PREMIERE: Helen Paradise Debuts Stripped-Back Version of "Glass of Anything"

Helen Paradise. Photo courtesy of Tess Roby

Montreal trio Helen Paradise have hit a tender note with their single “Glass of Anything”. Pairing perfectly with the track’s emotive rawness is a stripped-back version recorded at Autoland – premiering today on Also Cool Mag.

“Glass of Anything” marks the second release of Helen Paradise, comprised of Sophie Ogilvie, Chris Steward and Markus Stahl. The group was born out of a mutual desire to start “exploring new textures and embracing the increasingly brooding moods emerging in their collaborative songwriting”. The group’s forthcoming EP, External World, melds these possibilities together, drawing from a range of influences including trip hop, prog rock, and avant-pop.

The track offers deep reflections on the innate human ability to communicate to close friends through body language. In describing her lyrical motivations, Ogilvie points to a kindhearted gesture of solidarity and its deeper significance:

“I wrote this song after an experience at a party, during which a close friend of mine noticed from across the room that I was visibly uncomfortable, and broke into the conversation I was in to offer me a drink. This was a kind of throwaway moment - I’m sure he thought nothing of it - but it solidified to me that even in moments of silence and loneliness, I am looked after and understood by the people who are close to me. ‘Glass of Anything’ describes these unspoken bonds between friends, and the exchanges that are shared through a knowing glance or a quiet retreat.”

This live session perfectly complements “Glass of Anything”’s warmth. Rich vocal tones against the delicate guitar accompaniment glow in the ambience, beckoning the listener to recall their own connections and muted exchanges. Take a listen, unwind, and tell your friends you love them.

Watch the exclusive performance of "Glass of Anything" live at Autoland below:

Shot by Nancy Pettinicchio

Engineered by Nigel Ward

Mixed by Chris Steward

Helen Paradise

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Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of her studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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NYC Synthpop Sweetheart Shallowhalo Release "Hypnotize" on Open Tab (Fire Talk)

Art by anahit via Shallowhalo

Imagine a soft-grunge pastel ghost rave in an old Victorian mansion. That's the energy that Brooklyn synthpop artist Shallowhalo (yes her name is inspired by the Cocteau Twins song), the latest addition to the Open Tab roster, embodies with her track "Hypnotize." For fans of sugary-sweet Spanish pop, Kate Bush, Strawberry Switchblade and synthy nostalgia, Shallowhalo is right up your alley.

We got to chat with the singer about the track, her creative inspirations and more. 

Via Shallowhalo

Malaika Astorga for Also Cool: Hi! Let's start who you are and how you got into music.

Shallowhalo: I'm Allyson, and I've been making music as Shallowhalo for about a year and a half now! I've also been playing synth in my friend Harrison's band Turtlenecked since 2019, which is how I got into music. We could only play a couple of shows before lockdown, but by then, I was having so much fun that I just continued writing my own songs throughout quarantine. 

Also Cool: What's the creative scene like where you're based?

Shallowhalo: Now that the vaccine is out, I've been going to shows again, and I've noticed a lot more performances in nontraditional spaces, which is really cool. Just the other week, I went to see Slic play a show on a soccer field at a park in Ridgewood, and it was so much fun. One of my favourite venues is Market Hotel. I always get excited when a train passes by during a show because it feels like it's out of a movie. 

AC: We're big fans of both Strawberry Switchblade and Spanish pop. How did you get into these genres of music, and what are you bringing to them with this project?

Shallowhalo: Growing up, my mom, who is from Guatemala, would always play Spanish music. That's how I learned about bands like Mecano or Jeanette. When we first met, my partner and collaborator, Ezra, introduced me to Strawberry Switchblade because he said my style reminded him of Rose McDowell. 

AC: You have a strong aesthetic vision to go alongside your music. Where do you find your visual influences?

Shallowhalo: I've always been fascinated by musicians who incorporate strong visual components with their music, and recently, I've been in a nostalgic phase with mid to late 2000's electropop. It's a little kitschy, a little 80's, a little perfect, and a little awful. 

AC: Building off of that, if you were to have a Shallowhalo world, what would it look like?

Shallowhalo: It would be an old beautiful Victorian home in the middle of the forest with weeping willow trees out front and a wraparound porch. The home would only be a little bit haunted (by friendly ghosts), and all of my friends would be there. At night, it would turn into a rave. 

AC: Who are some artists who you think deserve more recognition right now?

Shallowhalo: I saw Cowgirl Clue play a few years ago, and I've been a fan ever since. She's consistently putting out cool mixes and songs. Recently, I've been listening to Cumgirl8 on repeat. 

AC: What can we expect from you in 2021? 

Shallowhalo: I have a bunch of demos that I've been sitting on, so I'm definitely aiming to put out an EP or album by the end of the year. Next week, I'm playing my first Shallowhalo show ever at Open Tab's launch party and have a couple more shows planned in October. Stay tuned!

Watch “Hypnotize” below

Shallowhalo

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: Honeydrip Shares Debut EP Anti-Ego

Honeydrip by Ariana Molly

Picture yourself rolling up to the secret rave; you can hear the bass pounding through the trees. As you get closer, you start to run into your friends and see the coolest-looking strangers you've never seen stomping their hearts out on the dancefloor. 

This is the energy that after-hours legend Honeydrip brings with her new EP Anti-Ego. Heavily influenced by the intersection of Black culture and electronic music, the EP is an extension of the dub and sound systems culture. It honours the exploration and boldness found in the genre and every genre that has come of it. Honeydrip expertly meshes dub, techno, dancehall, reggae, and drum and bass while re-contextualizing and pushing the story forward.

We caught up with Honeydrip about her experience in the afterhours scene, learning to DJ, and her EP, of course.

Malaika Astorga for Also Cool: How did you first get into DJing and electronic music? How did you make the transition from a party-goer to the person keeping the party going?

Honeydrip: I spent high school listening to hip hop and dancehall, which then transformed into alternative psychedelic rock. By university, I started my radio show in 2015, playing downtempo electronic and lofi artists like Lukid, invention_ , etc. 

I've always been interested in music that had uncommon melodies, sounds and was generally considered dark or melancholic. I think that naturally led me to enjoy electronic music. A lot of the music I listened to since I was young had aspects of electronic music; I just didn't know at the time. 

Also Cool: What has your experience been like in the Montreal nightlife scene? 

H: I got into DJing because I wanted to make my radio show the best possible, so seamless transitions seemed key. A boyfriend of mine at the time and a good friend of mine (Ativan Halen) were mentors.

AC: What kind of music did you first get into here, and how have you seen the after-hours and electronic music scene change over time?

H: I started DJing right around the time that I started going out. My DJ gigs helped me discover the music scene in Montreal. I also would go to parties with friends that I made through DJing. But before DJing, I was a cheerleader and went to pubs, aha. 

Having a radio show forced me to do research on Quebecois artists as well as Canadian artists. I had a quota of local content on my radio show, which helped me discover so many of the local artists who are my peers now. 

Since I was really into Lo-Fi and cool Downtempo beats, I was a really good opener when I first started. One of my favourite gigs when playing that genre was opening for MNDSGN, but as I continued going out, the sensation I felt on the dancefloor when dance music was playing was so exciting and inviting I naturally started getting into that music. 

My experience in the nightlife scene has been a journey of finding the spaces that I am the most comfortable in, where there is a nice mix of beautiful people, good music, and a bouncy crowd. Every DJ has a certain type of crowd that builds through personal connections, fanbase, musical tastes. I'm super happy with the crowd I've built, and I feel that it's representative of who I am.

Honeydrip by Ariana Molly

AC: Can you describe your favourite going out / after-hours memory? (Whether it be here or elsewhere)

H: One of my favourite going out memories was at Nowadays in NYC with Umfang and LSDXOXO on the lineup. When I go out, I'm more the type to dance than to socialize, and I love it when I'm in a crowd of people dancing as hard as I am. It was like that all night, with crazy hypnotic music. Nowadays is a large venue, but the crowd was insane. I usually prefer intimate crowds because it's easier for us all to be on the same page. 

AC: Your EP meshes genres, expanding and contrasting sounds to open up a new world of electronic music. Where have you drawn inspiration for the album, and how do you hope it that will push the story forward in electronic music?

H: I think with the history of my musical tastes, I have always been jumping from Black music (Hip hop, dancehall, reggaeton, reggae) to electronic music. At many times I was at a crossroads with what I wanted to play or what genre I wanted to be recognized by, and this EP is my deciding I can be both. 

AC: This has been a summer of music and dancing pretty much anywhere people can set up a generator. What do you hope the after-hours scene will be like post-pandemic? What are some values that you think are important for people to integrate into these events?

H: I really respect the people that take the time to organize these DIY events. It takes a lot of love to do what they are doing. The summer has made it easier for these parties to happen. Still, once winter settles in, I'm concerned with the lack of spaces we have, with many staple nightlife spots being lost throughout the pandemic.

AC: What would your advice be for people who want to get into DJing and making music, but don't know where to start?

H: To start DJing, Intersessions and Chippy Nonstop regularly offer classes physically or virtually to learn how to DJ. Also, follow the artists you like because they will be sharing courses or even offering some themselves sometimes. Join Facebook groups to get access to used equipment. Start digging!

For producing, it helps to have hardware, so you don't do everything on your computer. Getting a midi keyboard or drum pad makes the process more organic. Also exploring VSTs because I feel like most producers have their favourite VSTs that they use frequently. It helps develop their sound. Once again, keep an eye out for beginners courses or reach out to people you know that produce. Most people are always willing to help :)

AC: What's next for Honeydrip?

H: A remix EP may or may not be on its way. And this is just the beginning of my transition to a producer. So far, I am loving it and will continue to release music as consistently as I can.

Credits:

Animated & Produced by Emma Forgues

Composed by Honeydrip

Vocals by King Shadrock

Mixed by Francis Latreille

Mastered by Valentin Ignat

Honeydrip

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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In Conversation: NYC's Mons Vi Opens His Indie-Pop Time Capsule

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Matthew Hershoff (Mons Vi), by Drake Li

Editor’s note: The following interview explores themes that readers may find distressing, including suicide, grief and loss. Reader discretion is advised.

Mons Vi is the alias of the Big Apple’s Matthew Hershoff, a multidisciplinary artist who found his bearings by making bedroom-pop a method of survival. Hershoff’s collection of songs amassed over the last decade tell the harrowing story of his twenties; a period marked by immense loss, pain and personal hardship. Finding solace in songwriting, this coping-mechanism transformed into a creative outlet for Hershoff, who began gigging with a rotating cast of musicians in NYC’s indie circuit before the onset of COVID-19.

When speaking with Hershoff, I ask him how his relationship with music has changed since being cultivated as a place of healing during a difficult chapter in his life.

“My twenties kicked off with me losing my mom to suicide, which was devastating to me and coloured the next decade of my life. Music started as an entirely personal thing: It was about going through a process of grieving, and just getting my feelings and emotions out. Though my mom’s death is not necessarily the focal point of every song I’ve written, it’s a cornerstone of my personality and my experience; so, themes surrounding loss and abandonment come through in a lot of my earlier work. That being said, I’ve done a lot of growing since then, not like I’m an old man on the hill (laughs)… but, you know, I’ve connected with different people, found community and peace and am now I’m in a new identity-formation period. For the first time, I’m thinking about how I can bring my music into a live setting and make people come together and experience some kind of collective energy!”

Over the last eight years, Hershoff has built a musical catalog that he plans to release as a full album in the near future. Knowing that his musical career came of age in NYC, we get on the topic of the city’s dense culture and rhythm as a world-renowned epicenter of artistic expression.

“New York has such a rich history of music and powerful personalities,” says Hershoff. “You can’t escape it when you’re here and it makes you feel like you’re part of some kind of lineage; which, of course, informs the music that comes out of the city.”

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Matthew Hershoff (Mons Vi), by Delaney D.

For Hershoff, a steady work ethic of going out and playing live music, coupled with getting to know familiar faces at gigs and about town, has helped him settle into a community that he says, “is really there for the long haul.”

The pandemic has made it difficult, if not impossible, for musicians like Hershoff to connect with their community lifelines. Without shows materializing as a cultural milieu, Hershoff has been chipping away at the beginnings of his debut record in isolation.

“As my debut comes together, I’m trying to harness the essence of what made me feel alright with being a human. All of this collective time alone has helped me think of how I can make these songs –some of which are eight years old– both healing and fun and a means of people coming together. This is what I picture while I write, hoping that it manifests.”

To get a glimpse into Hershoff’s imagination, I then ask him to touch on the backstory of his recently released music video for his latest track “After School.”

“I collaborated on that video with a friend of mine, Renata Pereira Lima. She is an extremely talented choreographer and works a lot in the realm of modern, interpretive-style dance. I knew I wanted to make a video with movement and I described what the song was about to her, and she brought that to life. The storyline is really as simple as two characters wanting each other, but one won’t give the other attention, so the other crosses a boundary to get said attention and then they have a party.”

Hershoff articulates that his songwriting is generally character-driven to represent and heighten parts of himself that he wants to come forward in his music. He notes that this method of narrative creation allows him to hone in on parts of his personality to release vulnerable feelings or hold himself accountable.

“We all have parts of our personality that, if you let them get out of check… you know, you end up being a jerk or getting out of control. If you let those parts of yourself speak freely through your art, it allows you to take control of your emotions in a healthy way,” he elaborates.

In closing our conversation, Hershoff dives into what is on his plate at the moment, as well as his upcoming plans.

“I’m putting my band back together right now and exploring other mediums of expression. I’m, of course, especially focused on music and feel like things will reveal themselves sooner rather than later, as the world begins to open up and live shows become possible once again. The best way to support me is by checking out my music and, you know, bobbing your head to it (laughs). But in all seriousness, if you’re interested and listening to the words, come to a show and hang out! I’d love to get to know you.”

Mons Vi

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

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Toronto's New Chance Makes Existentialism Danceable on New Album "Real Time"

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New Chance (Victoria Cheong), shot by Yuula Benivolski

Toronto’s New Chance (Victoria Cheong) has joined the roster over at new indie label We Are Time with the release of her new LP Real Time. A long time collaborator of artists like Lido Pimienta, Jennifer Castle, post-punk icon Chandra and reggae legend Willi Williams, Cheong creates meditative electronic pop soundscapes that are suitable for unwinding from day-job restlessness as well as surrendering to the hum of a late-night dancefloor. On her latest offering Real Time, Cheong brings her reflections on nature’s abstract cycles to the forefront, between spellbinding textures and an eclectic sampling of everything from Calypso percussion to a sunrise rooster crow. We caught up with Cheong on how she wrestles with profound existential questions within the scope of her ever-changing creative outlets.

Zoë Argiropulos-Hunter for Also Cool: Something that struck me while reading about Real Time was that the album artwork is a photo of your grandfather’s. Can you tell me more about this picture and the role it plays in the context of Real Time as a whole? 

Victoria Cheong: I was really inspired by these scrapbooks I have of my grandfathers that are filled with photos of his garden, pictures of garden shows and cutouts from newspapers and magazines about plants. They’re beautiful and I was moved by being able to see through his eyes, in a way. During the pandemic, these hobby scrapbooks were are around me and I found myself flipping through the pages. Eventually, I ended up reworking some of his photographs into the album artwork. The image I chose [for the album’s cover] of the night blooming cactus is a great metaphor for the themes of this record; cycles of time and nature. There’s a kind of patrilineal connection creeping into the record, which I totally didn’t set out to do… but the “father energy” just came about organically in a way that fit perfectly with some of the ideas I was mediating on.

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Real Time album artwork by Jackson Cheong, Gord Cheong and Victoria Cheong

Also Cool: It’s so interesting that the photo ended up informing the work in such an unexpected way. To riff off of you mentioning temporality: You move through different spaces on this album, both in a temporal sense, but also in an emotional sense. I don’t want to use the word “tensions” to describe what you’re working with here because it sometimes carries a negative connotation, but you’ve mentioned reconciling with people’s’ relationships with nature, for example, or our existence in relation to “time” and the feelings that can bring about. Where does the song forming process start for you when you’re reckoning with society’s positions on these immense topics? 

Victoria Cheong: I definitely tend to be more beat-driven for sure. A lot of the lyrical content in my work is basically a stream of consciousness, like diary-style venting and questioning of the world around me (laughs). I like turning ideas around in my mind and kind of puzzling over things, like my observations on life and so on. I tend to be an experimenter and tinker with different things, despite having no set format for how I work. I like to collect sounds and put them together. So, for example, I might follow a rhythm or vocal melody, zoom in on that, and see what builds from there. Most of my songs are sampler-based, which really allows for this kind of collage-y process. The sampler has definitely informed a lot of my music-making up until now!

That said, during the pandemic the way I usually work was totally turned on its head because half the songs were written pre-COVID, which meant I had to reevaluate my workflow when the world around me became so different. So, I found that once I had the vision that I was going to finish the record, it shifted the way I was creating. I became way more intentional and deliberate in terms of songwriting towards the end of this process, which was a new development in my otherwise “loose” approach. 

AC: Can you place when or where that shift in direction might have come from? 

VC: I don’t think I can pinpoint it! To tell you the truth, I’ve never dedicated the space and time entirely towards making a record, so being absorbed in the process was a welcomed change. In the past, I would juggle working and performing and make songs here and there, with a lack of focus. Once I could slow down and get in the headspace to concentrate on my own work, that lent itself to, you know, all the aspects of musical production, writing and so on.  

AC: It’s funny that you say that, because I think that really comes through on your vocal performance on this record. Knowing that you are a background vocalist for several acts, what inspired you to take on a more forward approach with your singing and lyrics with Real Time? 

VC: I think it comes from enough experience with performing. Backup singing has definitely helped me figure out how to embody lyrics and sing words that aren’t my own, while also expressing them in a meaningful way. It’s also informed my confidence for sure. I’ve learned how to nurture my main instrument, my voice, over the years, and I suppose working alone [during the pandemic] let my confidence take over.

AC: I’ve never really thought about backup singing like that before; in a sense that you’re taking on someone else’s words and you have to mean it. Even though this record is, of course, coming first and foremost from your perspective wholly, are there any versions of “Victoria” that you’ve worked with throughout conceptualizing and realizing Real Time? In other words, would you say you’ve embodied other sides of yourself and how have you wrestled with that experience if so?

VC: You mean my relationship with my different selves? 

AC: Yeah, exactly! 

VC: Now that this record is out, I feel like it acts as a type of ending for me actually! In a true sense, it offers closure on a period of my life and a new beginning. As an artist, I’m steering my ship in a bit of a different direction in terms of trying new things, and definitely shedding versions of my “past selves” and some of the creative habits that I held onto.

AC: When you say trying new things; were you taking up any kind of new musical experiments or exploring paths that you hadn’t gone down with your music before? Other than the intentionality with your vocal performance that we talked about before, of course. 

VC: Hmm… different paths. Well, my track “Two Pictures” is the only song on the album that features another person, Karen Ng, who plays saxophone. We were working on a recording session for a completely different project when I started directing some improvised scores and recorded Karen’s playing. I then built [“Two Pictures”] entirely off of that improv session, so what you hear on the record an improvised sample that was created completely separate from the song… before it even existed (laughs)! 

So, that was a path that I want to continue working on. I’d like to improvise with other musicians and manipulate those collaborations, as in creating songs around them or editing them or whatever! Creating improvisational scores that are more conceptual is definitely more exciting to me rather than actually writing out music… which I don’t really know how to do anyways (laughs). 

AC: To ask a more standard question, what inspirations did you bring to the table in this album? I keep thinking about the collage concept you touched on before, and I’d love it if you could zone in on some of its elements. 

VC: Hmm, well there really is a whole medley! I’m, of course, always curious to tune into backing vocals because they have been all over the place over the decades and I find that they are all I ever hear now as someone who sings backup vocals. Something that did come up in terms of inspiration was actually Bobby McFerrin’s “Don’t Worry Be Happy.” It’s a big song from my childhood, but it really inspires me because all of the instrumentation is just vocals! That whole record is amazing.

AC: Wow, that never occurred to me until just now! 

VC: Yeah! It’s so cool what is possible with voices. In terms of other inspirations, Jennifer Castle, Leonard Cohen, Bob Marley and the Whalers, as well as modern day R&B for its uplifting instrumentation come about in my work, too.

AC: Perhaps this is a bit of a painful question to end off on, but since so much of this project is in your hands and the world is starting to look more like the “before-times”: Do you have any idea of how you’d like to share Real Time, in well, real time (laughs)? 

VC: Well, I think I will let [the record] transform into a new experience for me. I need to figure out how to pay it live and how to share it in that way. I’ll keep working and looking and other ways to create and share music while trying out some of those different creative paths I mentioned before!  

Listen to Real Time below!

New Chance

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Bandcamp | Spotify | Youtube

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

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PREMIERE: Oddysseys Share Grungey New Track "Demeanor"

Our favourite Chicago pals Oddysseys are back with their latest hot and heavy release, "Demeanor." Premiering today on the site, the track will be available on all streaming platforms on July 30th.

"Demeanor"'s gritty Nirvana-esque vocals paired with the shoegaze guitars pick up where their last release, "Moaner," left off. The track perfectly capture how we progress and regress due to the fear that stems from the options available to us as we forge our futures through their layers of cascading sound. Falling deeper into this sonic world, Oddysseys lives up to their name by exploring everything between the mysterious and the euphoric.

As well as being total grungey shoegaze rockstars, they're also very sweet friends and good people. The Odd Haus collective has been sending us their zines regularly, filled with excellent mutual aid resources, topics to reflect upon for social change, and a ton of delicious and easy recipes.

Listen to “Demeanor” below

Oddysseys

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Lucid Express Share Hong Kong's Shoegaze Scene and New Album

Get lost in the never-ending synthy waves of Lucid Express, the 5-piece shoegaze band from Hong Kong. Their airy sound takes the listener on a journey through the band's colour-soaked world, weaving in traces of their personal values and activism.

The group formed as teens in the winter of 2014 in the turbulent weeks just prior to the Umbrella Movement, the latest in a series of tense pro-democracy protests against increasingly brutal state suppression in their home region. Kim explains that "At that time, it felt like we have a need to hold on to something more beautiful than before. Like close friendships, the band, our creation."  

I caught up with the band via email to talk about their music scene, creative influences, and more. 

Malaika Astorga for Also Cool: Hi! It's very nice to e-meet you all. I want to start with how you all met and how the band came together?

Samuel (bass) for Lucid Express: Wai and I are brothers, and we first met Andy on the Internet. Andy then met Kim and Sky in their vocational training school. 

Also Cool: You've spoken a bit about the music scene in HK and have mentioned that it was only in Taiwan where you started to find shoegaze, dream pop, and new wave music. What kind of music do bands typically play in HK? What are the venues like there?

Sky (guitar): There are actually quite a lot of different genres of bands in Hong Kong! The more you explore the scene, the more you will discover. From classic rock' n roll, core, metal, hip hop and alternative, to blues, jazz, post-punk, math, electronic, noise and experimental, and more. There are venues like cozy bars, independent live venues, cool hidden venues and standard large live spaces. Some of them aren't functional anymore, but some new venues are starting up as well.

AC: You've spoken about the difficulties of making it as a band in HK due to rent prices, the cost of putting on shows, and the land issues. How have these challenges affected you as a band? What are the benefits of being in HK versus elsewhere?

Kim (vocals/synth): For me, I think being in a band is always challenging regardless of where you are in the world. Hong Kong is a very capitalist city, which makes it harder to do. Everything is tied to money… and we don't have a garage to be our practice place.

AC: You've toured quite a bit as a band now. I'm interested to hear what the music scenes are like in Vietnam, Thailand, and Japan. Do you have a favourite show that you've played?

Andy (guitar): Every live audience was always very enthusiastic, and the performance scene was always very professional. One of our most memorable performances was an outdoor music festival in Thailand. It was pouring rain before the performance, so we had to move to the garage, which was a strange but memorable atmospheric experience.

AC: Aside from the shoegaze and new wave classics, who are some of your musical inspirations right now? Any local bands or friends you want to shout out?

Andy: Yo La Tengo because they're always experimenting with new sounds. I also like the band Fantastic Day in Hong Kong. 

Sky: Beach House, they always make simple and beautiful melodies.

AC: What can we expect from your upcoming album?

Wai (drums): It's been seven years since we released our first EP, which is a long time! Some songs from this new album were created in early 2015. It's sort of like a journey of us as a band, documenting how we evolved.

AC: What are you looking forward to in 2021? Will we be able to see you live any time soon? We'd love to have you play in Montreal!

Wai: YES!! We hope to see all of you guys after the pandemic is over. Miss the live gigs, the people, see you soon! 

AC: Finally, are there any local causes going on in Hong Kong that you would like to highlight right now? 

Kim: We would like the world to see more on what's going on in Hong Kong politically. Many of us out here are being silenced, and freedom is slowly slipping away. We think that the oppressed around the world should stand together. We need solidarity. 

Lucid Express

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Singapore's Shoegaze Sweethearts Kekko Share Their Love Story on Debut EP "Dreaming Life"

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Kekko, Tim Kek (left) and Cherie Ko (right), shot by Jared Rezel

The devotion between Kekko, Singapore’s shoegaze sweethearts, fully materializes on their debut EP Dreaming Life, released on Californian lo-fi pop label Spirit Goth Records this past June. If not already evident by the band’s namesake —which combines the last names of the husband and wife duo, Tim Kek and Cherie Ko— Kek’s lush atmospherics intertwined with Ko’s ethereal vocals manifest a radiance unique to a soulmate connection. 

The couple first met in 2009 as teens while working odd jobs at their local mall. Then, Ko was covering My Bloody Valentine and Air on Youtube and Kek was blossoming in the Singaporean music scene. The pair stayed platonic friends for over 10 years while carving out separate paths in the music industry, with Ko performing with her former bands TOMGIRL and Bored Spies, and Kek founding his music promotional agency Symmetry Entertainment. In conversation with the band, they explain that the beginnings of Kekko were a natural progression from falling in love because of their similarities in music taste and creative sensibility. 

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Kekko, shot by Jared Rezel

Ko tells me that working with her husband nurtures her musical approach; allowing her to embrace an artistic outlook that feels more genuine. “With all my previous brands and musical projects, I felt the need to put on a persona to write music. With Kekko, I have grown into my own person and I’m now able to tap into a deeper and more authentic space in the writing process,” she shares. 

The level of intimacy at the core of the project is also crucial to Kek’s conjuring of sublime  instrumentals to compliment Ko’s dream-like voice. He articulates that following intuition is crucial to building their tracks layer by layer and that he “finds what sounds right not just with [his] head, but with [his] heart as well.” This songwriting technique, which Kek refers to as “world-building,” was devised on Dreaming Life with Kek’s masterful playing of his right hand vintage Yamaha keyboards and microKORG. Kek hints that on Kekko’s upcoming LP, he plans to “explore the possibilities the legendary Moog can offer.” 

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Kekko, shot by Jared Rezel

The duo describes Kekko’s aura as a “hazy, surrealistic dream,” which comes alive just as much in the band’s visual identity as their sound. The artwork for Dreaming Life was illustrated by visual artist Alexis Jamet, who’s vivid and playful florals, according to the band, resonate with their essence perfectly. 

Knowing every aspect of Kekko’s output is cherished, I was curious about the fan-made music video for their song “Within You.” As it turns out, the video is set to cuts from Kekko’s favourite film Picnic At Hanging Rock. Kekko informs me that the music video, made by I’m A Cyborg By That’s Okay, came to be purely by coincidence, and that they love the film because of its “beautiful and enigmatic mise-en-scene, and [they] love a good unsolved mystery.” 

Despite their fascination with whodunnits, the band doesn’t leave us hanging on their plans for the coming months at the end of our chat. “The scene in Singapore is really tight-knit and supportive, however we are planning to make Canada our new home in the near future! We’re starting to write our first LP and hopefully we can release it next year and start doing some live shows.” 

Listen to Dreaming Life below

Kekko

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

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Mindfulness and Magic: How Nyssa Has Been Keeping Busy During the Pandemic

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Nyssa, shot by Ron Hollywood

Toronto-based musician Nyssa has been writing and performing songs since she was 12 years old, with her musical influences covering a wide range of generations and a plethora of musical genres. These sources of inspiration are clear in her 2020 album Girls Like Me, an insightful exploration of gender-based expectations that dips between post-punk and glam rock, incorporating hints of folk in its more reflective moments. Girls Like Me was recently nominated for the 2021 Polaris Long List, and we are keeping our fingers crossed for Nyssa. We got the chance to catch up with Nyssa to chat about rock n’ roll storytelling, dream journaling and working with Meg Remy of U.S. Girls on her latest track.

Spencer Nafekh for Also Cool: Hi Nyssa! As an introductory question, I was curious if you could say a little bit more about your artist name? I looked a little more into the name “Nyssa,” and the first thing that came up was a Wikipedia page for a Doctor Who character. Is this where you’ve gotten the name from?

Nyssa: Actually, Nyssa is my birth name! I’m of Irish and Scottish descent, but my mom read the name in a book and really appreciated it. Apparently it’s ancient Greek for “a new beginning,” and there’s also the bonus of the Doctor Who character, an ewok in the Star Wars universe, and a tree found in North America. I figured that because I have a first name that sounds like a “one name” thing, I would use it as a stage-name. This puts a healthy pressure on me not to let myself down, because at the end of the day, I don’t want to change my name: I’ve got something to live up to.

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Nyssa, shot by Ron Hollywood

Also Cool: Personally, I find that Girls Like Me is an album with a uniquely cool post-punk sound to it - I hear hints of bands like The Cure and Bauhaus. I’d like to take this opportunity to pop in a “generic music question”: What kind of music did you listen to growing up? What inspires you now, and are there any artists or albums that you’ve heard as of lately and just absolutely need to put people onto?

N: Growing up, my mom and dad both separately listened to a lot of rock n’ roll. My mom was a big Rolling Stones fan, so that was a big presence in the house; same with Neil Young, Elvis, Johnny Cash, Liz Phair, Lucinda Williams, and Sinéad O'Connor. I’ve been thinking about this recently, and it’s funny how all my favourite artists from childhood that my mom introduced me to are still essentially my favourite artists: Lucinda Williams’ Car Wheels on a Gravel Road and Liz Phair’s Exile in Guyville are still two of my favourite albums of all time.

With Girls Like Me, I was basically trying to make my own version of storytelling rock n’ roll without using traditional rock n’ roll instrumentation; relying more heavily on Ableton and sample work, and not so much on guitar. I wanted to incorporate influences like Bruce Springsteen, and fuse rock n’ roll with soul and country music. It’s hard to put into words, but I’ve always been attracted to squishy, fuzzy, and crunchy sounds. My background in garage rock informs that, but I didn’t want Girls Like Me to sound like garage rock at all. Having access to samples and the ability to manipulate them was what really allowed me to get the unique sound that I was looking for.

AC: Would you say that your latest track “It's A Nice World To Visit (But Not To Live In)” is a direct response to the pandemic lifestyle? It seems different from your previous works, in terms of its slow buildup and its spooky synth-pop vibe… Do you see this track as an experimental anomaly or does it mark a transition in the vibe of the music you want to make?

N: My song is actually a loose cover of this 60’s Lee Hazlewood and Ann-Margret song; a real crazy garage rock anthem that I was first drawn to in high school and “squirreled away” for later use. My friend Lex—who is one of the owners of Fuzzed and Buzzed— initially approached me about doing a single for a compilation that they were planning. His neighbor is Meg Remy of U.S. Girls, so that got the ball rolling on the production of the track. Next thing you know, I was in the studio with Meg and a bunch of other musicians, and although Meg oversaw most of the session, “It's A Nice World To Visit (But Not To Live In)” was the song that she really stepped on board to produce. The whole process was very freeform: it was mainly me and drummer, Jay Anderson, jamming it out. 

I wouldn’t say that “It's A Nice World To Visit (But Not To Live In)” is totally an anomaly, though. I see myself walking down a number of musical paths in the future, and one of them is darker, and more surreal. It was recorded pre-pandemic, but it feels very… “pandemic friendly.” (laughs)

AC: I’ve noticed the “dreamscapes” series that you post on your socials from time to time. Whether it’s work from Flemish Renaissance painter Pieter Bruegel the Elder, photographs from the children’s picture book iSpy, or shots from that crazy fantasy movie The Adventures of Baron Munchausen, it appears as though you like sharing grandiose landscapes and pleasantly ethereal scenes. I was curious whether this aesthetic was something you try to mimic in your music, or is it something that you admire from a visual standpoint?

N: Because I’ve been so confined to my apartment these days, I find myself thinking about these dreamscapes and scenes from childhood… Worlds that I inhabited as a weird only child. To be honest, Girls Like Me is an album that I wrote over the course of a couple of years when I was waiting tables and living my life. Things obviously just feel very different these days, and I think that sharing these “dreamscapes” encapsulates everything that I’ve been doing over the past year, and the stuff I’m writing now.

On the topic of my more recent habits, I’ve also started doing this thing called “active imagination,” a Jungian technique which works like guided meditation. You’re supposed to enter your own dream world and just see what happens, or what your mind is trying to communicate to you. I find this has been helping me open my unconscious mind, and the dreamscapes that I have shared recently have been really informing that whole practice, which feeds into my writing as well!

AC: Sounds interesting! It seems like you have been keeping yourself busy in these strange times, exercising retrospectivity and imagination. Would you say that the pandemic has had a positive impact on your creative process, or a negative one?

N: Definitely positive. I’m part of this songwriting group with some friends in New York, and so I’ve had the pressure of writing a new song every week. This has been hugely important to me, and it wouldn’t have happened if we weren't thrown into this whole ordeal.

I’m really thankful for these exercises in creativity, which have resulted in my thoughts being much more magical. There’s going to be a very witchy album coming out post-COVID, that’s for sure.

Since we’re on the topic of creative practices, I should mention that another thing I’ve been doing is logging entries into a dream journal… It’s been beyond satisfying. It is so fulfilling to be able to look back over your dreams over a given period of time, and to notice patterns or recurring themes. I would recommend this practice to anyone and everyone.

AC: I think it would take a certain level of dedication to maintain a dream journal. Personally, I’ve tried a few times but can never fully commit to it. Have you ever had any lucid dreams? Also, I don’t want you to do anything that you’re uncomfortable with… But. is there any chance you would be willing to share an entry from the journal?

N: Trust me, I’ve tried this dream journal idea on multiple occasions but this is the first time that I’ve stuck with it. It takes patience, for sure, but don’t give up! Also, you don’t need to have a full dream in order to log it. Even if you remember a small tidbit of information, it is still worth logging. I’ve honestly never been too interested in lucid dreaming, because I think there’s a special quality about something totally untainted coming from your subconscious. Because the Otherworld is attempting to speak to you, I think it makes sense to not hold onto your ego, let things happen and go with the flow.

And you know what? Sure, why not… I’ll share an entry. 

—Nyssa goes off-camera for a moment and returns with her dream journal—

Hmm… I eat seafood… Lots of beaches… Okay, here’s a weird one that sounds like a real fairytale archetype:

“An old wizard at sea, travelling the land and performing illusions as a bat in exchange for sanctuary. Islanders with red caps accept the deal, watching as he performs the final illusion. Noah’s Ark arising from the sea, at first afar and then up close. The ark opens like a sea monster with many teeth. The wizard emerges in-mouth and proclaims, ‘and now you shall offer me shelter whenever I ask.’”

- - -

Our conversation quickly transitions into movie territory, and I soon learn that Nyssa is a big horror movie buff. “I like violent movies,” Nyssa says, “but not when it’s too realistic or unnecessary.” Among her favourite movies, the 1985 horror-comedy Return of the Living Dead has a special place in her heart. “It really just ticks every box,” she tells me. “I love the practical effects, the gore, the punks in the cemetery… it has everything.” Thinking of what she’s watched recently, Nyssa talks about her new fascination with the surreal films of Alejandro Jodorowsky, as well as The Secret of Roan Inish.

What stood out to me more than anything, though, were the ways in which Nyssa has harnessed creativity during this strange time; the mystical planes and otherworldly dreamscapes where she has situated herself as of late. By the end of our chat, we digress into a conversation about the intersection between religion and spirituality. When I explain to her my belief that dreams and music are the closest that humans can come to magical experiences, she passionately agrees. “Absolutely,” Nyssa says, “and I think that the oldest human beings would agree with you on that. At the end of the day, it all comes down to mindfulness and magic.”

I’m really looking forward to seeing what Nyssa puts out next, which may or may not be a darker and witchier album that releases post-COVID. In the meantime, Girls Like Me has been released on a limited edition vinyl and is readily available for order online.

Nyssa

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Spencer Nafekh is a tireless reader, writer, editor, and advocate for the written word. With an undergraduate degree in Concordia's English and Creative Writing program imminent, he plans to pursue a Master's specialization in journalism so that he can fully realize his career path. When Spencer is not working away, he is probably listening to experimental music while lost in the world of a science fiction novel.

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Shareef Keyes and Pool Cosby Release Upbeat Funky Track "Plant Mom"

Were you one of those people who bought a million plants during quarantine as a coping mechanism? I certainly was, which is why this Shareef Keyes & Pool Cosby's latest track, "Plant Mom," really hit home for me. Maybe I did buy one too many plants, but I've managed to keep (almost) all of them alive. 

Anyways... I caught up with Shareef about the Brooklyn music scene, his mom, plants, and more. 

Malaika Astorga for Also Cool: Hi! Let's start with a bit about who you all are and where you're from.

Shareef Keyes: What's Funkn? I'm Shareef Keyes from Brooklyn. Born and raised in New York City, I live in Staten Island right now. I've been making music since I was 12. My first recording was at like six years old. My older brother forced me to sing a chorus with curse words in it on a karaoke machine, haha; I was so scared our mom would find out. 

Also Cool: What's the scene like where you're from? How did you first get into music?

Shareef: The New York scene is filled with awesome talent. You can literally walk down a Brooklyn block, let's say Bedstuy, and catch a free jam/show by some of the best local talents. My mother actually wrote my older brother's first rap. They later took rapping really seriously, bought equipment, and learned how to market themselves. They put in the work. I learned everything I know about producing, arranging, writing, and singing from them. I also picked up other things from homies and studied my favourite artists, but they are my foundation. 

AC: The song is focused on care for each other and for ourselves. What's something you've learned about self-care and caring for your friends over the pandemic?

S: I had to be mindful of myself. Unlearning bad habits and enforcing new ones. I also have to say I learned it's very easy for me to gain weight, and I'm still working off this daddy gut. Oh yeah, I also have a baby coming, her name is Art, she'll probably be here by the time this interview is out. We had a lot of fun during the pandemic, but not having your homies to kick it with during the pandemic was so trash! Being with those who love you in real-time, with no glitches, is a must for me. I need to feel that energy from my people. 

AC: If you were a plant, what kind would you be?

S: I would be an avocado seed, hands down. My lady grew an avocado seed, and it bloomed into a plant. I'm hoping it lives when she moves it into the soil. I also wouldn't mind being a rattlesnake plant. They really open and close depending on the amount of light in the room. That shit is so fire to me! I'm into the whole: life is happening all around us, all the time, and we don't know it. So to see a plant move at my speed is appreciated. 

AC: Music has been proven to help plants grow (hi Plantasia), so I'm wondering what music you're listening to right now that you think would make your plants happy?

S: I've been playing a lot of Roy Ayers, Peyton, and Jack White. I think the plants have been dancing low-key. I've also been bumping that new Sir Keyes in my car and Masego. Those are my guys!!! 

Shareef Keyes

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Pool Cosby

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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PREMIERE: Slic Shares Director's Cut of Hypnotic Electronic Track "EZ"

Single cover shot by Ana Hernandez.

You know that feeling when you've been out all night with your friends, it's 5 AM, and you're debating whether or not to get breakfast together, that feels so purely like going out in the summertime? Still buzzed from the night before, traces of glitter and silvery outfits shimmering in the morning sun? Maybe I'm getting a little too niche here, but for those of you who know exactly what I'm talking about, "Ez," the latest track from electronic-pop artist Slic, captures this feeling of endless summer and early-morning adventures perfectly.

Slic is a Venezuelan-American artist based in Brooklyn-by-way-of-Miami. Their longstanding affair with the club began as a teenager in Miami amidst the EDM explosion of the early 2010s while Carl Cox was still DJing underground warehouse parties.

They integrate structural threads of Venezuelan music not found in the sample library: beat patterns drawn from tambores, reggeaton, and merengue are loaded up with digitally-generated specimens of sound. In their compositions, the laptop grid becomes a vantage point from which to build a shimmering, transnational future.

"Music can be a way to channel collective wish fulfillment," they explain, embracing a crucial element of pop: the visceral romance of pure belief that punctures through and out into the glaring light of reality."

Watch the exclusive director's cut of EZ below.

Videographer by Ana Maria Hernandez

Directed by Ana, Khalil Flemming, and Slic

Slic

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Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Wrocław’s Oxford Drama Makes Light of Modern Absurdity with “What’s the Deal With Time?”

Oxford Drama, shot by Nelly Valverde

If the weight of the world has got you feeling sideways, you’re not alone. This sentiment is the driving force behind What’s The Deal With Time?, the third album by Polish indie-poppers Oxford Drama. Inspired by the never-ending mazes of modern technology and society, the duo – consisting of Małgorzata Dryjanska and Marcin Mrówka – transforms crushing emotions and uncertainties into a musical experience that transcends the turmoil.

Highlights of the concept album include “Not My Friend,” which is described as a “therapy session” in a track – its depth is punctuated by silky struts of guitar and Dryjanska’s warm vocals. “This is the Internet” strikes a refreshing balance, poking fun at algorithmic dependencies without veering into condescension. Then there’s “San Junipero,” inspired by the Black Mirror episode of the same name – a haunting piano ballad that shines through the pointed commentary, speaking to the subject of romanticizing the past and blurring the lines of what’s real.

In Oxford Drama’s persistence through heavy realities with flecks of optimism and wit, the band uncovers worlds of possibility. There is so much to be said about navigating the “today,” and so much more to be dreamt about tomorrow. We caught up with Małgorzata to chat about What’s The Deal With Time?, and covered everything from Seinfeld to the winning life accomplishment that is taking out the trash.

Rebecca L. Judd for Also Cool: Hi there Oxford Drama – thank you for your time, and for sharing your art with us at Also Cool! What's The Deal With Time? is a stunning album, congratulations on the release. To start, I'd love to learn more about both of you – what kinds of musical backgrounds did you come from, and how did you find each other?

Małgorzata Dryjanska of Oxford Drama: Thank you so much! Marcin and I met almost 10 years ago during an English language competition, where kids from different high schools in Wrocław had to prepare a speech about youth. Both [of] us were the only ones that had musical themes in our presentations, [and] we felt that we might have a lot in common. We were right about that, but it took almost two years of Marcin persuading me into forming a band. Our iPods matched, we both loved Blur, and because Marcin knew I liked to sing, he wanted to try to make music with me. I finally agreed, [and] it was worth it!

Also Cool: What's The Deal With Time? is a concept album, exploring plenty of complicated subject matter such as the pressing weight of nostalgia and societal relationships with technology. What does making a statement on these topics mean to you, and what is it that convinced you to do so?

Oxford Drama: As both Marcin and I are on a mission to understand the world, and especially nowadays — to understand the modern world — we felt intrigued by the idea of writing a concept album as both the observers and the receivers, actively taking part in the modern mess. 

We're kind of old souls, in the sense that we don't really find ourselves understanding every aspect of technology. We want to get our music out there in the world, so by wanting that we have to be visible in our social media feed. But we don't want you to be bored or frustrated by constantly seeing our faces, so we're very careful about choosing what we want to post and how we want to post it. 

And that's only us as professional users of social media – privately, we're also not happy with loads of ads trying to get our attention, [or] how we're living in our own bubbles and not always seeing other perspectives. These are the subjects that are frequent in our conversations, so we thought we might want to take those themes and present them in the form of pop songs.

Oxford Drama, shot by Nelly Valverde

AC: I took a special liking to "Bachelor of Arts" – it struck a relatable and tender contrast between all the world's possibilities and an internal lack of direction. Could you elaborate on this track, its formulation and its intentions – particularly within the context of the rest of the album?

OD: The theme of "Bachelor of Arts" started more as a joke. We just started writing some songs within the subjects we wanted to elaborate on, already knowing it's a concept album, and I [was thinking] that I'm just one of many in the modern world feeling [like] “...I'm not a kid anymore, but I'm kind of lost as an adult. I get work done, but man, sometimes I just need a hug and some peace and quiet.” 

I think that feeling of being lost is so universal, but I wanted to sketch it in a way [where], by listening to the words, you can see the picture. You imagine that person, the protagonist, and it's so vivid that you can also guess the surroundings. We wanted to be free in the interpretation, because in a way the person from "Bachelor of Arts" might also be the one in [other tracks like] “This is The Internet”... we don't know that. 

But what I think most of the songs on What's The Deal With Time? have in common is the humour that I think keeps us sane. Just like in “Bachelor of Arts,” I sometimes think I should get a medal for taking out the trash, but I know it's not going to happen. But yeah, I sometimes deserve it (laughs).

AC: It's mentioned that your album is inspired by Seinfeld – the cheeky reference in the title definitely gives that away! Can you elaborate on Seinfeld as an influence? What are some other cultural influences behind What's The Deal With Time?

OD: I knew this day was bound to happen! The story is kind of strange. My parents introduced me to Seinfeld when I was a kid, and I remember watching their favourite episodes and remembering the funny lines … and basically being in love with every element, creating the atmosphere of New York in the 90s. 

And so [that nostalgia] was always in the back of my head – Seinfeld, my love for Saturday Night Live and movies with Chevy Chase. My favourite video is the one with [Chevy Chase] for Paul Simon's “You Can Call Me Al.” Humour for me helps in dealing with the modern world, but I also love lyrics that are about playing with words, and have some irony or sarcasm in them. David Byrne singing about peanut butter, or Ezra Koenig singing about a falafel shop just fascinate me. So on What's The Deal With Time? I didn't want to present such important topics deadly serious, I wanted to add some lightness to them by adding some absurdity. And that humour in everyday situations reminds me of how I remembered Seinfeld as a kid.

Most definitely Black Mirror's episode “San Junipero” influenced us to write [the] song of the same title. Both of us understood the plot differently but we both shared similar emotions which the episode evoked in us.

[Lastly], this might be controversial, [but] U2 also inspired us in a way. In the fall of 2018, we went to Berlin to see the guys from U2 live, and the time spent in this beautiful city inspired us in ways we couldn't even imagine. We talked a lot about the history of Europe, about how Berlin inspired U2's Achtung Baby and Zooropa, but also Bowie's Low and “Heroes.” Despite knowing all of the albums really well before, this mixture worked so well that our heads started creating a lot of ideas, and then What's The Deal With Time? happened. [That] Berlin era is just full of great ideas.

Oxford Drama, photo provided by the band

AC: What's The Deal With Time was released into the world a couple of months ago – how have you celebrated since then?

OD: We finally binge-watched Six Feet Under! 

We're extremely happy with the response [to the album], and as perfectionists, it's the first time after the release that we still wouldn't change a thing, really. There are some gigs planned for the summer that we're extremely excited about. And now we have the time to start working on the new record, because there are a lot of ideas that are waiting to be taken care of – hooray!

AC: Thank you so much for your time, Oxford Drama. What's The Deal With Time? will be on loop for me for many long summer nights to come. What can we next expect from you?

We're excited to play [that] new material, because it's so much fun. Also, I guess we're getting back to the studio – that is our living room – to make the next record, as some ideas are waiting [to come out] and we kind of don't know how to relax, so…

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WHAT’S THE DEAL WITH TIME?

Released on March 26, 2021

1. Not My Friend

2. Too Busy

3. Bachelor of Arts

4. San Junipero

5. This Is The Internet

6. You Only See What You Like

7. Offline

8. Retromania

9. Episode Couples

Music by Małgorzata Dryjanska and Marcin Mrówka

Lyrics by Małgorzata Dryjanska

Produced by Marcin Mrówka

Drum recordings (tracks 7, 9) produced by Jacek Maciołek

Mixed and mastered by Michał Kupicz

Cover design by Hanna Cieślak

Band photos by Nelly Valverde

All rights reserved Oxford Drama, 2021

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What’s The Deal With Time? is now available to stream and purchase – take a listen here!

Oxford Drama

Bandcamp | Soundcloud | YouTube

Instagram | Facebook | Spotify | Apple Music

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of her studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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

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Born at Midnite Shares New Single and Video for Spirited Pop-Banger "Pop Charts"

Born at Midnite, Amery Sandford (left) and David Carrier (right), photo courtesy of Arbutus Records

Montreal’s faux-vanity duo Born at Midnite, composed of Amery Sandford (Alpen Glow, BBQT) and David Carriere (TOPS, DVC Refreshments), made a splash back in 2020 with their bouncy & beachy self-titled debut. Today, the pop aficionados share “Pop Charts,” the first earworm off their new 7” of the same title, out on Arbutus Records July 23rd, 2021.

“Pop Charts” plays off of the band’s signature “unsponsored product-placement-punk” sound and method. Atop 80s-clad samples, synths and sparkling guitar, the self-described pseudo-anthem bemoans artificiality in the entertainment industry with a tactful self-awareness; completed by Sandford’s campy vocal performance and a saxophone solo from special guest Mitch Davis. Born at Midnite says the track “was written cynically after hate-bingeing the Netflix tour-de-faux Westside, a show that parades a handful of insecure influencers who are tasked to create a hardship themed musical in an LA nightclub.”

To complete their commentary, the pair premieres an equally hilarious music video alongside the single, directed by Raphaël Sandler, with animations by Sandford. In the video, Carriere plays Sandford’s manager, and sells her out by replacing her with an AI robotic-pop star called Amerbot. After Amerbot soars to the top of the interplanetary charts, the real Amery confronts her sleazy manager and combats Amerbot in a legendary showdown in the name of artistic integrity.

Watch Born at Midnite’s video for “Pop Charts” below

Born at Midnite

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

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Escape into a Glimmering, Shroomy Tableau with Priori's "Little Flower" EP

Artwork by Angelina Nonaj
Design by Ellyson Gasparetto

A friendly face and frequent visitor at our studio space in Montreal (official Also Cool Mag HQ), Francis Latreille, the Quebecois producer, DJ, and label owner known as Priori is a mainstay in the city’s electronic music scene. With influences spanning from the rhizosphere to the exosphere, Priori’s unmistakable productions blend intricate organic sounds with whirring, bleepy cosmic soundscapes traversing house, techno, ambient, and IDM. The spinning, airy rhythms are a full sensory dance bound to keep you light on your feet.

Priori’s scope of creativity is most evident in his multitude of collaborations, including Jump Source with Patrick Holland (Project Pablo), the NAFF label with Adam Feingold (Ex-Terrestrial), ANF, New World Science, M.S.L., and Ntel, among others. Little Flower is the artist’s second solo EP after debuting with the cerebral On a Nimbus in 2019. With such a relaxed disposition, you’d never guess how busy he is - we took a moment to discuss creativity, curiosity, and life’s comforts.

Maya Hassa for Also Cool: Journeying back down to Earth from your spot on the nimbus, you encountered a little flower. Tell us about this flower.

Priori: Hehe! I'd like people to picture their own little flower, but I see a purple daisy. There is an old tree nearby, narrating the lyrics in the title track.

Also Cool: This EP sounds like walking through the depths of a dense, shimmering forest, all senses stimulated, becoming more and more engulfed in nature's harmonious symbiosis. You mention taking pleasure in the chaos and coveting the unknown - how do you approach exploration in your creativity - what are you curious about, where do you let that curiosity lead you?

Priori: That's super flattering and pretty much what I had in mind when making it. Except for maybe the title track, I don't think these songs have narratives. To me they are more like tableaux or landscapes. If you look outside a window, small changes/events occur, transient (i.e. someone walking their dogs) or gradual (the sky changing colour). Sometimes it's nice to just sit there and enjoy the view. The title track tells more of a tale, it's kind of an ode to growth and diversity.

I just try to stay curious, which in my case is the main fuel for creativity. It really doesn't have to be music, though. Books, video games, places, people.

Credit: Ariana Molly

AC: While on the subject of creativity, I can't skip over the multitude of different projects you are involved in - what are you working on these days, who are you collaborating with?

Priori: I think I appreciated the seclusion at the beginning of the pandemic, and it was great for writing new solo material, but ultimately I really enjoy the collaborative process. I've been working on a lot of music with close friends lately - Maara (who released a record on NAFF last year) and I made a few tunes that we're very happy with. I'm also working with Olivia (aka Regularfantasy) on some vocal club things, which is a really fun process. I have a release ready from sessions with Ludwig AF as well, that will come out at some point. Maybe some new Jump Source material in the future as well. Patrick and I share a studio, so there's a constant exchange of ideas and sounds. We both get very excited by the recording process itself so we need to dedicate time for experimentation. We just re-wired everything and there are new possibilities, which is usually when we write our best work, in my opinion.

AC: Has your direction changed over the course of the past year's chaos? Your older releases draw references from science fiction, but Little Flower is bustling with earthy vibrations.

Priori: I think it is always changing, whether consciously or not, but I also don't think of science fiction as being separate from earth. There is a lot we don't understand about this place, and we come up with stories to fill the gaps, express our views, or just to have fun. I also just got excited by some of the sounds I was getting using modular synthesis and how they reminded me of biology and matter (knocking rocks together, leaves rustling, insects flying, etc.). Sounds from nature are complex and the infinite routing possibilities of modular instruments really bridge that gap.

AC: Lately I've found comfort in listening to and making cheesy remixes of uplifting 90's trance and early 2000's dance music - maybe a little too much - what's your go-to feel good music, or maybe you have other comforts that you enjoy?

Priori: Haha you have to indulge. I think music should trigger feelings and feeling good is nice! Lately a lot of brit pop and rap. Shoegaze is the constant.

AC: If you had to spend the next year in a sensory deprivation tank, but were offered one week to immerse yourself back into the world, where would you go and what would you do?

Priori: This is kind of what spring felt like this year. Go on a hike with friends, swim in a lake, eat fruits, mushies if it feels right.

Priori

Bandcamp | Soundcloud | Instagram | Spotify

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Artwork by Angelina Nonaj
Design by Ellyson Gasparetto

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Holobody Releases Shimmering Experimental Pop Album "Phosphorus"

Holobody by Laura Donohue

Fuelled by love, light, and an understanding that change is the only constant in life, Holobody has released his record Phosphorus, which has been eight years in the making. Released on his label Gusding, the project fulfills ideas dating back nearly a decade and brought to a head through Saturn's recent run in Capricorn.

Phosphorus opens up the world of Holobody for us, and it feels as if we're being transported through a world of shimmering crystal light, surrounded by flora and reflections of past lives, moving towards a higher self. The album has a light-hearted psychedelic electronic tone, reminiscent of early 2010s indie pop. Soft and gentle melodies carrying beautiful narratives serve as an ode to the archetypal muse, the lightbringer, morning star, recognized variously as Prometheus, Venus, and Lucifer.

Holobody (Luke Loseth) navigates through this iridescent juggernaut by transforming his songs into breathing ecosystems, drawing on pop, electronic, and folk traditions as inspiration.

You can support Holobody by checking out his website, and listening to Phosphorus on Bandcamp.

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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George Arthur Calendar Shares Paradox, Talks Latinx Indie Rock in Guadalajara, Chicago, & More

via George Arthur Calendar

After growing up in a primarily white, English-speaking indie rock scene, one of my favourite genres of music to break into the mainstream over the last few years has been Latinx indie rock. Primarily emerging out of Latinx-American communities, and different Spanish-speaking countries, the genre seamlessly blends Spanish and English, often carried by breezy melodies with a hint of wavy psychedelia.

It speaks to all of the second-generation Latinx immigrants who grew up longing to hear more of their mother tongue in the media surrounding them, while also proudly taking up space in a primarily white creative industry and environment.

George Arthur Calendar is a fixture of this scene, originally from Guadalajara and currently based out of Chicago. His latest album Paradox (released via Stereochip Records) explores the all-too-familiar sadness of regaining independence after a quarantine breakup via some not-so-sad funky grooves. We caught up to chat about Latinx identity, his experience with different music scenes all over the world, and more.

via George Arthur Calendar

Malaika Astorga for Also Cool: You grew up in Guadalajara and have since lived all over the world. As another Mexican far from the homeland, I'm really interested to know what the art and music scene was like growing up in Mexico. What kind of music were people playing, and how do you think this influenced the work you make now?

George Arthuro Calendar: I grew up mainly listening to classic rock, which my dad loved. My mom, aunts, and sister liked bolero, funk/disco and pop in English and Spanish. We listened to everything from Selena to Luis Miguel, Ricky Martin, etc. 

One day my dad put a VHS video of Queen performing in Rio de Janeiro for my sister and me to watch, and at that moment, I was hooked on music. A few years later, I discovered Nirvana and all that early 90s stuff. One of my neighbours had older siblings, and we would listen to their music all the time, which inspired me to learn guitar. I also listened to rock en Espanol; bands like Mana, Soda Stereo, Caifanes, Fobia, etc.

In the summer before getting into high school, my cousin and I started a band with other classmates. We began playing venues, house parties, and events, and even though we were younger than 18, we played bars. Through those shows, we discovered what was going on in the scene in Guadalajara. 

There weren't a lot of bands, but there were a lot of different styles. Everything from grunge to anarchic punk, lots of ska and reggae, funk, soul, blues, and jazz. I remember bands like Plastiko and Pito Perez changed our musical perspectives. Soon enough, we were the opening band at their shows, which was pretty sick. We discovered el "tianguis cultural, "a music/culture farmers market where you could find lots of art, clothing, food, handicrafts,” and all this underground stuff. Lots of people, lots of culture, live shows, every Saturday in a big boulevard in downtown Guadalajara, from 10am to 6/7pm. It was definitely the place to be at the time.

After high school, we started playing with other bands in the underground scene. We really hit it off with one band, ROX or somosrox. We kind of hit the jackpot when we started playing for Jack Daniels. They had just opened a new bar, and we had a crowd every weekend.

We played the most trendy cover songs between 2009 to 2013, but also they sponsored our original music. That went on for about four years. I was 24-28 years old during that time, and it was the first time I was actually making good money playing music. 

This was at a time where Myspace was really blowing up a lot of music. A lot of bands got super mainstream, and music in Spanish got super popular. Bands like ZOE, PORTER, and CAFE TACUBA were the acts running the whole scene, headlining festivals with MGMT, NIN, Flaming Kips, Mars Volta... There were lots of festivals, and the prices weren't too high, so you could see a bunch of bands in a day. It was a good time to be in Mexico. 

I decided to take a break from that scene because I wasn't happy with the music we were making. It got a little too mainstream. I wasn't feeling it anymore even though my other project, The Red Eyed Tiger, was doing well in the underground scene. It was a mix of folk/norteno/Mexican and American country vibes. I decided to go to Tulum for the summer, but I never came back to my hometown.

I also just want to say that being a part of the rock scene in Guadalajara was when shit started for me. Being a part of it and also leaving made me learn how to be true to myself. That's the real lesson I learned, not let go of your dreams, despite the money your making or could make. My personal taste in music is, well, funky music. It's pretty much always been my bible, and it comes from what I learned from my dad and other bands in Guadalajara.

via George Arthur Calendar

Also Cool: You've worked and lived in both New Zealand and Chicago for quite a while. How have the different art scenes and cultures influenced your work?

George: When I left Chicago in 2015 to go to NZ, I was just discovering the DIY scene there. I was so amazed by all the art, music and people I met over that year. My music was influenced by it, and I was so inspired that when I got to NZ, I carried that energy with me. I played a lot of parties, just with my acoustic or electric guitar (which ended up being the songs of my first album). 

There are two different scenes in NZ. There's the kiwi scene, which is artsier and more DIY. Then there was this other scene, of the working people like me. People who came with a working holiday visa to work legally for one year and travel the country. There were a lot of people from Argentina, France, Italy, and Chile, to name a few. 

We were working all the time, and in our free moments, there were massive Latin parties. Lots of dancing, beach circles, DJ nights. This crowd always spoke Spanish, and I blended in perfectly even tho my music isn't Latin. They all saw me as a "gringo” more than a Latino because I speak English so well with slang and played music in English. We worked at least 8-10 hours a day in bars, restaurants, and vineyards. It was hard work, but we always found a way to have fun.

Once I got back to America, I understood the direction I wanted to go with my music. It was also cool to see that my music was liked by both English-speaking and Spanish-speaking people. I was in San Fransisco and Northern California for about eight months working on weed farms until I came back to Chicago to try to "make it."

AC: When it comes to your music-making process, you've mentioned how important it is to collaborate with friends and people you meet along the way. Can you tell us a bit more about this process? What's one of your favourite collaborations/memories from your travels?

George: I like to collaborate when the time is right. I feel like sometimes, as creative, there's always a moment when we can add and connect energies with someone else musically. While travelling, you meet all sorts of interesting people with different talents. It would be silly not to try to make something with the people you meet along the way. I'm usually always working on a new song, so when I meet someone I really want to collaborate with, I basically try to write a song for that person. I try to have leave creative space for them to do their thing as well. 

One of my fave collabs is with an amazing Italian girl I used to work with. She spoke Spanish better than English, and soon we were best friends and roommates for a minute. She could sing like any Motown singer, and she was the original voice for my cosmic wall song. 

But basically, I get inspired by the people I meet, the art they make, how everyone has their own way to work. 

AC: Quite a few of your songs are "Spanglish," and overall, your music has a laid-back, wavy psych vibe, in line with the recent rise of indie Latinx musicians who have entered the mainstream over the past few years. Why have you chosen to sing in both languages, and what do you think of this recent rise in Latinx indie musicians? 

George: I love music in both languages. It's hard to only sing in English if you're in Mexico to sing in English, and vice versa in America. I grew up with Spanglish, and I think and dream and speak in both languages. For me, it's just how I express myself. 

That being said, my two first solo albums were in English. After that, I had a project in 2019 with a Puerto Rican dude, and we did both English and Spanish, which I liked a lot. My friends from my other band, Wavy ID, and friends in the music scene were advising me to play more in Spanish. Now all the new music I've been working on has that Spanglish vibe, using both languages in the song.

AC: Who are some of your favourite Latinx and/or Mexican artists right now?

George: Latinx music nowadays is kind of my favourite music. It's so interesting to me, having grown up in Mexico and seeing all this amazing music that Latinx-American people are making. It's 100% creative and is a whole other world of possibilities. I'm so excited, and hopefully, I'll be more and more a part of this scene in the coming years. 

My favourite latinx artist are Devendra Banhart, Helado Negro, Kali Uchis, Savila Music, Cuco, Gabriel Garzon-Montano, Nicolas Jaar, and Divino Nino.

AC: Tell us about your latest album. You've said that it's influenced by personal experiences, almost like a diary. How does it feel to have it finally out in the world?

George: Having the album out feels good. I'm not feeling sad anymore in the way I was just before COVID started. The album was produced in the first months of quarantine, so now it feels like a relief. My plan was to release this album around September 2020. I ended up getting support from a small indie label in Mexico City and decided to push the release a few more months. I dropped singles in the meantime, which wasn't my cup of tea, but it worked okay.

This album, to me, represents understanding what was going on with my life ever since I turned 30. It was a constant meditation, making the music, thinking a lot, and writing lyrics. It helped me cope for at least the first months of quarantine and with my breakup as well. It really put my feet on the ground and made me a stronger person. Now I listen and just say, "Wooooow I was very sad." I'm usually never sad, and it feels so good to have these groovy songs that still convey that sadness. Not everything that shines is gold, and it's good to dance to sad stuff too…

AC: Closing out here, what do you have planned for 2021?

George: Well, hopefully, I'll begin playing lives shows again ASAP. I haven't played properly on a stage since September 2019, so you can imagine the feeling. I started doing live sessions true à la COVID from my Instagram and Facebook, and that's how many of these songs started. 

I'm also about to finish recording another album I started producing during COVID, but this one is weirder psych-pop bossa nova. I want to drop this music by the end of summer, probably around September. I'm still debating how to do it, but that will sort itself out. My friend adam and I are working on new music for Wavy ID, and I have another surprise, a lo-fi- dream-synth pop album. I've been working on it with one of my best buds in Chicago, Will Wood. He who plays in Popwerpup and Vamos, which are both bands of the Chicago DIY scene. We started working on it in late 2019. It sounds like a video-game soap opera.

George Arthur Calendar

Spotify | Bandcamp | Facebook | Instagram

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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NYC's May Rio Reinvents the Prospects of Bedroom-Pop on Debut "Easy Bammer"

May Rio by Noelle Duquette

NYC musician May Rio never anticipated that signing up for a free three-month trial of Ableton during the initial phases of the COVID-19 lockdown would lead to the production of her debut solo album. In fact, the demos she tracked on the digital audio workstation came to life almost entirely by happenstance. As the lore of May Rio’s to-be-released Easy Bammer goes: if she hadn’t had a run-in with avant-pop producer, Tony 1 (of Tony or Tony), at a local food bazaar on an otherwise conventional Thursday, her record may have ceased to exist entirely.

Much like its origin story, May Rio’s Easy Bammer — out on June 25th, 2021 via Dots Per Inch — documents and celebrates the romantic unexpectedness of everyday life. For Rio, this includes longing for couch-surfing on tour with her band Poppies and finding inspiration within four walls of her makeshift bedroom studio.

Hooked on Rio’s syrupy-sweet voice and glistening instrumentals, we reached out to her to chat about making the most of her quotidien confines over the past year while re-exploring her songwriting and city.

Zoë Argiropulos-Hunter for Also Cool: Hey May! Thank you so much for taking the time to chat with me. Let's start with the obvious: Easy Bammer is a product of lockdown. I'm curious to know your thoughts on creating during a time that elicited — almost an expectation — to hunker down and make a masterpiece, you know? Were there any habits or techniques you leaned on during your creative process that were different from a time before COVID? 

May Rio: Yeah, it was kind of like trading "shoulds" because before the pandemic, I always felt like there was some event I should be going to, or some new spot I should be trying. I would so rarely buffer in time just for myself. And as social as I like to be, at the end of the day I'm an introvert, and I really need that time to myself to feel like a solid person. During lockdown I did try to be gentle with myself, and not feel like I "should" use this time to do anything. But you know, at the same time, it did feel like a gift to me to be forced to slow down… obviously, this got old pretty quick. 

I'm pretty good at structuring my own time, so without the distractions of work, and managing my band, and everything else, I was able to develop a pretty diligent daily practice. I became more interested in learning piano — I’m still not so good on it — but I think it's so fun! I can really get lost in it. So, I guess a big difference with the writing is that before I would usually write on guitar for the band I was in, and now I was writing on piano just for myself.

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May Rio, shot by Grace Pendleton

Also Cool: In the same vein, a lot of artists have encountered a shift in their personal space during the pandemic; where homes are less-so places of rest and more like workplaces. Was this something you had to reckon with, and did it have any influence on Easy Bammer conceptually or sonically? 

May Rio: It definitely started out that way. I didn't spend a lot of time at my apartment before the pandemic. Suddenly it felt a lot smaller. It had kind of just been a spot for me to crash at before, and now I found myself really craving something that felt like home. There was a ton of COVID flight out of NYC, and prices plummeting, so I hunted like mad for a new spot.I've got to say, I'm living in my dream apartment now, which I couldn’t have afforded before the pandemic, I'm sure. It's not a studio apartment, but I have my own studio connected to my room. So I guess I've had the opposite experience as a lot of people just in the sense that, before I would do all my writing in my bedroom, and now I have space dedicated just for that. Not that it never got claustrophobic… 

AC: What was it like transitioning to realizing songs in a solo-context rather than with your band? 

MR: I started making music pretty late compared to most people. Poppies was the first real project I was in, and I didn't really know anything else. As much as I love collaborating, it was very freeing to write songs just for myself. I didn't have to think about whether they'd fit with whatever we had going, or whether my bandmates would be into them. Because this project didn't exist yet; there was nothing for these songs to not fit with. Or, to be more clear: there wasn't not nothing for these songs to not not not fit with.

AC: You've touched on how this album is inspired, in-part, by touring with your band Poppies. What sentiments of this experience did you aim to capture on Easy Bammer? Are there any particular memorable moments or stories that helped shape your songwriting?

MR: It’s really mostly my song "Party Jail" that's specific to touring. As much as I love touring, it can feel sad and lonely at times. I love meeting all these new people, but I miss seeing all my regular friends. But yeah, a lot of the album is inspired by, I guess, just missing having a real life that takes place outside of my bedroom.

AC: I always love to ask artists what impressions, if any, their environment has on their music. Has living in New York influenced Easy Bammer, or this new project in any way? 

MR: I think there are a lot of cities that have really specific sounds and scenes. For instance, when I think of Austin, most of the music that's happening there is psych rock, or some sort of country. With Philly, I think of there being a pretty specific sound as well. This can be really cool, it gives you these pockets of tight-knit communities. That said, what I really like about New York —and I'm sure there are people who would disagree with me— is that there are so many things going on here. I don't think of there being a specific New York “sound” at all. Which in my mind, leaves a lot of room to do whatever the fuck. There's still an incredible community here, but it's a little more vast. It can be harder to connect the dots at first. 

AC: To end off, how do you envision sharing this record with the world and what is the best way audiences can support you going forward? 

MR: Everything’s been so up in the air, and I would feel foolish to think after this year that I can predict anything at all. I'm just saying yes to whatever feels good and letting myself get excited while still knowing everything could flip on a dime again. I want to tour…and I think that will be happening. Fingers crossed!

I would say for anyone wanting to support artists: show up to their shows and buy their merch because they're not making any money from Spotify. Share music you like with your friends, or anyone. And again, with Spotify, in the age of playlisting...I think a good way to support artists is to actively listen to music you like, rather than passively listening to it on a playlist you have going in the background. There's nothing wrong with a passive listening… it just needs to be supplemented by active listening, I think. You'll get so much more out of it that way!  

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EASY BAMMER

Out June 25, 2021 via Dots Per Inch

1. Butter

2. Everything Must Go!

3. I C

4. Reservations

5. Gravy, Baby

6. JoJo

7. Party Jail

8. Without

9. SongForNeo

10. Reasons

Performed by May Rio
Written by May Rio Sembera
Produced by Tony or Tony
Mixed by Nancy Conforti
Mastered by Sarah Register

Artwork by Sarah Lammer

Special thanks to Blaketheman1000

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May Rio

Website

Instagram | Bandcamp | Spotify

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

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Hélène Barbier Shares Sophomore Album "Regulus," Talks Music-Making, Space Debris, and More

Hélène Barbier, known for her wonderfully juxtaposed tunes, has released her sophomore album Regulus on Michel Records and Celluloid Lunch. Playfully off-kilter and complex, the melodies sound like alien tunes conjured in someone else’s psyche across time and space. With imagery ranging from a flowering cactus to dimly-lit tunnels, the album explores Hélène’s strange and beautiful world.

We caught up with Hélène a few weeks ago to chat about her new album, her music-making process, and more.

Malaika Astorga for Also Cool: I always like to start by asking people how they want to be described as artists, in general.

Hélène Barbier: I actually became a musician by chance. I had two friends who wanted to form a band, and the three of us were motivated enough to play an instrument, so that's how it started. We formed a band called Moss Lime, and another friend from GASHRAT asked us to open for them even though we only had two songs. She told us to write two more, and we could play the show, so that's what we did.

Now that I'm performing under my own name, I really couldn't have imagined what it would be like. I make pop music, and it doesn't bother me that I make pop, even if it's minimal or haphazard, because I'm not a musician by training. I like artists who are like this, and I'm also learning a lot as I go. 

Also Cool: I'm interested to know what your experience has been like in Montreal. It's changed so drastically even in the time I've been here, and it can be so special in that way where your friends can just pull you into a band.

Hélène: I was really lucky with Moss Lime. Even if it was very modest, we were lucky to have a European agent who helped us tour Europe and booked us a lot of gigs. I had already started making music for my solo project, but I was still intimidated to do it. That being said, I was really excited to have carte blanche what I was making.

We started our label during the pandemic because we thought nothing would be happening for a while, so we thought, why not put out music from people we love

Photo by Dominic Berthiaume

AC: Yeah, how did the label (Celluloid Lunch) start? Did you learn as you went, or did you already have a sense of that side of the industry?

H: Joe knew a bit from working at a music distribution company. I worked in the music copyright sphere. I think it is essential that artists understand this and understand its importance for their work

AC: I have a kind of silly question; I think just because I miss going to shows, but what's your favourite Montreal venue and why?

H: Brasserie Beaubien. It feels like home, even though it's been so long now. You can see so many different styles of music there. I miss it a lot.

AC: Yeah, me too. It feels like a space where different generations and kinds of people can mix and meet freely.

H: Many people show up not knowing what's going on, but they're willing to give the music a chance regardless of what it sounds like.

AC: Let's talk about the sound of the album and your music. You have such a distinct sound, and it's so easy to immediately trace it back to your earlier projects. To me, it sounds like Montreal in 2015 and what's now called angular post-punk. It sounds like discovering all the after-hours etc. 

What was it influenced by? Whether it be artists or experiences?

H: I really wanted this record to be more polished, but I realized I haven't quite achieved this yet, and what makes my music interesting are the little mistakes. If I polish it, it sounds more boring. 

I really try to embrace that, and with each take, I try something different. I think the sound comes from playing by myself, with myself all the time. Then when I go to the studio to record, it comes out different from what I had initially done. It's constantly evolving. There's a lot of room for accidents. 

I don't mind for it to be a testimony of one day like this song sounds like this day in particular. So far, it's good enough for me to keep it spontaneous. 

AC: I think there's a lot of value in the insight that comes from organically making something on the spot and leaving it that way forever.

H: Yeah, and if someone tells me I really don't know what I'm doing, I feel very at peace with that. It doesn't have to be technically perfect. I know that I'm not hurting anyone by experimenting. It feels special to me, which is enough.

AC: You've collaborated with quite a few musicians for this project. Can you tell me about the collaborative process and how these people came together?

H: Thomas has played with me for a while, and he's always very enthusiastic. He came on the European tour two years ago and has been a part of the band since. 

Samuel is on the record as well, and it's because when we came back from the tour, Thomas stayed for a little longer in Spain. During that time, I was offered to play a show at Casa, and I really wanted to do it because it was with a band I really liked. I asked Sam to play, and he was game, and he joined the record after that.

AC: Can you speak to the lyrics and some of the album's meaning as a whole?

H: I would say that there are different layers to it. Regulus is one of the brightest stars of its constellation, but it's a star made of space debris. So it's one of the shiniest stars but one that is the least previous. It's not because you shine the most that make you the most valuable. In other words, the one who takes the most space can be the most garbage, which is kind of inspired by people like Trump. 

AC: The last thing I wanted to ask is what you're looking forward to this and next year. What you're looking forward to seeing in the music and arts scene?

H: I'm really looking forward to all the new bands and listening to all different sorts of music. 

One of the good things I did during the pandemic I listened to music I would not naturally go to. For example, I've started listening to more electronic music. It's very new for me and super sweet. Actually, earlier today, I was with Gayance and a few other people for a journalist. I was listening to her music, and it's really amazing.

Hélène Barbier

Bandcamp I Spotify I YouTube I Facebook I Instagram

Malaika Astorga is the co-founder of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Tonight: BACKXWASH Invites Us to Celebrate New Album "I Lie Here Buried With My Rings and My Dresses" at Suoni Il Per Popolo

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BACKXWASH by Chachi Revah

It’s suffice to say that that most exciting day of the month (of 2021 in its entirety?!) has finally arrived. This is not a drill: underground princess BACKXWASH has just shared her brand new self-released album I Lie Here Buried With My Rings and My Dresses. Following her 2020 Polaris Prize winning album God Has Nothing To Do With This Leave Him Out Of It, I Lie Here “features BACKXWASH as an empress of chaos on a path of self-destruction,” complete with her signature industrial-hip-hop-meets-thrash backdrop, introspective bars and candid narratives; all in their most confrontational and unapologetic form yet. With I Lie Here, BACKXWASH claims her title as contemporary hip-hop’s greatest force to be reckoned with, and we are celebrating her reign.

Tonight, BACKXWASH headlines Suoni Per Il Popolo - Day 18, performing I Lie Here from start to finish via the festival’s livestream at 9:30 PM EST. BACKXWASH was kind enough to make time for us to chat about her upcoming premiere and give us the inside scoop on everything from what she’s spinning to stay in the right headspace, to a behind-the-scenes glimpse into her I Lie Here performance. Read our conversation with our hero, BACKXWASH, below.

Zoë Argiropulos-Hunter for Also Cool: Hi Ashanti! Thank you endlessly for making time to chat with Also Cool during such a whirlwind of a week! How are you leading up to your album launch show on Suoni Per Il Popolo?

BACKXWASH: Thank you so much! We’ve been busy preparing everything we are very stoked to show everyone what we have planned!

Rebecca L. Judd for Also Cool: If you can give us some insight into tonight’s program — where will you be leading us?

B: Sunday will be a performance piece for the album. It was directed by Mechant and shot by the Suoni team. It looks very beautiful to me and I hope everyone likes it! We will be diving into the album from front to back.

All behind-the-scenes shots by Cameron Mitchell

R - AC: We feel like a huge part of preparing for a big event is getting in the right headspace. You’re no stranger to providing song recs on Twitter — and we can’t get enough!  What are you spinning these days to stay inspired, or maybe grounded, while managing all of the anticipation surrounding your release? 

B: These days I am mostly into Godflesh, Nine Inch Nails, Censored Dialogue, who just had an album drop, and some Rural Internet! All very, very solid releases.

R - AC: Among your collaborators on I Lie Here is the incomparable Sad13, of noise-pop outfit Speedy Ortiz. Seeing your friendship blossom has been such a treat. 

How did this come about, and how was your experience collaborating together? 

It was great! Sadie is extremely talented and I was very honored to have her as one of the features on this album. Working together has been an amazing experience.

Z - AC: On the topic of music releases: we saw that the Polaris Long List dropped this week, and were instantly reminded of your win last year… Which still feels like it was yesterday? I Lie Here continues your streak of vulnerability that you paved with your previous releases in many ways. How do you preserve your wellbeing when sharing these emotions with a growing audience? 

B: There is nothing else I can do aside from be authentic. If I want to speak to truth on record, I should not be bothered by the growing audience. I am happy that people are listening - it still trips me out incredibly!

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BACKXWASH by Chachi Revah

Z - AC: Have there been any particular takeaways or realizations on reckoning with these raw feelings on I Lie Here?

B: My main takeaway is just based on the creation of music itself. A lot of insight into layering and just making songs more fuller. I am ecstatic!

Z - AC: With that being said, these experiences have nonetheless culminated into the realization of I Lie Here. How are you planning to celebrate this latest venture, and what does the future hold for you, Ashanti?

B: I am planning to celebrate with Mechant! They have helped me a lot through this and they are just generally amazing as a collaborator and friend. We will be hanging and watching the livestream. We are excited to see how it is going to turn out!

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BACKXWASH

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Tinkertoy Fog Machine Harnesses Their Twin Flame Connection on Indie-Pop Debut "Fingers Crossed"

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Tinkertoy Fog Machine, shot by Zoé Jacole

A commonality of best friendships is that you often never see one friend without the other. This is the case for Montreal’s weird indie-pop duo Tinkertoy Fog Machine, who have remained nearly inseparable as roommates, coworkers and bandmates upon relocating to La Belle Province from their hometown of Ottawa, Ontario. 

Tinkertoy Fog Machine, Tyrin Kelly (left) and Kai Thorpe (right), shot by Zoé Jacole

Since meeting in high school and finding their footing in Ottawa’s DIY music scene, the pair have played a game of musical chairs in their artistic pursuits with a rotation of personnel and collaborators over the years. Today, Tinkertoy Fog Machine shares the fruits of revisiting the bond at the foundation of their sound with the release of their EP Fingers Crossed. 

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Tinkertoy Fog Machine, shot by Zoé Jacole

Despite their coming-of-age catalog, core members Tyrin Kelly and Kai Thorpe have appointed this double-A-side as their debut; symbolizing a mutual growth in both friendship and imagination. 

Written, produced and recorded in their cozy Rosemont studio, Kelly and Thorpe crafted Fingers Crossed on their homemade compressors and cherished 8 track reel to reel after working by day for a toy company (yes, really). The result is two twinkling tributes to the special experience of embarking on a new adventure with an old friend. 

When Tinkertoy Fog Machine aren’t at work in their studio, they run a screen-printing collective called Trap Door Printing, printing merch for local bands.

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Tinkertoy Fog Machine, shot by Zoé Jacole

On their two new tracks, the band shares: 

“Fingers Crossed” touches upon the personal rituals people rely on in an attempt to control the world around them, and how these overlooked behaviours can be destructive. Misty synths and mushy guitar melodies form an aquatic ecosystem of sound, kept afloat by the DNA of a pop song. Similar to its predecessor, the B-side track “Someone Else” puts a sensual spin on the spacey atmosphere with silky vocals and romping instrumentation. 

Listen to Fingers Crossed

Tinkertoy Fog Machine

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

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