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

Via Mothland

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

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

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

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

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

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

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

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

Via Mothland

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

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

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

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

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

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

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

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

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

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

Alicia Clara by Tess Roby

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

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

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

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

Listen to Hazemaze now.

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With "Fresh Paint," Andria Piperni Creates A World All Her Own

Andria Piperni, “Fresh Paint”. Photo courtesy of Calli Cohen

Montreal-based singer-songwriter Andria Piperni has long proven that she is the one to watch, and her latest track “Fresh Paint” is no exception. 

On this track, the R&B songstress sounds slinky and seductive, telling a story of blissful intimacy as a brand-new world is created. On her Instagram page, Piperni explained that “Fresh Paint” is all about “...getting lost in a moment, and that enchanting feeling of discovering somewhere, something, or someone new.”

The essence of Piperni’s vivid dreamscapes is revealed in clouds of soul and jazz, with delicate vocal melodies floating through. With the right person or the right environment, there is safety – even in floating above the ground, or crashing through waves of the sea.

Piperni enlisted the help of Chris Vincent, member of Montreal electro-soul band Busty and the Bass, to produce and mix “Fresh Paint”. This lush, sensory track is the latest single to be featured leading up to the release of her debut EP, Who’s Counting?, which is slated for release early next year.

“Fresh Paint” is a perfect demonstration of Piperni’s ability to balance indulgence with illusion. If this single is any indication, the rest of the EP will surely follow in such a descriptive and immersive direction. We had the chance to talk with Piperni in the weeks after the release, getting into her influences and perspective on the music industry. Take a read below!

Rebecca Judd for Also Cool: Hi Andria, thank you so much for chatting with us today! “Fresh Paint” is a beautiful track, congratulations on the release. Listening to this track, it feels as though there’s room for multiple interpretations - what’s yours?

Andria Piperni: Thank you! Yeah, I left a bit room for each listener to have their own interpretation of the song. The lyrics are quite metaphorical and hold a lot of imagery — I wanted listeners to envision their own world, the same way a painter would when they paint. It all plays on this idea of creating something new. The scenario I had in mind while writing was two people coming together and creating this magical moment of their own.

AC: It’s an incredibly difficult time to be a creative - how has this year treated you? 

AP: The uncertainty of it all has been hard, and I miss playing live shows. It can be pretty stressful not knowing what’s ahead or how to plan for the future. But in some ways, this pandemic has made room for some great things, too. I spent most of this year writing and recording new music, and it was really nice to be able to put my full focus on that. I’ve also had more time to do some writing for other projects, even outside of music, and got around to doing things like getting my merch online! And I get to wear sweats 95% of the time. Despite everything, I’ve managed to find a silver lining. 

AC: You describe yourself as inspired by  “...everyday human experience, as well as the surreal episodes of … vivid dreams”. Can you elaborate on these inspirations? (I’d love to start having these dreams…)

AP: Those closest to me know that I have the weirdest dreams! For as long as I can remember, I’ve been a vivid dreamer. It’s rare to wake up and not remember my dreams in detail, sometimes several of them. It can be a bit exhausting sometimes. But now and then, I’ll wake up with a certain storyline or melody in my head, and I’ll write it down for later. And I do the same during the day too – I take notes in my phone anytime an idea comes up. They can come from a conversation, a movie, an observation… I always try to pay attention to those little everyday moments, because those are the things that people can really connect to when listening to a song.

AC: Montréal is your hometown, but you briefly lived the ~ Parisian ~ lifestyle and found yourself across the pond. How did this relocation impact your creativity and your music?

AP: Oh man, it was everything. I was studying abroad for about 5 months, and it was amazing. This was before I decided to pursue music full-time, and I think the experience really shifted my perspective and helped me learn more about myself and life in general. Being somewhere completely new, where you don’t know anyone, where there is so much culture and opportunity to travel and meet people from around the world … see[ing] so many beautiful places… It made me realize that life should be lived to the fullest, and your choices should not be based on fears. It gave me courage to do everything I’m doing now.

Andria Piperni. Photo courtesy of Calli Cohen

AC: If you could change anything about the music industry, either in Montréal or at large, what would that be? 

AP: I guess it’s not a secret that it’s very hard for artists to make a good living off of streaming royalties. Don’t get me wrong – as a listener and as a creator, streaming has given me a lot. I discover new music, and listeners can discover my music like never before. But the cost of creating and putting out music (you know, “marketing”) is still very high when you compare it to the streaming payout. It’s just not feasible for independent artists in the long run, especially right now without the ability to play shows. But artists are more and more empowered these days, and I’m hopeful that it will lead to a balanced and fair system. Also… more womxn and minority representation on all fronts! We’re starting to see programs emerge with this goal, and it’s great, but there’s still a long way to go. 

AC: Who is your dream collaborator?

AP: I think my answer changes every time someone asks me this question. It’s hard to pick just one, but someone I would love to collaborate with is John Legend. He’s, well, a legend. And if I happened to meet Chrissy and their adorable children in the process… it would be a dream! 

Thanks again for your time, Andria. Before we let you go, we’ve heard that your debut EP Who’s Counting? is set to release early next year. What can we expect from you in the months to come? 

Yes, [it is], and I’m so excited! I have one more single off the EP coming out before I release the full project. You can also expect some new merch, a music video… and in the meantime, maybe a little holiday cover song or two on my Instagram page before the year wraps up. :) 

Listen to “Fresh Paint” – out now!

Andria Piperni

Instagram | Twitter | Facebook

Website | Spotify | Soundcloud | Bandcamp

Rebecca Judd is the features editor of Also Cool Mag.

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

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Healing’s Hard To Measure, But Peyton Stilling Gives It A Try

Peyton Stilling, photo courtesy of the artist

Exam seasons, holidays, the pandemic – if you’re exhausted, it makes sense. The chaos that is otherwise known as 2020 is coming to a close, and we are all surely in need of a little healing. Dallas-based singer-songwriter Peyton Stilling would agree, fresh off the release of “Healing” – a brooding testament to her own process.

“Healing was written during quarantine,” the artist explains. “I’d just broken up with my boyfriend and had to move back in with my parents, and I had no money or job. I had all of this time on my hands, but felt no motivation to write anything.” Teaming up with multi-platinum production team locknkey (Moses Elias & Robert Sewell), Stilling wrote this track as a means of release.

The results are infectious (are we allowed to use that word right now?) – balancing soulful vocals with tight production, Stilling paints a picture of resilience. She speaks her survival into existence over a moody baseline and assertive claps: “The doubts and distractions / I will get past them …”  With such conviction, we’re tempted to believe her.

Last week, we were able to catch up with the singer-songwriter and discuss her musical journey, the scene that has fostered it, and some distant dreams for a post-pandemic life. Read our interview with Peyton Stilling below!

Rebecca Judd for Also Cool: “Healing” is a beautiful testament to the post-breakup blues, and comes from a deep place of vulnerability. How does creating your music help you move through life’s challenges?

PS: Music helps me process how I am feeling and gives me the ability to give myself advice. I don’t always listen to my own advice, but at least I am writing songs about it. With “Healing”, I wasn’t able to finish writing that song until I had processed all the emotions I was feeling. 

Songwriting has helped me get through some really hard times, and is definitely my outlet. It will be very funny to listen back to some of my music in 10 years’ time and think “...that was the boy I was upset over?”

AC: You’re a Dallas-based musician - what is the ~ scene ~ like down there, and how does that inform your own musical approach?

PS: Dallas is a great place to grow as a musician. There are so many talented musicians here and it is a great place to get your [musical] start. There are no real labels in Dallas, but when it comes to venues and gigs you can make a great living here. It has helped to grow my confidence as a live performer, and really cement in my head that this is what I want to be doing for the next 20 years – just hopefully on a bigger scale. (No shade to the Dallas coffee shops, I still need to perform there...)

Peyton Stilling, photo courtesy of Hannah Dimmitt

AC: Your debut single, ‘Forest Through The Trees’, came out last February - how has your process changed since then? What have the past couple years taught you as a musician?

PS: My songwriting process is very similar to when it all started. I think the biggest thing that has changed is [that] my team has gotten bigger. When I started a year ago, it was just me; now I have an amazing group of people rallying behind me and my music. I am super thankful to have those people in my corner.

The past couple years have taught me to trust my instincts. I still have self-doubt, but am constantly working towards being confident in my decision-making. That is a big part of being in the music industry – trusting yourself and not letting the opinions of others sway you. 

AC: Are there any songs that you wish you had written?

PS: Yes, 100%. “Green and Gold” by Lianna La Havas or “Carried Away” by H.E.R. Honestly, anything by either of those artists and I would be happy. 

I have actually started rewriting some of my favourite songs on my YouTube channel. So far, I have rewritten Broke by Samm Henshaw, Location by Khalid and of course, Carried Away. I have been uploading a different rewrite the first Sunday of each month.

AC: When the pandemic subsides, what are you most excited to do?

PS: I am excited to have a real concert again. I absolutely love performing, and this year, not being able to do that, has been really tough. Live streams are just not the same. 

[Aside] from music, I can’t wait to travel. The pandemic has made me miss freedom and realize there is so much of the world to see. My manager is originally from London, and has told me that he would love to take me over there for a few weeks. I think that would be awesome. And it is in writing now, so he has to take me…

Listen to “Healing” - out now! 

Peyton Stilling

Instagram | Twitter | Facebook

Official Website | Youtube | Soundcloud

Rebecca Judd is the features editor of Also Cool Mag.

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

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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. 

Choux

Instagram | Facebook | Twitter

Bandcamp | Soundcloud | Spotify

                                 
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:

Jak Lizard

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Spotify | Apple Music

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

Via Capitol Records

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

Mags Instagram I SoundCloud

JU!CE Instagram I SoundCloud

Backxwash Instagram I BandCamp

Kajo/Little Cashew Instagram I SoundCloud

RamehS.eS Instagram I SoundCloud

Youmna/Jassah Instagram I SoundCloud

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

Oddysseys

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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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actionnetwork.org/fundraising/unistoten2020legalfund/  

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