Premiere: Róisin Marie Eats Her Heart Out in Her Video For "Like That"

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Róisin Marie by Christopher Walsh

Meet Róisin Marie, a New York-based R&B newcomer who, at only 21 years old, has the voice and vision of a seasoned ballad composer. Today, Róisin shares her latest track “Like That,” with an accompanying video directed and edited by the artist herself. We had the chance to catch up with Róisin, and chat about how “Like That” transformed from a diary entry into a fully realized production that captures both the vulnerability of heartbreak and the allure of being alone. Read our interview with Róisin Marie below.

Zoë Argiropulos-Hunter for Also Cool: Hey Róisin! Thank you so much for chatting with me! To start things off, tell me about yourself and your musical background.

Róisin Marie: Hi! Thank you for having me. I am 21 years old, and from right outside New York City. Music has always been a huge part of my family, and growing up I was lucky enough to see many Broadway shows and concerts in the city. I was a theatre kid who loved to write poetry, and started writing my own music in college. 

Also Cool: What is your creative process like as a musician? Do you take inspiration from any influences? 

Róisin Marie: I work a 9-5 right now, so the biggest thing I am learning to work through is being able to clock back into music and find myself in my creative space after a long day at work. I have found that writing poetry, or journal entries as they come to me, and having a catalog of this to pull from, really helps me get my thoughts out when I do sit down to create. I am really inspired by the people I get to work with. They model consistency, accountability, and honesty. I think surrounding myself with them has made me both a better creative and a better human. 

AC: Congratulations on the release of “Like That!” Can you tell me about the evolution of this track and what it was like collaborating with RocNation signee Anwar Sawyer on its production? 

Róisin Marie: Thank you so much. This track really has evolved! It started as a ballad that Anwar sent me. I wrote to it, [and it became a] completely different song. Then like five months later, I was journaling about a relationship I wish I had explored with someone. I pulled up the ballad and started singing what I was writing until it felt right. It was my “idea of the day.” I played it when I got to Anwar’s studio […] And it was just a moment that we both felt. It all fell together after that. Anwar and I have been working with each other for about a year now. He is also my manager and best friend. Being able to create together is such a blessing.  

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Róisin Marie by Christopher Walsh

AC: “Like That” is being released with an accompanying music video, of which we’re super into. I’m curious to know: What inspired your artistic vision for the video, and how did the project come together to compliment the song’s narrative? 

Róisin Marie: It is! I am so happy you like it. The artistic vision was inspired by an incredible artist, Lee Price. Her series “Women and Food” shows women in vulnerable and intimate moments with food as a crutch, as a drug, as nourishment, etc. This just felt right to me. The song is about a heartbreak that I didn’t even get to properly feel; I am mourning a “what if.” I wanted to show myself in this intimate setting binge eating my feelings. I also wanted to add in the sexual elements of licking and eating food off of my fingers to further the feeling of loneliness, but in a somewhat awkward and uncomfortable way. 

AC: Branching off of that, how do you feel about working as an artist under the pressures of COVID-19 and quarantine, especially in NYC? How are you taking care of yourself and your craft? 

Róisin Marie: Part of me feels sad, but part of me is also super grateful for the time it has given me to get to know myself better. I haven’t gotten to perform and I don’t know when I will -that makes me sad. But in the time that I wasn’t working, I had a taste of being an artist and musician full time, and that was really nice and motivating. I am taking care of myself by being patient, going outside, calling friends, sleeping, eating, and channeling my emotions into my art. I hold myself accountable to write every single day, and I set intentions that align with my vision for the future. 

AC: Finally, we hear you’re working on your debut full-length project, which is super exciting! What has this process been like so far, and what can we expect in the coming months? 

Róisin Marie: I am! It’s been a lot of digging. I have to be super honest and real with myself and with who I am creating with. This writing and creative process over the last six months or so has really required me to strip away a lot of things I thought were defining me. I have been coming into my own skin and I think this process is definitely reflected in my writing. I can’t wait to share and see what comes of all of it. 

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Roísin Marie by Anwar Sawyer

Watch Róisin Marie’s video for “Like That” below

Credits

Director: Róisin Marie

Producer: Anwar Sawyer

Director of Photography: Andrew Greene

Editor: Róisin Marie

Colourist: Kevin Ratigan

Keep up with Róisin Marie

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Photography by Christopher Walsh

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Introducing Messkina: The Montreal DJ Setting Herself Apart With Unapologetic Self-Acceptance

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Messkina by Victoria Gravel

Picture yourself on a hot and unfamiliar beach, dancing to your escape from a busy routine towards an enchanting adventure. This scene describes DJ Messkina’s perfect setting to have her music pumping. 

After only a year of taking up DJing, the 21-year-old Montreal-based performer of Cameroon and Congolese descent has played in Montreal’s most popular clubs, such as Apt.200, SuWu, Datcha, Le Salon Daomé and Ti-Agrikol, to name a few. She’s even produced mixes for Moonshine and the major Brooklyn-based art collective Papi Juice, which celebrates the lives of the LGBTQ+ community.

Messkina’s unapologetic self-acceptance is what led to her DJ alias Messkina. It is the playful combination between her first name, “messy,” and the Arabic word miskeena for “unfortunate”  — a moniker she says echoes her character. 

Set apart by her contagious confidence and bold charm, Messkina’s presence behind the DJ booth encourages you to be yourself and dance to her carefully-selected house tracks influenced by the sounds of afro-fusion. 

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Messkina by Victoria Gravel

Dressed in a cropped pink velour jacket coupled with matching sparkly velour flared pants, Messkina met up with me in her Saint-Henri apartment to discuss her unusual journey as an emerging talent, and her newest mix “Philantropute.”

“I started producing mixes at a really dark period in my life,” says Messkina. “It was right when I dropped out of college and got temporarily fired from the strip club where I was dancing,” she says before she pauses briefly. 

“Who knew you could get fired from a strip club?” she laughs.

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Messkina by Victoria Gravel

The artist shares dealing with social anxiety starting at an early age, which kept her from staying motivated and performing academically. 

“Going to school was very demanding for me, and I smoked a lot of weed to get by,” she explains.

It was at this moment that she decided to pursue something new. 

It was shortly after that she responded to a call-out on social media looking for DJs. This led to her very first gig which was at the Mme Lee nightclub in Montreal’s Latin Quarter.

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Messkina by Victoria Gravel

“It was packed. I was shaking because I was so nervous, but I did it.” she says.

Leaving school and her job as a sex worker ended up being a blessing in disguise as it pushed her to get back in touch with her creative side, and discover making music as a new-found passion.

Messkina quickly found her distinctive and diverse sound; which pulls together melancholic melodies, hip-hop, African drums and house music. 

“I make music that makes you want to dance. Not to bang your head to, but just vibe to the rhythm,” says the DJ. “Although, I still consider myself new to the scene, and I still have a long road ahead of me in terms of experimentation,” she says. 

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Messkina by Victoria Gravel

Social distancing and other public health restrictions amid the COVID-19 pandemic have inherently changed the way DJs perform. At the beginning of the lockdown, Messkina tried live-streaming her sets and felt disappointed by the lack of connection with her audience.  

“I don’t like Zoom parties. It’s boring to me,” she says. “It’s not the same without an audience, as you don’t really know how it sounds and you miss out on instant feedback.”

“It was really nice to be able to perform again in person when bars were reopened. People were tired of being inside and wanted to go to the club. Although dancing was prohibited, they seemed to just enjoy their time out and socializing.”

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Messkina by Victoria Gravel

Messkina shares that despite the mental toll the lockdown has had on her, she’s used her free time to think about the style and aesthetics she wishes to pursue in her musical career.

“I have broadened my horizons musically and discovered several musical genres that I wouldn't necessarily have appreciated a few months ago,” she explains. 

Her newest mix, “Philantropute,” is quite different from her previous mixes, featuring a higher-energy and dazzling tempo.

“It is more upbeat, hectic, and chaotic. It represents where I am mentally at the moment,” says Messkina.

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Messkina by Victoria Gravel

Listen to Messkina’s latest mix “Philantropute” out now

Keep up with Messkina

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Written by Stéphanie Ricci

Stéphanie Ricci is a Montreal-based freelance multimedia journalist. Currently completing a journalism major coupled with a sociology minor at Concordia University, she is passionate about storytelling in all forms, but is particularly invested investigative work, writing about arts and culture, and creating original content.

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Photo Credits

Photo: @victoriagravel

Hair: @iceboxhair

Nails: @jazzzynailz

MUA: @crazycattie_makeup

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Healing Through Horror: Maryze Talks Childhood Obsessions with the Ghoulish & Gruesome; Shares Halloween Playlist

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Maryze press photo for single “Squelettes” ft. Backxwash & Margo | Credit: BAD/GOOD, Solomon Krause-Imlach

Horror has played an important part in my life for as long as I can remember. 

Growing up in the late 90’s/early 00’s, spooky culture was at its peak. Goosebumps books covered my shelves, Are You Afraid of the Dark? and Buffy the Vampire Slayer were on constant rotation on YTV, and movies like Scream brought about a resurgence of the horror genre. I, myself, could not get enough, and thought everyone else shared my love for the macabre.

I quickly understood there are two types of people in this world: those who love horror, and those who can’t possibly understand how anyone could love horror. Kids nicknamed me “scary French girl,” as I was the only French kid in my neighbourhood, and because I compulsively told scary stories to anyone who would listen. I really thought everyone was just okay with this, until kids started to tell their parents and I got a “talking-to.” My cousin recently told me I caused her lifelong nightmares. 

This fascination naturally evolved into an obsession with horror films. I consumed anything I could get my hands on and became addicted to the experience. What I like about scary movies is that, no matter how bad they are, they at least make you feel something. Whether it is fear, disgust, or just general disbelief, you rarely walk away unaffected. When it is done well, the genre teeters between reality and absurdity: offering both escapism and terrifyingly relatable themes. 

Horror is also a pretty great way of dealing with trauma.

I’ll try to keep it light, but many folks I know who’ve experienced trauma and anxiety gravitate towards certain aspects of horror. Whether it’s gothic home decorating, listening to metal, practicing witchcraft, or binging spooky shows; there seems to be some comfort in darkness. Darkness that we curate for ourselves. 

When real life resembles a nightmare, surrounding yourself with horror that you choose can feel empowering. Finding safety in movies designed specifically to send you into fight-or-flight mode seems contradictory, but it’s a heightened experience in a controlled environment. You get to say when it starts and stops, and conquer the boogeyman.

This year sucks, but they can’t take spooky season from us! Here is a playlist of 20 of my favourite Halloween anthems for your Zoom parties/full moon rituals/presidential hexes. It features local witches Backxwash and La Fièvre, cute memorable classics, and self-indulgent faves (if you don’t know why Fall Out Boy is on this list, please watch their music video for “A Little Less Sixteen Candles, a Little More Touch Me.”)

Take care, and do whatever you’ve gotta do to stay alive in the giant horror movie that is 2020.

Maryze is a bilingual alt-pop artist based in Montreal, originally from Vancouver. Her stormy-sweet world blends haunting, introspective lyrics with contagious electronic beats, offering a refreshing voice with fiery honesty.

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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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Premiere: Night Lunch's Spooky & Sparkly Video for "Damien"

A little spooky, a little sparkly, Night Lunch’s video for “Damien” is here via Celluloid Lunch Records. Infused with glossy neon 80’s vibes, “Damien” is perfectly reminiscent of Halloween-themed high school dances. Also, we love nothing more than a killer synth solo! The track is off their latest album “Wall of Love,” which we hopes serves as the next coming-of-age horror flick soundtrack.

The members of Night Lunch have been contributing to the Montreal DIY scene for the better part of the last decade, manifesting first as Baked Goods and The Marlees. Now as Night Lunch, their sound is retro-futurist; emerging from the lo-fi mud to reveal a shimmering gem of pop immortality with the release of Wall of Love. The nostalgia of 80's synth ‘n keys are a definite inspiration for this group, but unlike many acts that seek to revive that trend, Night Lunch comes from a place of timeless pop sensibility.

Watch Night Lunch’s video for “Damien” below

A Liminal Conversation with Swaya

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Photo credit: Ilana Jade Roth

A couple of weeks ago I had the chance to interview my friend Sophie, otherwise known as Swaya, on her way home from Seltzer Sounds in Brooklyn, where she’s currently working as an audio and mixing engineer. One of the most devoted and multi-talented humans I know, in the past few years Sophie has made waves DJing in Montreal, hosting CKUT’s Venus Radio, engineering and mixing staple Boston rapper Michael Christmas’s upcoming album, and producing an incredibly diverse catalogue of music.

Her output ranges from Baile Funk-influenced edits to ear-soothing ambient tracks, from crying-at-the-club dance mixes to experimental, genre-defying DIY pieces. Swaya released the EP “23” in 2019, a visceral, fast-paced 4-track project accompanied by one of the best merch drops in recent memory. This year she’s put out another collaborative EP with DJ Pacifier titled “Such Relaxation,” and a 2-track project with Valeda called “I looked for you in the water but saw myself.” Most recently, she produced NYC rapper Babyxsosa’s ethereal new single, “WYA/Difference Between.”

Listen to WYA / Difference Between on Spotify. Babyxsosa · Song · 2020.

Given all of these achievements, I am that much more grateful to Sophie for agreeing to a different type of interview. Although we touched on her process and mindset when she made, “23,” this interview is not guided by any completed work, nor is it in service of any type of project roll-out.

Beyond being an extremely talented and hard-working artist, Sophie is, and has been for all the years that I’ve known her, an exceptionally humble, reflective, and deep-thinking person. She is someone who’s been in a fascinating variety of creative and organizing spaces, and she’s someone who I personally am always learning from. Here, she’s been generous enough to publicize some of her insights, experiences, and struggles with creativity, artist identity, individualism, engineering, and life in the music industry; all from the candid and relatable space of pandemic uncertainty.

Interview below has been condensed and edited for clarity.

Tal from Also Cool: I know you’ve been doing a lot of engineering and mixing the past couple of years, and you’re personally between projects right now. How do you feel like engineering professionally has affected the way you hear your old music?

Swaya: Listening to my old music, I’ll have moments when I think ‘yea this is cool,’ but I feel like my parameters and my assessment of what’s good are always changing over time, so I’ll be inspired by something new, then my old shit might sound kind of weak. It’s also happened to me consistently since I started engineering and being around people in the studio that I’ll have moments where I think my music is too weird or too dissonant or too busy, which is not necessarily something that I actually believe; it’s just a feeling I’ll have for a sense of time. I don’t have any regrets about making that music though. I’m proud of it, I just don’t feel that attached to it at the current moment.

Tal: How distinct do you feel your mindset as an artist is versus your mindset as an engineer? 

Swaya: Well I think in engineering you’re obviously working for someone else. As an engineer, I show up and I’m trying to listen to the artist and see the track kind of unfold. I want to let things happen and be as little in the way as possible and also as anticipatory as possible, so I can get the right sound in the moment. 

When it’s just me, it depends on the context. Recently I’ve been feeling like my process isn’t always happening in the flow of the moment. It’s something I’m still figuring out. For a while I was trying to be disciplined and focused about it and make at least one beat every day, but I’ve stopped that. I’m trying to make music more often now, but not from such a disciplined mindset. 

Tal: What did you feel was holding you back when you were trying to make a beat a day? Why are you not into that now?

Swaya: I’m too exhausted right now. Like I literally can’t. I feel like I can’t force it. I made beats yesterday because I smoked some weed, that’s what helped me do it. I’ve been having conversations with people recently about consciously smoking weed to reduce anxiety around making music. Like doing it thoughtfully. It reminds me of when I used to be getting ready for bed and I would take a long time washing my face or painting my nails before bed. Doing these activities that are caring for yourself before you sleep, then, when it’s time to sleep, you feel able to relax. I’m trying to take a moment to hesitate and actually feel like I want to be creative before I make music. 

I’ve been thinking a lot about hesitation, not diving into things or pushing through. With the pandemic and being alone for so long, I’ve realized how negatively just diving into shit impacts me. When I was mixing that album for Michael [Christmas], I had to stop myself because I would just lose time doing shit that wasn’t doing anything.

Tal: Hesitation is a really interesting way to frame a process. When you talk about self-care before going to bed, it makes me think of ritual. The idea of practicing something that is taking you into a new state.

Swaya: Yea! I think because I’m “in the industry” in this specific way, it can be hard to have this ritualistic way of making music. When you’re so in it, as a job, as something you do, as part of your identity, like a career, it can really take the ritual out of it, you know. 

Tal: Yea there’s something that feels maybe paradoxical about working a career in art. On one hand, art is self-expression and it’s felt and personal, but then art also exists as a career path and an industry. What has your experience been like trying to navigate the tension of working in industry as an engineer and also trying to find a way to still make your art and still express yourself?

Swaya: Well, there were already aspects of my personality that made me feel like I would be a good engineer. I can be overly empathetic and I can prioritize other people’s needs, so I'm a good person to have working on your behalf, you know? So knowing that about myself made me think I’d be good as an engineer, but it also makes my identity as an artist feel a little shaky sometimes. I’m constantly questioning my work, and it can be easily shaken up by my surroundings. When I was in the studio last year, I felt like I wasn’t really that understood. It improved my abilities obviously, like how to mix stuff, sound design, having access to resources and knowledge, but it did make me question what ‘my thing’ was. 

Tal: It’s interesting to hear you say that. It sounds like your empathy and collaborative spirit, which are qualities that make you a good engineer, kind of got into tension with this idea of having ‘your thing’ as an artist. It makes me wonder, to what degree is being an artist individualistic? Does each artist need to have their own ‘thing’ in an individual, possessive kind of way?

Swaya: Exactly, and that’s my point. I’m a very community based person. When I was in Montreal, I had a community, and I had music that I understood as being part of me and also part of a broader scene. Going into a space without that shook my foundation in some ways. The impulse when you lose that community is to fall back on the individual, and wonder what’s my identity as an artist? I don’t know if that’s really necessary.

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Tal: It’s so late capitalism to suffer from lack of collective care and then put that blame all on yourself, right? Isn’t that the capitalist condition? 

Swaya: Exactly!

Tal: Do you think differently about your solo releases than you do the collaborative work you’ve put out?

Swaya: It all feels part of the same thread. The 23 EP for me was different because it was a lot of dance music, as opposed to the more weird, experimental hybrid shit I was doing before. I really made that whole album alone in my basement in Boston. Being alone made me think of nightclub spaces because I was reflecting on my time in Montreal. I spent so much time there, and it was so formative for me. Then, because I was back at my parents’ house, which was such a drastic shift, I think I felt a profound absence on a lot of levels.

In terms of my life and friends, but also in terms of the identity and sense of self that I’d developed and grown into over time. I find that my sense of self is very bound up in my relationships with other people, so moving actually made it really hard to feel that self. That’s not so much what I was thinking about when I made 23, but that’s what I was going through while I was making it. 

Tal: So how has your relationship to creativity and making music changed during coronavirus and the social uprising we’re seeing around the US?

Swaya: I will say for me, honestly, the pandemic has been an important time to evaluate my ego, to evaluate what I think I deserve, and what I actually contribute. Then, when the George Floyd protests started, for me, making music was not a priority at all. I’m still navigating what it means to bring my abolitionist ideas and politics into my work as a musician, but my immediate idea was that that space was less important than what’s going on in the street. That’s where my attention went, that’s why I got into doing the mutual aid work.

Tal: Right, so where are you at with bringing your politics into your artistry? Or how are you thinking about that question?

Swaya: I’m thinking about it more on the community scene level. There are huge problems with the industry, which isn’t sustainable or profitable for anyone. The people who are able to work the way I do often get their start because they have class privilege, access to resources, that sort of stuff. I mean, there are lots of questions I have for myself about what it means to be working with rappers, what it means to be a white person in this space. And I think part of why I talk about abolition is that I’m not really looking for band-aid or charitable solutions, I’m looking for real shifts, you know? 

Tal: As someone who’s working as an engineer in these industry spaces and has experience as an artist too, what are some things you’ve learned or experienced about the music industry that you think people outside maybe don’t know about or don’t think about?

Swaya: Well, the industry is so unprofessional. I just didn’t know that you can be the biggest producer, the biggest engineer, whatever, and you still might not get paid. You know what I mean? It could be a project with a huge artist. There’s no protection built in. I think what we’re learning -- and why I appreciate bandcamp, the electronic scene, and the people around me -- is that a lot of the positions we have in the industry exist to put money that comes from your music into other people’s pockets.

Because I’m just an engineer and I mostly function in underground scenes, I’ve only seen the tip of the iceberg. But, in my experience working with other people and seeing other people I know work with labels and booking agents and that sort of stuff, honestly, DIY and community-based work can often be more transparent and actually help you make more money.

Back when I was still DJing, there were big events with big headliners that I did where I got paid less than I did DJing like an underground rave. It was pretty surprising to be paid less to perform at big events run by organizations with resources, opening for big headliners, than I was for playing my friends’ rave at an underground space like Cyberia. I think people don't realize that big corporations and nonprofits pay so little like that.

Tal: Something we’ve talked about in the past that I wanted to ask about here is social media use and social media brand for an artist. As someone who’s not aggressively marketing yourself through social media, have you felt like that’s affected your experience in the studio or other professional spaces outside of Montreal?

Swaya: Yea definitely. I find it frustrating that whenever I show any hesitance or disdain for using social media to brand myself, people take that as me not wanting to be a serious artist. 

Tal: Can you expand on that? Why do you make that choice for yourself, and how have people perceived it?

Swaya: With all the changes I’ve gone through, I haven’t felt the energy or desire to promote myself in that way. That may change, but in the context of the studio, my resounding feeling has been that people take it like being lowkey on social media or not aggressively promoting yourself means that you’re not serious about music, which is really frustrating. I’ve sometimes felt like I was less respected than other people in the room because I wasn’t doing quite the same thing. I don’t have anything against social media, I really think that it’s a great tool. I just wish sometimes that people would do more to interpret what’s actually going on in the room in the moment. My issue is really with the disrespect. 

When artists who I haven’t met yet hit me up, the way I originally meet them is through their social media, but what I’ve learned is that that doesn’t correlate to them as an artist, or how they treat you. It can be interesting: someone who seems like a random person who isn’t doing too much can be a super talented artist. Also, what goes on in the studio can be really removed from what goes on in social media; there are all kinds of moments and things that happen in the process of making the music that no one is ever going to see. All these people who are involved that no one else is gonna know were involved. There are all kinds of people who have worked with big artists, or are integral to the music scene that stay out of sight.

Tal: Like engineers and songwriters?

Swaya: Yea, but also homies. I feel like people can come up by being in the spaces and knowing people, or they can come up on social media. And there are differences.

Tal: Talking about all the people behind the scenes who go uncredited, the illusions of how an artist comes up alone, and hearing about all the people who are actually involved in that, it does seem to reinforce this idea that music-making is inevitably social and communal, even if that can be masked.

Swaya: Hell yea. Definitely, I agree. And there are lots of people who come up with each other and credit each other, and there are also lots of people who are intimately involved in the process who don’t necessarily want to be in the limelight. These things can exist at once.

Tal: What are some ideas or conversations you’ve been a part of that give you hope or optimism for life in the music industry?

Swaya: I’m still searching for answers on a lot of fronts. But, for example, we were in the studio the other day talking about different label deals; there was an artist in there who had some interest from people trying to sign her, and Tony [Seltzer] and I were talking about how when you have new artists who are starting to build a name for themselves, it’s so important to give them guidance, to give them a sense of what their options are. Because the industry won’t give them that. The ability to provide guidance and knowledge and resources is really important and useful.

On the other side of things, one thing that makes me feel hope is Bandcamp. It’s not anything radical at this point, but it’s nice seeing people I know deciding they don’t need a label, and they can put their shit out themselves and get some money directly. When I think about the radical possibilities of music, I think about music no longer being a commodity, but that gets a little heady and hard to think about at this time. When music isn’t a commodity, I mean, I don’t know if that’s possible. Those of us who are white or non-Black, isn’t our relationship to dance music or hip hop always commodifying? You know, I don’t know. 

But ultimately the strength that I’ve been finding is in community, always. Coming back to that, trying to build that here in a new space with new people. 

Tal: Are there any artists or other people in your life who you want to shout out or give thanks to while we’re here talking about community, and we have this platform?

Swaya: I’m shocked I haven’t mentioned this already, but earlier in the pandemic, me and a couple friends reached out to each other - it happened kind of simultaneously - and we decided to form a little group. We had all been thinking of forming a collective, not a front-facing one, like a brand, but an inward facing one, sort of an internal support network of people who work in music. So we’ve been meeting sporadically, talking through insecurities, talking through industry, talking through all sorts of issues that we face. That’s been really grounding for me and much needed, so huge shout out to them: D-Grade, Remote Access, DJ Pacifier, Mvcoko.

I want more people to listen to Valeda’s music since it’s so good. I’ve been enjoying keeping in touch with homies like Tati Au Miel and LUNÁTICA, who make amazing music. In terms of rappers I would say Harocaz, who’s in Boston and has great songs. My friend GIB DJ, he’s an amazing producer from Boston. We started having zoom hangouts and playing beats with each other, and we’d call out and invite other people to come. There were some great people involved in that, like my friend Magella who’s a great musician from Montreal and my friend Lucas, whose artist name is Jamesboy.

Also huge shout out to John Scott at Phoenix Down for giving me a chance to intern at your studio and learn essentially everything I now know about audio engineering. Shout out to the other Phoenix homies as well. Shout out to Tony Seltzer, for being really helpful and supportive and cool welcoming me into his space. Finally, shoutout to my friends and roommates who’ve supported me, Cecilia, Michelle, Marie, you.

ʚïɞ ® producer, engineer, dj jacuzzi co-organizer contact: swaya96@gmail.com

Oddysseys Debut Lyric Video for "Body Heat"

Via Oddyssey’s lyric video for Body Heat

Your favourite post-punk band Oddysseys is back again with a colourful and dynamic lyric video for their latest release Body Heat.

If the song alone wasn’t enough, the video is the perfect encapsulation of wanting to dance in a dark room with neon lights at your favourite band’s show. The cascading, angular guitar and energetic drums are paired with bright colours and gritty textures that make your emotions surge. Wow, can you tell we miss live music?

The video includes footage captured on Oddysseys' 2019 tour of the northeast, along with a number of shows they've played in Los Angeles since then. All of the footage was shot and edited by founding members of the band Paul DiRico and Christian Treon. 

Watch the lyric video for Body Heat below

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Black Folks Don't Swim? on Slut Island, the DC Creative Scene & Motherhood

Black Folks Don’t Swim? is a soulful Black music machine from space that must be pronounced with the upswing inflection common to any great question pondered by minds of the time. Led by a core ensemble of BlaQueers, their music floats through a myriad of liberating sonic traditions including Blue note jazz, polyrhythmic future funk, Shout! and the Neo Soul of Rhythm and Blues.

Based within the DC Metro area, their soulful arrangements resonate in venues where artistic expression lives and breathes and they collectively continue to expand their magnetic energy locally globally. Black Folks Don’t Swim? is not a statement, rather an intentional prompt to examine the thought processes and conditioning of popular beliefs and the power structures that be.

We caught up with their singer Kailasa to learn more about the band and their upcoming Slut Island performance.

This interview was conducted over Zoom and was condensed and edited for clarity.

Malaika Astorga for Also Cool: Tell us a bit about who you are, what you do, and maybe a bit about like the music/creative scene that you're involved in with where you're from.

Kailasa for Black Folk Don't Swim?: My name is Kailasa. I grew up in DC, and I pretty much grew up in all art scenes. I would say mostly theatre, the umbrella of theatre and performing. I went to a performance arts high school, Duke Ellington, and got to know different theatre branches, which led me to want to perform more.

I've been in a band for the past three years. For a while, I had a vision of jamming or having a band that was mostly femme or queer led. That manifestation came in 2017. Having this band has been everything that I would want for it to be. I'm also learning that I don't necessarily fit in a genre. The band itself is like that space music. It's sound effects and soul.

Also Cool: That's so beautiful. I always find it so interesting when people have different mediums that come together into one.

I know you wanted to talk about your relationship with creativity. I'm really interested in how creativity has been in your life in different forms throughout your life. Where are you at with it now, with the band and also yourself personally?

Kailasa: When I was younger, creating came from my mom. Her influence came from the music she brought in and whatever she exposed us to, including plays and productions. So we really got to see behind the scenes of how everything is put together. That brought out my wanting to arrange and create things.

It really started with like Barbie dolls. I had a bookcase of Barbie dolls and layouts, and I'd arrange them all in scenes. It's funny because now I'm starting to explore set design. When I feed my curiosities, I get to see how they blossom in other forms.

AC: Do you feel like your creativity comes from one world that you're expanding on? Or do you feel like your different mediums are like pretty separate from each other?

Kailasa: Everything blends. I feel like I haven't really had a big debut project or anything like that. And if I did, it would be just be everything. Poetry, song, sounds...

Even in set design, I get inspired. Like when I did this set design project over the summer, I also wanted to be a director and the costume person. When it's a project that somebody is inviting me to do, and it's more specific for them, then, you know, I have to channel their vision.

AC: That's so fun that you're just like inspired by everything you do, and you want to do more. Is your job creative, or do you keep your creative work and like your "work" separate? How do you keep yourself from burning out or feeling uninspired?

Kailasa: Hmm. I like to practice yoga, and really whatever calls to me at that moment. But if I have a specific goal, I know that I have to research something and get it under my belt. But for the most part, if I'm feeling uninspired or low, I'll do something I like, or I'll go somewhere I've never been before. I went to a vineyard a couple of weeks ago with some friends, which was a refresher.

I’ve been a mom for about nine years now and this has altered the way I move about in the world. I’ve made up my mind to pursue what makes me happiest and go where spirit guides me - in part due to observing my mother’s choices and  taking a different path. My mother sacrificed her dreams and creativity thinking that would make her children’s lives better. Unfortunately that caused an imbalance in her and led to disease. 

Making a way for my creative expression to sustain me has been so deeply rewarding and so worth it. I love that my daughter is able to see me invest in all sides myself. 

AC: I was going to ask you where do you get your inspiration? Both from like music and then otherwise.

Kailasa: Inspiration for music comes from life experiences and relationships. One day I'll develop some abstract conceptual lyrics or something, but right now, it's just facts.

I might jazz it up a little bit or, you know, it'll be about pleasure or having a good time. Enjoying yourself, encouraging yourself, whatever. But it really comes from real-life experiences.

AC: Are there any artists or albums that you listen to constantly or always go back to?

Kailasa: Stevie Wonder is always somebody that I can connect my heart and mind to. I also like discovering new art. Well, new to me. Becca Stevens and Mitski are some examples.

AC: What is your performance like with your band? What do your performances usually look like and, and feel like to you? How has that changed since quarantine?

Kailasa: Our bass player came up with a good description of how our performance is. Sometimes it feels like a wild car ride with all the windows down. We'll all be falling out of the car, and our drummer will pull us back in.

AC: What can we expect from your upcoming performance?

Kailasa: It's a pre-recorded session in this house called the House of Secrets. We have two backup singers, which we've never had before. It's an older house in DC used mostly to gather artists, DJs, and musicians, and they have a jam room upstairs.

AC: What, what is, what does personal success mean to you right now?

Kailasa: It means being content. Sometimes it's simply like getting up out of the bathwater. And then acknowledging that, you know, I feel good. Defining success for yourself is it a big thing. Loving yourself is is successful.

AC: What do you have planned with the band?

Kailasa: We're focusing on mixing our music and getting it published. We also gotta raise some funds for the people working on our album. So we're gonna come up with some merchandise and start promoting that.

Catch Black Folks Don’t Swim?’s performance with Slut Island this Thursday.

Black Folks Don’t Swim?

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MILLY Debuts Video for "Star Thistle Blossom" feat. Ketchup Jesus

Via Dangerbird Records

Ketchup Jesus debuts as a shoegaze star in MILLY's latest music video for their song Star Thistle Blossom (Dangerbird Records). 

MILLY is a four-piece shoegaze band from Los Angeles. Their slow and fuzzy sound, balanced with vocals, are led by singer/guitarist/songwriter Brendan Dyer, with Spencer Light on guitar, Yarden Erez on bass, and Zach Capitti Fenton on drums. For fans of Spencer Radcliffe, Slowdive, and Sparklehorse, MILLY is the kind of music you listen to when you're reminiscing about the summertime and missing your friends. 

In their video for Star Thistle Blossom (directed by Justice Vaughn Ott), we follow the journey of a white t-shirt that gains stardom via an accidental Jesus-shaped ketchup stain. 

On the origins of the song, Dyer says, "I wrote it back in 2017 when I was working at Whole Foods. I was stocking honey on the shelf and was intrigued by Star Thistle Blossom honey. There's a lot of health superpowers in honey, and I like the theme of tying in being healthy with feeling strong mentally. The chorus is an acknowledgment to understanding loss but having hope in something and that it always gets better. Even if that's not true, it still feels helpful."

Watch the video for Star Thistle Blossom out now.

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.

Premiere: These Things Take Time Vol. 002 - "In My Dreams, All Night Long"

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A chaotic full moon, another lockdown, and an endless deluge of shocking news call for a much-needed break. It’s Bandcamp Friday after all, so another great opportunity to stock up on some dreamy dance tunes. Support Black artists, support your friends, support your community.

The LA-based label, These Things Take Time, is releasing their second compilation album today, featuring several track by familiar faces - Martyn Bootyspoon, Farren Laen, Unknown Mobile, and Regularfantasy. It seems like everything takes ~ a lot ~ more time these days, but as we’re all learning, you have to be patient with yourself - this album acknowledges that the time you invest pays off.

Press release below:

Title track, “Caress,” is the latest work by the talented flora resident, Sweater, from our old home in Philadelphia. Following is Vancouver's Livy Lou’s masterful “Running Around,” ideal for the escapism world we need so desperately right now. Next up fellow Canadian, Martyn Bootyspoon, comes with the highway go to, “Throw It In Reverse.” We are very happy to welcome Martyn and more Montreal greats to the label. Farren Laen is one of these greats. Running a label with Martyn in Montreal, and delivering the graceful “Sydney.” Our lovely and familiar label mate, DJ Dre continues with a new touch to his sound resume with “LVR.” Unknown Mobile stays on beat with “Tired,” a true gem waiting for the dancefloor in the future. Switching up is production duo Blue Island Ave from the Pilsen neighborhood of Chicago; much more to come from them. The head, B. Hayes, and highly illusive Flourene then conclude in relaxed, downtempo energy. Thank you for listening.

“In my dreams, all night long”

THESE THINGS TAKE TIME 2020

releases October 9, 2020

Compilation: Vol. 002 by These Things Take Time / In Passing, releases 09 October 2020 1. Sweater - Caress 2. Regularfantasy - Running Around 3. Martyn Bootyspoon - Throw It In Reverse 4. Farren Laen - Sydney 5. DJ Dre - LVR 6. Unknown Mobile - Tired 7.

Check out a sneak peak of “Running Around” at this summer’s online Refraction Festival, featuring a Regularfantasy performance filmed by Ariana Molly:

Premiere: Thomas Molander's "Third Walk" is a Psychedelic Dream of the Past and Future

Via Thomas Molander

“Our faces on wet grass, our walk is ending at last…” Thomas Molander’s warm and fuzzy vocals drift with us through a psychedelic daydream of what life used to be like, while offering a silver lining vision for what tomorrow may bring.

Via Thomas Molander

Today Molander premieres the music video for his song Third Walk, off his recently released album The Walk. The video directed by Sandy Spink, Toronto-based designer and director, and was created with the video game engine Unity, the programming language Max/MSP, and the video editing software Adobe Audition.

The video’s concept hinges on the contrast between analogue and digital aesthetics, mirrored by the music’s embracing of antiquated and modern recording styles. New words and landscapes emerge cyclically, building themselves and deteriorate endlessly. Walls fall and a building rises up from the sea amidst a perspective slowly creeping and rotating.

For fans of The Kinks, 60s fuzz, and early-internet psychedelic aesthetics, this one’s for you.

Watch the video for Third Walk now

Thomas Molander

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Welcome Home: Getting to Know Hannah Cohen

During quarantine, days feel long and hours even longer. Some of our thoughts get stuck in a loop of different hopes, anxieties, and boredom - at least mine do. Sometimes I spent the whole day thinking, "Am I gonna stay in sweatpants forever?", "Will the next season of Euphoria will be on Zoom because people can't go outside?", "Are my grandparents ok?"

One day, my brain just slowed down, and with it came more empathy for my body and heart. Suddenly, I enjoyed being alone in my apartment, drinking tea to strengthen my immune system. 

During one of my Release Radar listening sessions on Spotify, a sweet angelic voice began to sing. The song was This Is Your Life, from New York-based singer-songwriter Hannah Cohen's third album, Welcome Home, released in 2019.  

Hanna's sound on the album is dreamy, introspective and extremely comfortable. Mixing folk and pop, she invites you to meet her intimacy in a Carole King mood. For me, it was truly a sparkling moment to my ears and thoughts. Each instrument she uses from bursts of pulsing guitar, bass, or drums can captivate joy and lightness in our darkest times.

The album's atmosphere echoes a day lying in the grass, watching the sun, reflecting on thoughts, and drinking a nice cold tea by the pool. Hannah's music is totally a must for you romantics out there.  

I had the pleasure to talk to her about her album, inspirations, her creative process during quarantine and more. 

Photo via Hannah Cohen

This interview has been edited and condensed for clarity.

João Rodolfo for Also Cool Mag: What does Welcome Home represent to you? What do you want people to feel while they listen to it? 

Hannah Cohen: For me, the songs felt like a meditation on the things I wanted to manifest in my life. I wanted change, a fresh start. I wanted to create a real home for myself physically and spiritually. All the constant energy of the city was too intense for my nervous system. I never felt like I was at home when I was living in NYC.

Also Cool: In your lyrics, we can feel that you were in a state of self-examination, isolation and outgrowing what no longer served you. Could you tell us more about your experiences while creating Welcome Home? 

Hannah: When I was writing the songs for Welcome Home, I finally realized I needed to leave the city. Moving to the countryside was a very intimidating and foreign idea to me, but I knew I needed a big change. 

I was scared to make such a drastic change in my life, but I felt that would be the only way to really shake things up. I feel like the universe notices when you make big shifts, and things will start to fall into places quicker than you'd think.  

Photo via Hannah Cohen

AC: Which song off the album is your favourite, and why? 

Hannah: I would say Old Bruiser is my favourite. It is a capsule of a really special time for me when I was letting go of things that weren't serving me anymore.  

AC: During these dark times and lockdowns, what can we learn about isolation with Welcome Home?

Hannah: Home can be anywhere you feel safe. Try to find that space in your mind. 

Hannah Cohen

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João Rodolfo is a trend forecaster, pop culture lover, writer and editor in chief of Sticky Icky Mag and Emma Roberts enthusiast.  

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Fruition Collective Announce Panel Series on Colourism & White-Passing Privilege

If we know anything for certain, it's that there are always more ways that we can be learning, growing and doing better for our community. So who better to learn from than Fruition? Their upcoming panels on colourism in October are the perfect opportunity for our community and us to continue to educate ourselves on how we can be and do better.

Fruition collective is created by and for QTBIPOCs to have a space to create, learn and build freely. The collective provides tools to ensure QTBIPOCs security, survival, and safety on their identity, existence and artistry. 

One way they have been doing this has been by curating a virtual summer series in collaboration with the Center of Gender Advocacy. The virtual summer series, We Thrive 2020, tackled many different topics including: self-care and community care, Ballroom Houses takeover, and now colourism, white-passing privilege within (QT)BIPOC communities and how to actively show up. 

Here's the rundown of these October's workshops:

Week 1 (October 2nd - 6pm): Black panellists' panel discussion on colorism and white-passing privilege

Week 2 (around Halloween/TBA): Indigenous and Afro-Indigenous panellists discuss anti-Blackness and colorism and white-passing privilege 

Week 1 will feature the perspectives and lived experiences of Black community members from diverse backgrounds. Panellists will discuss how colorism and white-passing privilege impact Black liberation organizing spaces and share from their lived experiences. Panellists will reflect on their experiences as cultural producers and community organizers across disciplines. This panel highlights queer and gender diverse perspectives across Black communities.

Event format:

• Panel on Zoom (Zoom ID given the day of). Panel is an hour and a half

• 1 hour section:

           Moderator - Chiakoun

Ask Question 1: Each panelist Answers

No discussion in between

Ask Question 2: Each panelist Answers

Ask Question 3: Each panelist Answers

And so forth

• 30 minutes section:

At the end, there will be a 30 minutes for audience to submit questions and whoever wants to answer can

Facebook Event

Fruition

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Also Cool x POP Montreal Premiere: Eve Parker Finley's "Come With Me"

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Photo credit: Laurence Philomène

While a caterpillar enters a chrysalis before transforming into a butterfly, Eve Parker Finley’s seamless blends of classical, electronic, ambient, indie pop, and folk music create safe spaces for listeners to reconcile with their emotions - and maybe even with their own transformations. The Montreal-based producer, multi-instrumentalist, media maker, and facilitator is premiering “Come With Me” (linked at the end) off her debut album Chrysalia, which will be released on December  4th with Florafone Records and Coax Records. She is also performing at this year’s POP Montreal on the Rialto Theatre rooftop at 3pm on September 24th - tickets are still available to see her IRL! We caught up with her on the new album, making video art, TikTok, and filming a video for virtual Miss Gay Panama 2020. Indulge below:

Maya for Also Cool Mag: You're releasing a new album - what's it about?

Eve Parker Finley: I'm releasing my first full album, and the official date is now December 4th, which is super exciting. It's called Chrysalia, and it's a bunch of songs that I've written over the past year or two years. I recorded it last summer with my friend Ky Brooks and I'm super happy with it. It's called Chrysalia because there's this word, “chrysalism”, that describes that feeling of pleasure you get when you're inside during a thunderstorm. So that, mixed with chrysalis, which obviously everyone thinks is what a caterpillar goes into to be safe and calm before it turns into a butterfly.

But actually, in the chrysalis, the caterpillar turns into a pile of goo and has to reconstitute itself - and it's super messy and gross. So [a combination of] those two things, plus I wanted it to sound a little more feminine, so that's why it's Chrysalia.

MH: You made a post on Instagram where you were talking about the idea of transformation - was that tying into the theme of this album and the title itself?

I feel like I'm always trying to reinvent myself. It ties back to my experiences through life and music. When I was a kid, I was in the classical music world from age four to 17, and I learned a lot through that, but I also found the culture really restrictive.

I remember my violin teacher was even like, "No one can wear nail polish or watches, or even too much jewelry here, because it's distracting,” and we'd play these competitions where people would finish and then bow to the three people in the room - and then everyone would be like, dead silent.

It was such an uptight culture - and no wonder so many people leave and stop playing music because of that. So I fell out of love with music when I was 17 and moved to Montreal. Here I found another way to do music and fell into more of a music scene. I eventually found my way back to violin electronics in a way that I found more exciting.

I started making music on my own, changed the genre of music I was making a bunch of times, changed names a few times. Now we're here in - I don't think my final form - but here we are.

MH: So no longer Lonely Boa? Or is that still a name that you go by for certain projects?

Lonely Boa has been retired.

It was definitely a really hard decision. I spent a lot of quarantine thinking about it. It's really scary to just start releasing music by your own name. That name of Lonely Boa has been really helpful for me to have a constant stage name throughout a bunch of gender name changes. But now it's time to come into my own and just be like, "I'm this person making this music and doing all these other things and they're all me and I am all of them."

MH: Going back to the notion of goo in a cocoon - is there something about the texture of sludge that interested you?

Yeah, totally. There are a couple songs on the album that are what I would describe as sludgy. The album is a kind of mix of genres. There are a couple songs that are contemporary classical, a couple songs that are more like indie pop bangers, alternative pop bangers. And then there are a couple of drone-ey, sludgy songs.

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MH: So you're making electronic music that’s meshed with more classical sounds - and maybe you're just creating your own genre - but what influences do you have for that?

For the longest time I had trouble describing what kind of music I made, and then I was like, "Oh, why am I trying to put this into a box?" I don't think people want to listen to just one kind of music anymore. I like to say that my music floats between three points of a triangle, which are indie pop/electronica, drone-y ambient, and contemporary classical.

MH: What are you listening to? What kind of music are you into that maybe isn't even related to what you're making? What do you find cool?

If you scroll through my Spotify "liked" songs playlist, you will find a big mix of pure pop music - you have Gaga, I've been really obsessed with the pussycat dolls recently (again) -  but I also love Tame Impala, indie pop music, I love some R&B, and a lot of folk-y/new folk music. I also love some noise stuff - like ARCA.

MH: What have you been up to these past few months - I noticed you had gotten into video production and were somehow involved in Miss Gay Panama? Like... I need to know.

So, I had a bit of a life change the past half a year. Back in January, I felt burnt out at my stressful job at McGill. I left in January, and then moved into an apartment by myself for the first time - and a month later the shit hit the fan!

 [During lockdown] I really had to learn how to be by myself and how to cancel out everything I thought I was going to do - all the shows, I was going on tour in June - and just  learn how to take care of myself and cook food, do laundry, and sleep.

I wanted to see what would happen if I could really focus on music in the next couple of years. [Because] when the pandemic happened, I was like, "Oh my God, what am I supposed to do? What can I do? What do I need to do?"

I thought about something I could easily share and realized I could start making videos. It seems like all of a sudden many of us [artists] have had to become video creators in a way that we weren't necessarily before.

I helped my friend win Miss Gay Panama Virtual 2020, which was so fun. We produced four different videos for the different categories - and it was really cool that she could participate from afar. We did a scrappy DIY - just a camera, a couple of lights, a little stabilizer borrowed from a friend, and a few friends helping - and we won!

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MH: Did you also get into TikTok?

I fell deep into the TikTok hole. I'm not as deep into it as I was a month ago, but it's so weird - it's beautiful and funny and intense, but it's also clearly designed to be this addictive feed of dopamine-releasing content. As much as I find it entertaining and love the medium and the style of wacky videos that people do, I don't want to get caught up in [a fad].

MH: Just last night I watched that Netflix documentary on social media called The Social Dilemma. It's interesting because TikTok and Instagram have been such important points of communication throughout the pandemic, and while we've all binge-scrolled on those platforms and know that they're unhealthy, [during the pandemic] social media has also been really helpful for people to feel less alone.

Don't get me started on The Social Dilemma - I thought it was informative and I agreed with a lot of it, but they kept saying that there's nothing good about social media, that it's not a tool for anything. just an addiction, made for advertising, whatever. But people find community through those things, especially when they're isolated, and I think that's legitimate.

MH: I think it's also an important resource for information that we've all been learning to take advantage of, especially these past few months.

Also good to remember it's controlled by a company.

MH: You're doing music full-time time now, while also not being able to have in-person gigs and go on tour like before - how has that transition been for you?

At first it was terrifying, because I was like, "How is this possible?" The CERB has been really helpful, but I'm not in a place of making any money from music yet. I'm just investing in it now - I'll see what happens. At the beginning it was stressful, but it's also been very exciting to see this real energy to create new things.

There seems to be a new kind of economy popping up, like Bandcamp Fridays, where a hundred percent [of the proceeds] goes to the artists - and that's been super helpful. A bunch of live streaming gigs have also started to happen - I did a gig for Suoni Per Il Popolo and this thing called Arts Cast, and I got paid to do it, and felt awesome to play a show. It was my first show since the pandemic, no audience, but we took the visual of it so seriously - there were five different camera angles, we made the set, designed the colors and everything.

People always find a way to play and share music.

Check out “Come With Me” on Bandcamp

Come With Me by Eve Parker Finley, released 17 September 2020 It took a Long time to find you and fine Me. But now we are Both free. So won't you come with me. Won't you come with me? Take me to the clouds. Won't you come with me.

Violin, Vox, Electronics, Sax by Eve Parker Finley
Written by Eve Parker Finley
Recording and Mixing by Ky Brooks
Cello by Alexis Castrogiovanni
Viola by Gwendolyne Krasnicki
Mastered by Harris Newman (Greymarket Mastering)
Recorded at The Pines in Montreal, Quebec

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Also Cool x POP Montreal Artist Spotlight: NOVEMBER

POP Montreal returns this year in a hybrid format (with both online and COVID-safe IRL events), ready to fill the void with good tunes and incredible talent. We're proud to announce our partnership with them, promoting some of our favourite artists.

First up, we have the dreamy NOVEMBER, who will be playing on Saturday the 26th, at the Rialto Clubhouse. Get your tickets and check out the even here.

Malaika for Also Cool Mag: How did music enter your life? What's your relationship to music like now?

NOVEMBER: Music was always present at home. I grew up with a single Haitian mother, and not only is music imbued in our culture, but she always said, "We aren't at church, the house doesn't need to be quiet." So something like an 80s power ballad or kompa was always playing in the background. 

I got into it more as an art in my teens as I started finding myself and discovering music by myself. Demon Days by the Gorillaz was pivotal for me as a kid. It was when I was really like, "Ok, I want to make people feel the things I'm feeling now." It took me a while from that point to even admit what I wanted to do out loud. Still, by then, I had started absorbing any music I could listen to and refining my own sensibilities. 

My relationship to music has really strengthened over the years. As it's become more of my career, I was genuinely scared there would be some tainted feels in mixing the art with more business stuff. But before anything, it will always be the most raw and spiritual way I express myself and process life. I'll never not make music, and I'll never not love it. 

Also Cool: Who are your musical inspirations? What are your favourite albums right now?

NOVEMBER: I've always been very inspired by fearless women. I'm a huge Lady Gaga fan and was blown away by Chromatica. Solange and FKA twigs are also two artists who's complete vision I'm just in awe of. Both released last year but When I Get Home and Magdalene were in my top played records for 2019. 

I'd say Dépêche Mode are also huge influences on my sound, and their music is sacred to me. Violator and Black Celebration are up there, but it's all amazing. I also adore George Michael and am influenced by him too. He had this amazing voice, made most of his music himself and seemed like a beautiful soul. I mentioned the Gorillaz, but really all of Damon Albarn's projects have impacted me, and I think he's a legend. 

Other albums I loved this year were; What We Drew by Yaeji, which is an amazing exploration of this soundscape, What's Your Pleasure? by Jessie Ware is disco fire, Mordechai by Khruangbin who are one of my favourite bands, Ungodly Hour by Chloe x Halle which is just excellent, how I'm feeling now by Charli XCX and Sawayama by Rina Sawayama both of which are amazing expansions on what pop music is. An album I've found myself going back to over the years to The Worry by Seekae, who are this Australian act. The record is perfect from start to finish. I'm really into the album experience. 

AC: What are your non-musical inspirations? 

NOVEMBER: I've always had a deep appreciation for visual artists and what they do. I love photography and try to see as much as possible through online mediums primarily. When I find photographers I like, I get very into their work. Right now Ren Hang is an artist whose photography I'm really into. 

Besides that, I love museums. I usually visit one wherever I'm playing a show and have a membership to the Fine Arts Museums in Montreal. I also love taking walks in nature, if possible. I love to observe life around me. Lastly, I love being around water, which is ironic because I can't swim. I recently saw the Atlantic for the first time, and it was crazy!! I'm the type to just sit and stare out for hours just thinking, writing, looking. And don't let me get a joint cause then it's doubled. 

AC: What's your experience been like with the Montreal music scene? Do you have any advice for anyone wanting to launch their own project, but who aren't sure how?

NOVEMBER: On one hand, incredibly supportive and uplifting. Many of the opportunities I've had so far have come from people in this city, rooting and pulling for me. People have been very real in this city because they've supported me because of my talent first, which has helped me grow in other areas. Everything kinda snowballs, and opportunities like the ones given to me by the POP team have helped. 

On the other hand, I can live in the real world and say I've seen people come out of nowhere and get much more, much faster. It's all good because there's enough cake on the table, and I truly believe that, but hey, would things be easier if I was white and playing acoustic guitar? Probably. That issue isn't just a Montreal one, though. 

My advice, which disclaimer is biased towards singer/songwriters, would be first off just experiment at home. Download whatever DAW and learn basics from YouTube and forums. You don't need to become a super producer if that's not what your thing is, but always have enough vocabulary to articulate what you want to, whoever you work with. Otherwise, everyone will try to impose their vision of you onto you. Your vision of self needs to be definite and self-created. Other than that, I'd say if your project has vocals, please, you don't need to be an amazing vocalist. I really believe in just being good enough to express your own vision. BUT if you have live vocals, make sure your lyrics get heard. I've seen and played lots of shows, and the strangers you'll be courting into becoming fans when you're the first act of a four-act bill will focus much more if they know what they're hearing. 

AC: You describe your music as "lovers with open eyes." If you could describe your songs as different kinds of lovers; Who are they, and what kind of dates would they take you on?

NOVEMBER: All my songs are the kind of lovers who cry, for whatever reason, but it happens. Maybe they're tears of joy. They write poetry, lay their feelings out for you and do that neck kiss thing. The dates would involve a museum, a smoke in the park, a movie in a small theatre (cause distancing), and late dinner after another smoke. 

AC: What's one thing that has helped you grow as a person and a musician over this quarantine?

NOVEMBER: Realizing I'm much more capable as an artist and business person than I thought. I finished my BFA in acting during the pandemic, and that helped me come into myself more. I became more able to negotiate for myself and generally be like ok this "what I do." I think I assumed success meant outsourcing a lot creatively, which wasn't how I liked to work. I rediscovered confidence in producing, visuals etc that I hadn't felt since I was a teen just trying shit out. 

AC: Wrapping up, what can we expect from your POP performance, and what's the best way to directly support you?

NOVEMBER: First off vocals. Some people have really cool bass solos, but I've got my voice. It's always been a main component of my sound. I'll be premiering my new song, Jerome, which is coming out right after POP on October 2nd. This will be my last performance before I release a new EP, so it's at least a temporary farewell to songs I've had in my set for years. Because of this, I wanted to update some older songs and add a few new layers to them. 

Other than that, you can always expect to feel something strong from my shows. Whatever that is is up to you. 

NOVEMBER

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Montreal-based Molyness brings Berlin, and Moroccan fusion to the techno scene

Photo of Molyness by Moussa Fellahi

This interview was initially recorded in French, translated by the author.

Having moved to Montreal from Morocco three years ago to pursue her passion for electronic music, Ines Mouline – better known as Molyness – brings a fusion of Gnawa, Sub-Saharan, Berlinesque, and orchestral influences into the scene, and her art.

I first met Mouline last summer at a techno afternoon party in the Mile-End. My friend introduced me to her, and I got to see her mix a set for the first time at the Newhaus, a club downtown where she has often played. It was back in Winter, we took a taxi down to the club lit with blue lights, behind a hidden door in the Dirty Dogs on de Maisonneuve. From there on I got to see Mouline frequently play, either at house parties, outdoor raves or larger venues.

Nestled in the back room of Le Café Depanneur, Mouline and I discussed her upbringing, her influences, the beginnings of her musical path, and her positionality in the electronic scene of Montreal.

Photo of Molyness by Soline Van de Moortele

The style of her music is rooted in her attachment to her native Moroccan culture. She describes her style as “melodic-techno.” Mouline was born in Casablanca, but spent most of her childhood and teen years in the capital, Rabat. It was here that Mouline began her musical career. She grew up seeped in music, her mother pushing her to play piano, and gave her rock & roll influences – particularly, Pink Floyd, whose long intros and sound design have inspired Mouline in her musical production.

At a young age, her mother, a musician, had her playing piano, guitar, and later the bass. “My mother is one of the people who enriches me the most,” she said, “in what I do, in the sense that she encouraged me from the beginning. She let me leave so I could pursue something that I love and that impassions me.”

She began playing electronic music in highschool, as it became “la tendance,” the trend. New electronic music gear was hard to come by in Morocco – when she visited Medina with her mom, Mouline bought her first used production material, and eventually her dad would bring her back a Pioneer from France. Finally, her first year in Montreal, she purchased her first controller and her Traktor S4 which she continues to use for her live sets.

Photo of Molyness by Moussa Fellahi

Mouline arrived in Montreal three years ago first to complete a certificate at Musictechnic, and after discovering electronic music as an immutable passion during this time, she took the next year off from school to build networks and perform around the city. Last year she began a Bachelors degree at Concordia in electronic music.

Most of Mouline’s evolution as an artist has come from each of her live performances – learning to gauge the public and space is something which demands an interaction with the energy given to her from her audience. “When I compare my first live sets, my first playlists, even people’s reactions, I’m told more and more that in my live sets people are able to better recognize my signature [as an artist]… More and more I let myself go, I let myself experiment a lot more.”

“Each time I perform a live set, it’s an experience, and I learn so much from each one.”

Photo of Molyness by Soline Van de Moortele

The first set she played was in Morocco, at a hotel party with a beautiful view her friend from school invited her to perform at back-to-back. “It was the best way for me to throw myself in front of an audience,” she explained. “It gave me a sense of confidence and that’s what we want.”

Her professional performances in Montreal kick-started when she met Abdel – stage name DJ Adverb – who plugged her for gigs across the city. He connected with her through his cousin who knew Mouline back in Morocco, and invited her to play an opening set for a party he was organizing at the downtown Montreal club the Newhaus: “He told me ‘You’re going to play at the Newhaus, it’s now that I need you.’ He had never heard a set of mine, nothing. He just trusted me.”

Mouline did the opening set for the night, and she recalled the experience as being “totally sick, it was just do dope.” From there on, Abdel became a kind of manager for her, booking her frequent shows at the Newhaus and the Velvet club in Old Port. She’s also played underground parties, in hidden indoor spots with more industrial techno. “I like the underground side, I like the intense side of it, but I think I’m someone who always prefers playing in nature.” In general, Mouline isn’t one to go out a lot in clubs or in raves that she might play in. “I don’t really go out in those places, I’ve never been the clubbing type…It’s an intense lifestyle to go out all the time.”

Photo of Molyness by Moussa Fellahi

I asked Mouline about her biggest influences. “The first, the biggest, is David August.” David August’s Boiler Room set from 2014 was the first set she ever watched. “Honestly, there were no mistakes. His live set was perfect.”

“His album from beginning to end… that’s the kind of thing I want to do. The essence is very different from what I do, but in everything relating to [his] sound design, the way he interacts with the sound, how precise it is.” Him and Nicolas Jaar were the first DJs she followed.

“In music a bit more Arab there’s Shame who’s really good, and Monsieur ID. They play around a lot with Gnawian music.”

Mouline also described to me with passion one of her all-time favorite collaborative albums, “Marhab” by Maalem Mahmoud Guinia, Floating Points, and James Holden. A friend in Morocco showed her the album before she arrived in Canada. The album was done in a town near Marrakech, in Guinia’s home. They spent two-weeks in his home recording the album. “It was just recorded jamming…[I love] that alchemy, and that mixture.”

“[The album] is a good reference to what I want to create,” but with her own, less intense style.

Photo of Molyness by Soline Van de Moortele

As a full-time student whose courses went online, Mouline lost most of her routine structure when the pandemic began raging in Montreal. That said, she was able to be productive, in part in her musical production, and in part in the places she was able to play at. It was the first summer she spent away from Morocco.

“Honestly, it had a more positive than negative impact for me. I recognize we were really lucky to be in Montreal, we weren’t completely restrained, there was trust in the population... There are always phases, moments that are easier than others, moments of putting yourself in question, but I took time for myself.”

“What I loved was that it gave space for newer artists.” Mouline had a chance to play in and organize smaller events at a more local level, rather than going through large, established organizations and collectives.

Photo of Molyness by Moussa Fellahi

With the pandemic raging on and limited access to large events, Mouline believes more local artists will be brought forth. For the Montreal scene, Mouline said she’d “encourage…the push for outdoor parties.”

There are some, including Piknic Electronik and Igloofest. “But the prices keep going up…. I’d want to keep the spirit of Montreal…Everyone must feel good. We gotta stop increasing festival prices every year, [and] play more with the local scene. There’s tons of choices here for local talent, and diversity. No need to go far.”

UTOPIA · Utopia x Electroftours presents Molyness

Right as our interview was finishing up and Mouline was getting ready to leave, I wanted to ask her one last question that, as a techno-lover but not a techno-player, I wanted to know: how do you choose your songs?

“This is what I really learned through live performance… Between my first lives and the ones I do now there’s a huge difference. I now realize that the pieces I listen to alone, those that really get me vibing, aren’t necessarily the best for performing. It’s a different approach… I couldn’t give you the exact words to describe which songs I perform live.”

“It’s about the rhythms, and how you bring [the different songs] in. I play around, it takes time, it’s frustrating, you have to listen to a lot of bullshit… it always takes several steps. Some days I go check stuff on Beatport, Bandcamp, a bit of anything, and I transfer them onto my YouTube playlists.”

Molyness

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

Premiere: GG Love - "It Could Still Be A Win"

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Photo credit: Kensey Crane

As the hot summer days come to an end, autumn’s mystery and nostalgia gently envelop us, inspiring reflections on relationships past and present. The leaves might be falling, but MTL pop group GG Love’s new video for “It Could Still Be A Win” from their upcoming album, How Do You Define Love?, channels a golden-hued optimism that may best be attained by dancing with disco balls in an enchanted forest…

Their old-time friend, Regularfantasy (who we also interviewed in January), caught up with Georgia Graham (GG) and James Player (JP) on everything from how the band got together to what their signature Pump Pump moves are (keep reading for context!).

Regularfantasy: Who are GG Love?

Georgia Graham: The project started with just me. I played one solo show in my living room in Vancouver before moving to Montreal. James and I started making music together and it grew into a band, for many years with KÌzis Cota on bass. Now the band includes James, Jane L. Kasowicz Chris Hernandez, and myself.

RF: What does the name mean? I know this was your nickname a while back (back when we used to work together at a hair salon) - how did it come about?

GG: GG are my first and last initials - and Love is my middle name. I typed it into SoundCloud when I made my very first demos without really thinking, and then it just stuck.

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When did it all begin for you, musically? What inspired you to start a band?

GG: I wrote the first GG Love song, Leave Your Car, on a keyboard I found at my mom’s house back in Victoria in 2012. Before that I was writing and performing kinda folk songs and sometimes playing in other people’s rock bands. It felt good to get the drum machines going. 

JP: Georgia and I met while we were in a production of Jesus Christ Superstar. Georgia played Anas, the priest, and I was the guitarist in the band. We started making music together soon after that.

What are you influenced by in your music?

JP: All of us in the band have a lot of diverse musical interests that influence how we make music together. I’m really interested in improvisation, and that’s sort of my approach to guitar playing, both in recording and performing - improvising inside a pop song structure. Lately I like Mary Halvorson a lot.

I also really like 50s pop music and doo-wop.

GG: I love collaborating and am interested in pushing the performance aspect of a live show. Earlier this year I performed as Tall GG on the shoulders of Laura Jeffery (one of the dancers from the music video) wearing a long coat. I can’t really experiment with performance in that way these days, so I’m turning to video to channel some of that energy. 

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What is “It Could Still Be A Win” about?

GG: It’s not about a specific person, but more of a reflection on relationships from my early 20’s. I wrote these lyrics about 5 years ago, so the line about being called out felt a lot more light-hearted. It’s about being skeptical or disappointed by someone, but also seeing their potential. 

Have you acquired any new COVID hobbies?

JP: I started a work out group called Pump Pump. At first it was my friend David and me. Now there are 32 people in the Instagram DM thread - which is the maximum number you can have. You can find us every other day in Jarry Park at either 10am or 6pm by the hill. 

GG: I started sewing and modifying my clothes which feels pretty classic COVID. 

What’s your signature Pump Pump move - GG how’s your knee?

JP: Frog leaps.

GG: Romanian deadlift. I’m trying to remember to do my physio exercises for my knee, thanks for asking.

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What about the vid - where was it filmed? Why frog? Why Clown?

JP: It was filmed on Mont Royal near the cemetery last fall. 

I’m pretty obsessed with Fall. I’m also sort of obsessed with frogs. I had a frog costume in the closet, so this seemed like a good chance to combine the two interests. I also really wanted to film at night and have a fire looking something like the midnight society from AYAOTD (Are You Afraid of the Dark - the 90’s horror series).

GG: A lot of it was improvised so I can’t really explain the clown - it was just the vibe of the moment.

You tend to keep yourself busy - what other projects have you been working on?

GG: I co-curate an annual photography slideshow called Magic Lantern that’s coming up soon. We also just filmed another music video (that features Pump Pump!), so I’m working on editing that. 

JP: I’m going back to school. Electroacoustics. Today’s my first day.

Check out the video for “It Could Still Be A Win” below:

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Old Dog, New Tricks: That Dog.’s Music 25 Years Later

They could have been as big as Weezer or Green Day, yet 90’s band That Dog. remains something of a hidden gem in the world of alternative music.

In 2019, the release of their critically acclaimed comeback album “Old LP” reintroduced many to the band’s older catalogue, and reminded listeners of the charm of their girly yet dissonant brand of rock.

Check out Etta Gerrits’ comic exploring That Dog.’s history, and why their music - and 90’s girl rock in general - remains so relevant today. 

While you read, listen to That Dog. on Spotify

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Etta Gerrits is a cartoonist/musician/whatever she feels like being located in Ottawa, Ontario. She likes 90’s girl rock, taking pictures of mittens she finds on the ground, and young adult mystery novels.

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Premiere: Alpen Glow's debut single "Saturday Nite"

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Image credit: Amery Sandford

Remember that Gossip Girl meme that was circulating a few months back? There was one really relatable rendition of it - and I really miss going to gigs, girl. Please find below if you haven’t seen it, courtesy of the very niche Montreal meme page, @burymeatleritz. Alpen Glow’s debut EP Amertape 2020 threw me right back into that quintessentially ‘covidian’ mindset of reminiscing about nights out partying with friends, dance floor romances, and most notably, hugs, girl. 

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Alpen Glow is the debut solo project of Montreal-based visual artist and musician Amery Sandford (BBQT, Born at Midnite). Inspired by new skills acquired during lockdown, Amertape 2020 and the accompanying 3D animated videos are an escape into an alternative digital dream world where your lockdown fantasies come to life. Far from being heartbreak songs, Amery’s cheeky lyrics keep the vibe lighthearted and fun, with instrumentals tastefully inspired by the corniness of 2000’s pop and reality TV. 

“The whole thing kind of happened within the time of lockdown. I wrote it all when I was deep in quarantine so that I could go somewhere else mentally - on the days when I could actually make music. I also cried a lot and watched a lot of reality TV. Quarantine was a lot of creative productivity and a lot of being really sad.” 

Admit it, we’ve all had at least one trash TV show we’ve been unusually invested in these past few months. When asked what her guilty pleasure was, Amery unhesitatingly named Real Housewives as inspiration when writing this EP, “I actually started watching reality TV in a serious way during quarantine and the songs are definitely inspired by those weird social experiments. I’ve been watching a lot of Real Housewives - a few of them have music projects and make songs that are very highly produced, but lyrically very sketchy. It’s kind of crazy. I’ve been thinking about these highly-produced, super ‘aspirational’ people who appear on Bravo TV a lot.” 

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Photo credit: Brandon Brookbank

Sketchy as it may sometimes seem, stark detachment from reality proved to be a great coping mechanism for bleak times, “I was entering these weird worlds through reality TV… I was also alone in my apartment because I don’t have any roommates… and I was thinking about going somewhere else for a minute, and about the power that creative people have to do that - the power of world building.” 

While some of us just binge-watched Too Hot to Handle, Amery saw an opportunity to integrate her visual art with her music, taking the time to learn how to play the keyboard and do 3D animation, “It was a good time to learn something new - I got really into 3D animation and taught myself how to play the keyboard - and I ended up writing all the songs on it.”

The videos are an experimentation with using a highly-technical program for the first time and freely accepting the clumsiness that comes along with it, “Visually, since I’m not very good at it yet, I would say [the videos] look like early 80’s animations - all these weird spaces that look like a video game with me on a tiny screen. It was a very lo-fi look.” Is it an Instagram filter? Are we in a Zoom club scene? Who knows? Almost too closely resembling some saved video-call screenshots on my camera roll, the aesthetic is relatable and reminiscent of the virtual reality we’ve been living in lately. 

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Image credit: Amery Sandford

“Saturday Nite” has a bar scene at the hottest new fantasy dance spot, Amerbar, “I was just thinking, ‘Oh, I'm going to make a bar,’ and then once I modeled it - it looked really sketchy! It's funny visualizing something and then trying to recreate it in a program that you're not very good at - I love that shit. I love when people use programs like that, but they aren't necessarily technical [themselves]. They make something that sounds really unique. That's always been my relationship to music. I'm a visual artist first and musician second - and [being an ‘outsider’] makes it very special.”

“A lot of people that I know just pick up music - and you just have different ideas when you're not a trained musician. You can make things where trained musicians are like, ‘what the fuck?’”

Who needs music theory when we’ve all been in need of a hug since March...

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Check out “Saturday Nite,” the first single from Alpen Glow’s Amertape 2020, below:

Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.

Make sure to stay tuned for the release of Summer House on September 18th and the full EP on October 1st on Bandcamp. 

$2 from every sale will be donated to The Black Healing Fund, a Tio'Tia:ke / Montreal based project that exists to provide Black people in the MTL area with discretionary funding for therapy and other mental health focused resources.

Below is a playlist of songs that inspired Amertape 2020, including one Real Housewives production (!!!) called Chic, C’est La Vie - we are obsessed.

Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.