreaming and distracted from real life as a child.

Backxwash: A lot of 90s-2000s anime is what I was into. Ninja Scroll, Saint Seiya, Sailor Moon of course, Ranma ½

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Oddysseys Debut Post-Punk Banger "Body Heat"

If you've been searching for your end-of-summer post-punk banger, we've got you covered with Oddysseys new single “Body Heat.”

With cascading vocals, punchy drums, and high-energy sound, Chicago's Oddysseys’ break away from the shoegaze sound they're known for. This track is a highly-anticipated follow up to their 2019 album "Odd Behaviour."

"Our single, 'Body Heat' marks a new direction, as our upcoming project will embody the pent up energy and anticipation that has built over this period of quarantine and rampant social injustice. Combining the elements of 80's postpunk with punchy post-rock production, we wanted to be louder about how we feel and not beat around the bullshit."

For fans of DIIV, N0V3L, Egyptian Blue and Omni, Oddysseys might just be your new obsession.

Listen to Body Heat now

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Soaky Siren's M.I.A. is an Ode to Taking Time Off the Internet

Photo by Zac Poor

"I've been M.I.A., 100%, selfish disconnect, ain't no Internet."

Do you ever feel the need to just completely disconnect? Take some time off the Internet? Maybe throw your phone into the ocean for the foreseeable future? Soaky Siren's latest release, M.I.A., is a bright and bubbly anthem for isolation as self-care. 

Photo by Zac Poor

Originally from the Bahamas, Soaky Siren is not a representative of the stereotypical tale of sun, sand, and sea. Her paradise is one without privilege, a stomping ground that would arm her with the fierce drive to launch her career as an artist. Soaky's sound ranges from pop to raw and fiery dancehall. Since moving to Los Angeles, she's been making waves by co-writing with Jason Derulo, Rita Ora, Pitbull, J Balvin, Camila Cabello, and Big Freedia. 

The single is a strong follow up to her latest EP "Lucaya" (named after Port Lucaya in the Bahamas), which we've been listening to since it came out in 2019. (Our fav track is Upside Down), and we can't wait to see what Soaky does next.

M.I.A. is out on all streaming platforms now. 

Photo by Zac Poor

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Premiere: Korea Town Acid Space Cadet

Photo by Colin Medley, album art (below) by Ashli Ahn

For her latest release, KTA (Korea Town Acid) was inspired by “conquering [the] astro universe” vibes, Jeff Mills, and the Little Prince.

The Korean born, Toronto-based artist is a DJ, producer, and live performer of mind-bending hardware sets. Her improvisational production approach generates raw, hypnotizing compositions that are like living organisms - endlessly moving, continuously evolving. Each track was written live in one take, using hardware, with no post-editing. 

With elements of both chaos and euphoria, the energy at the essence of this EP is definitely one of the core ingredients for life in space. Album artwork by Ashli Ahn.

Join KTA on an adventure across the Universe

Space Cadet by Korea Town Acid, released 04 June 2020 1. Magic Spells 2. In Your Dreams One Live Hardware Take Adventure With Korea Town Acid

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Premiere: Mutually Feeling's Relentless

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From Mutually Feeling’s Relentless

“It's coming right for us… it’s relentless,” purrs Ariana Molly of the poetry-infused rave duo with Pulsum (Connor McComb) called Mutually Feeling.

Their latest release, titled Relentless is a donation to SOLIDARITY, a compilation of tracks by some of the most exciting Canadian electronic music artists in support of Wet’suwet’en Nation in their fight against Coastal GasLink’s movement to build a pipeline through traditional unceded territory.

The fundraiser compilation is curated by Minimal Violence, a Vancouver-based instrumental electronic duo specializing in dark techno and live performances.

Get lost in Mutually Feeling’s sexy, scary, fantasy world - the music video for Relentless is a wholly DIY production completed at home, giving an intimate glimpse into the couple’s quarantine microcosm. It’s a beautiful retro-horror romance tinged with the sinful allure of capitalist hedonism.

Both sonically and visually, it’s a perfect juxtaposition of soft glamour and ruthless forewarning. Ariana’s vocals susurrate over a punishing bassline and slapping snares as she sings of an imminent danger, “I feel it in my body / I feel it in my chest / I feel it all around me / I feel it like its death / It’s relentless...”

SOLIDARITY was created with the intent to raise funds and awareness of the ongoing situation in the Wet’suwet’en Nation and Unist'ot'en Camp. All the money raised from the compilation will be going to the Unist'ot'en Camp Legal Fund. Bandcamp will be waiving all their fees on Friday, May 1st, so if you’re thinking of supporting the cause, purchasing the album will have the greatest impact on that date!

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More information on the Unist'ot'en Camp Legal Fund below

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From Mutually Feeling’s Relentless

Press release:

All of the following information has been gathered from the Unist’ot’en website, the Unist’ot’en Legal Fund page summary, and timeline details from the Instagram account @gidimten_checkpoint. We did our best to bring together the talking points that have been put forth by the people themselves but encourage you to go directly to these websites to educate yourself further on the situation and what you can do to show solidarity.

In 1997, the Delgamuukw Supreme Court Case was a landmark decision recognizing that aboriginal title is not extinguished in the areas claimed by Wet’suwet’en and Gixtsan. Wet’suwet’en traditional territory spans 22,000 square kilometres in northwest B.C. west of Smithers. Coastal GasLink/TC Energy is pushing through a 670-kilometer fracked gas pipeline that would carry fracked gas from Dawson Creek, B.C. to the coastal town of Kitimat, where LNG Canada’s processing plant would be located. LNG Canada is the single largest private investment in Canadian history.

Each clan within the Wet’suwet’en Nation has full jurisdiction under their law to control access to their territory. Under ‘Anuc niwh’it’en (Wet’suwet’en law) all five clans of the Wet’suwet’en have unanimously opposed all pipeline proposals and have not provided free, prior, and informed consent to Coastal Gaslink/ TransCanada to do work on Wet’suwet’en lands.

The Unist’ot’en Clan is one of five clans that make up the Wet’suwet’en Nation. Unist’ot’en Camp, located on Dark House territory of the Gilsehyu Clan and directly in the path of the intended pipeline, has been a beacon of resistance for over 10 years. It is a space of Indigenous sovereignty dedicated to healing, reconnection to the land, revitalizing cultural identity, and an active example of decolonization.

In January 2020, Coastal GasLink/ TC Energy accessed the territory at gunpoint, following a court injunction, using militarized RCMP forces. In February, the invasion advanced, seeing land defenders arrested, Chiefs denied access to their land, and matriarchs arrested at Unist’ot’en while in ceremony for Missing and Murdered Indigenous Women. The world witnessed the violence on unarmed citizens (in the presence of elders) despite the RCMP’s attempts to create an “exclusion zone” and shut out all media from the events.

Considering the current COVID-19 pandemic, any pipeline workers brought into Wet’suwet’en territory put the community at risk. COVID-19 is causing a global pandemic that’s sending shock waves across the world. We’ve already seen that COVID-19 is in the LNG Canada man camp. Meanwhile Coastal GasLink (TransCanada/TC Energy) is still working in these territories, despite British Columbia declaring a provincial state of emergency. CGL is continuing to bring transient workers in and the workers are not practicing social distancing. Furthermore, the construction of “man camps” increases the risk of violence towards Indigenous women, children, and two-spirited people.

The Unist’ot’en remain steadfast in their refusal to let fossil fuel infrastructure be built across the land. CGL/TC Energy continues to violate environmental regulations and destroy archaeological sites that are sacred to the Wet’suwet’en. Coastal Gaslink has no consent from the Hereditary Chiefs whose territories would be permanently desecrated by the project.

#AllEyesOnWetsuweten #WetsuwetenStrong #ReconciliationIsDead #ShutDownCanada

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