TikTok Queen Maryze Shares Hyper Pop Bop "FBP (Female Brad Pitt)" (Prod. Margo) Music Video

Credit to Exposures by Tay & Solomon Krause-Imlach

After a year of viral icicle reviews, connecting with queer community, and putting out nonstop bangers, Montreal TikTok queen Maryze has blessed us with yet another summer bop. "FBP (Female Brad Pitt)" is a glittery hyper pop anthem, expressing the pandemic malaise we've collectively been trying to overcome while simultaneously battling the sexist internet trolls who tried to take her down. The track was produced by Margo, another Also Cool friend and talented creator.

The FBP demo went viral earlier this year when Maryze posted a clip on TikTok and received hundreds of sexist and misogynistic comments from male "producers" saying how women can't write music and don't deserve equal pay. On the flip side, the queer community and women musicians celebrated the song as an iconic bop and demanded its release. A song first inspired by pandemic depression shopping sprees, chock-full of early aughts references, has become a defiant middle finger to the patriarchy.

Credit to Exposures by Tay

If that wasn't enough to lift you out of your end-of-summer-sadness, the track is accompanied by a Y2K-themed music video. The video has a nostalgic pizza-party-with-your-best-friends-vibe while still encapsulating a very queer, bratty, and bedazzled energy. It features a ton of Also Cool pals, including co-founder Malaika Astorga, NGL Flounce, and Janette King, Matante Alex, and Margo, to name a few.

Watch the video below

Maryze

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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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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: 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

Spotify I Bandcamp I Soundcloud I Apple Music

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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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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

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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NYC's koleżanka Releases Video for "In A Meeting" & Shares Stories of Phoenix, Polka Clubs & Favourite Memories

koleżanka by Michael Fuller

How do you find a sense of home in a new city? To leave an old life behind and begin a new one is an anxiety-inducing and transformative process that Phoenix-born and NYC-based singer koleżanka has mastered.

Today she shares her new video for In A Meeting off of her upcoming LP Place Is, which is set to be released via Bar/None on July 30th. The track deals with the all too familiar feeling of what to do when your social anxiety becomes your inner monologue.

We spoke with koleżanka about the many places she’s called home, her favourite memories and dreams, and more.

Malaika Astorga for Also Cool: Hi Kristina, it's nice to e-meet you. Can you tell us a bit about the place you currently call home and what you love most about it?

Kristina: Nice to e-meet you! I currently live in Brooklyn and have been here for about three years now. I love New York City as a home for the reasons why I think many people do - good food everywhere and so many places to go see. The things I love most about it are its opposites to where I grew up in Arizona. While AZ is landlocked, here, I am surrounded by rivers and the ocean. There are four distinct seasons, each with its own unique smells and sites and feelings conjured upon their arrival. I prefer to travel on foot rather than drive to each destination. It helps me slow down (though I am actually an impossibly fast walker) and makes me feel like an actual fixture in space. 

Also Cool: How did music enter your life? What kind of music did you listen to growing up, and how did that transform into your own music-making?

K: Neither of my parents were musical though my mom is an excellent dancer. But my mom's dad and his whole family are very musically and artistically inclined. When I was about five, we lived with him for a short time. When he'd babysit us, he would have my brother and I sing on his karaoke machine. I think things just evolved from there. I ended up singing "Frosty the Snowman" that year for his Polka club's Christmas party, and my mom eventually signed me up for piano lessons. 

I picked up his grandfather's accordion right after high school and taught myself how to play. A lot of the 3/4 waltz-time signatures employed by Polka and by the stylings of learning the accordion that way informed my writing and still does today.

I started getting into punk around the end of middle school and into high school. It was important for me to see women in my favourite bands like The Cramps, Bikini Kill, and Vice Squad. Even Gwen Stefani in early No Doubt revealed the possibilities of power to me and how I could harness my own. 

AC: I'm always interested in local music / creative scenes. Was there a scene in the different places you lived? What was it like?

K: I started playing some shows and busking in a folk-punk band in Phoenix when I was 19, then moved to Omaha for about a year. When I returned, the music scene in Phoenix felt electrified. I was living in Tempe going to college at the time, and there were house shows abound and dance parties in backyards. Unfortunately, there weren't many medium-sized venues to play, so most things centred around DIY spaces downtown, makeshift house venues or strange bars throughout the metropolitan area. 

We would spend every weekend at Long Wong's in Tempe for whatever friend had a monthly residency. The Trunk Space was the apex of the arts community in Phoenix, a haven for all. For the most part, I felt the scene was supportive, not very competitive throughout the years. It was rare to me that you'd see a band trying to "be" anything. A lot of folks just came as they were, and in my opinion, some of the best bands I've ever seen were Phoenix bands. Being surrounded by the desolation of heat, endless space, and depressing track home developments only encourages a thriving community of wonderfully weird and innovative makers. They are all trying to reinvent their space out of necessity and find safety in their expression. 

AC: I love how you describe your memories. I really relate to having an in-between existence, and I also hold on to vivid memories after struggling with PTSD-related disassociation. One of my favourite things is to think of special moments, similar to how you described 7th ave, Darlings and Barton Springs. Can you tell us a bit more about each one of those memories and why you chose to focus on those moments in particular?

K: Thank you for sharing! I think it's so important to develop those tools for grounding. 

I wrote the lyrics while back in Phoenix the last Christmas before the pandemic hit. I was walking from 7th st to 7th ave on Roosevelt, home to an essential and transformative Phoenix arts community that has slowly been displaced to foreign-invested luxury development. I was walking and thinking about all the times I had walked or driven through there for the past fifteen years. It felt familiar even though so much had changed. I started thinking about "place" and "home," and the other two memories mentioned felt most determining in parcelling out definitions. 

I have a memory of going to Darlings after getting off work serving in Tribeca. I had just settled into the first few months of really living in NYC without touring and visiting Phoenix and found myself overwhelmed by the brevity of time and all the places I had been that past year. Without even thinking, I found myself fully sprinting home, this new home, like it was the only way to expel that energy. 

The other memory of Barton Springs was this beautiful day on tour, serendipitously running into another band we had previously toured with and going down to the water together. A rope was tied to the top of a tree, and people were trying to see how high they could climb before swinging back into the water. I have gone to the springs almost every time I am in Austin on tour, and therefore it feels constant to me during those periods of constantly moving. 

AC: How have you been able to find a sense of home throughout all of the different places and spaces you've experienced?

K: My instinct is to say "time and familiarity," but I don't necessarily think that's always true. There are many unfamiliarities while travelling that I find exciting and even comforting, and that feel like a home place. There is a discovery of home in people I feel safe with and establishing a home within myself. This has been the most important place for me recently. Maybe that is how I find a sense of home elsewhere if that makes sense. 

AC: Who are you listening to right now? Any local artists or friends who you think deserve more recognition?

K: So a thing about me…I don't actually listen to music that often. I know it sounds silly, but I feel really easily overwhelmed by music sometimes. I can be too stimulating, emotionally or otherwise. I used to listen a lot while driving or on the train, but now I don't travel like that as much. I tend to enjoy the sounds of the city while walking. I like when you can hear overtones and harmonies between dissonant or ambiguous city sounds. 

BUT there are a ton of artists I wish one million people could hear; I really don't know where to begin! My bandmate Ark is a wild multi-instrumentalist and plays as Like Diamonds. They write about sci-fi, technology, and time and are so exciting to see live. Herbert Walker's Francis Bartolomeo is one of the best writers I think I have ever heard; that band is a true gem. Alassane creates compositions that will blow your mind; I don't know how he does it. Gabi Jr. is a favourite. They just put out a song a month or two ago that I listened to incessantly as I was driving around Phoenix during my first visit back since being vaccinated. I think it captures so much of the sentiment of cruising around when it first starts getting warm after spring. They are also a sometimes member of the koleżanka live band in Phx. Anna See also makes appearances as the koleżanka bassist. They are one of my favourite guitar players (and bassists); I truly cannot wait to see what they make next. There are new bands/artists out of Phoenix now that are so cool, like Glixen and Veronica Everheart. Also not an AZ or NYC local, but I do listen to RNIE quite often. Lamont makes music I can comfortably do just about anything (or nothing at all) to and feels both moving and soothing.

AC: Tell us a bit about your upcoming album and what you have planned for 2021.

K: When I started this iteration of solo work in 2016, a lot of writing was centred around personal musings and catharsis, or deep and sometimes painful exploration of parts of self as a genesis for music. I was also exploring creatively what I wanted and enjoyed about instruments that were fairly new to me, like guitar and drum machines. 

I started writing some of the earliest material for this new record in December 2018 after coming off a tour. Ark and I finished almost everything for it in March of 2020, right before the pandemic hit. This record is a divergence in that I was feeling more confident as a musician and ready to truly just have some fun and push myself into more sonic exploration.

I'm just so excited for the record to live in the world after all this time! But, I'm not sure what the rest of 2021 will hold. It was so amazing to tour again. I absolutely love touring, but that still feels like such a difficult thing to navigate. After last year, a part of me wants to wait to allow things to happen rather than forcing the hand. 

AC: Last but not least, can you share one of your favourite memories or dreams with us?

K: There was a dream I had some years ago that I can still remember vividly. There was a channel of water running underneath a canopy of trees that arched over it. There were houses with gardens that faced the water on one side of the channel, and an ocean sat on the other side. I was soaring over the channel and underneath the canopy, slowly shifting downward to touch the water, then floating back up again. I suppose I felt like a bird, but I don't remember anything about my body in the dream, or maybe my body was never actualized. All I remember was feeling wholly calm. I thought of nothing, just repeating the motion of touching the water and rising again, and the world around me felt very serene. It is one of my favourite dreams.

Watch “In A Meeting” below

koleżanka

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

Hot Girl Summer Begins with Magi Merlin's "To The Beach"

Magi Merlin by Lawrence Fafard

At this point, you probably already know how much we love Magi Merlin and her incredible artistry. She's quickly become Montreal's up-and-coming musical sweetheart and is set to take on the rest of the music industry very soon. We covered her EP Drug Music earlier this year, as well as her surrealist music video for Mock Meat.

So why am I gushing about Magi again? Well, she's just released “To The Beach,” the first song off of her upcoming EP, which is part of a larger series of releases entitled Weather Music. But don't let the summery title deceive you; this honey-smooth track is yet another peek into the singer's healing process, focusing on the relationship that she has with her father, someone she chose to remove from her life due to a difficult past.

Described as "neo-soul" and "alternative R&B," Magi is paving her way with yet another evolution to her sound. I caught up with her to chat about the track and Hot Magi Summer 2021.

To The Beach artwork via Magi Merlin

Malaika for Also Cool: It seems like with each season, you continue to transform yourself as an artist. Can you tell us about the meaning behind the visuals for the song? 

Magi Merlin: Yes! It honestly comes as a surprise to me. I want to depict metamorphosis and change with each release. It's all active, genuine change. I feel like with every release I become more confident in my work and myself. 

When it comes to the visuals, the concept is to depict power through vulnerability. Removing layers of clothing is a metaphor for taking down protective walls and finding strength in that vulnerability. It was interesting to strip down to nearly nothing in front of an entire crew, a testament to me actively practicing what I am preaching (hehe). 

Also Cool: There's a reoccurring theme throughout your music of growing out of relationships that no longer serve you. Has this been a conscious choice, or is it a natural part of your healing process to turn complicated feelings into your art?

Magi: Turning difficult situations in my life into music has definitely become a part of my healing process. It's funny; when I'm in the middle of dealing with a tough situation, I usually find I'm too emotional to write about it. I've noticed that once I've cleared the initial brunt of my emotions and can look at the situation clearly, I can turn it into something tangible. I know that I am nearing a stage of healing when I am clear-headed enough to write about painful or difficult situations. 

AC: Tell us about your collaborators on the song and the video. Who are they, and how did you start working together?

Magi: Funkywhat produced the song (along with pretty much every other song I have out right now)! I met him through Instagram three years ago (of course) and have been working with him regularly ever since. 

Mailis Roy-Lessard directed the music video. It was my first time working with her and the rest of the team, and it was fantastic! I loved being on set and being guided by Mailis. It was such a cool experience that I'm still hyped about.

AC: I'm personally really interested to know what kind of music you're listening to right now.

Magi: I've been listening to a lot of Wizkid and Burnaboy lately. They've been on repeat for the past few weeks! I think it's the change in weather; warm weather calls for Afrobeat.

AC: Will Summer 2021 be a hot Magi summer? Are you playing any shows? Will we be blessed with more music? 

Magi: Omg, hahaha, HOT MAGI SUMMERRRRR! I hope so! I've got an EP coming out this summer that I am insanely excited about. It's some of my favourite work so far, and I can't wait to share it with you. 

I'm also set to play la Grosse Lamterne in August. After playing Santa Teresa fest, I'm SOOOOO excited to play more live shows! Hot girl summer has commenced.

Watch To The Beach below

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Magi Merlin

Instagram I Facebook I Spotify

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

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Tonight: Janette King and DijahSB Present "Cool Me Down" At The Diving Bell Social Club

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We’re thrilled to co-present Janette King and DijahSB’s “Cool Me Down” release show, recorded at the beloved Diving Bell Social Club, tonight Monday, April 19th 2021, at 8:30 PM EST. The set will feature both artists performing and coming together to share their new single “Cool Me Down,” set to release on April 21st. Tonight’s performance is presented in collaboration with our friends at Hot Tramp Records, POP Montréal, Exclaim! and The Diving Bell Social Club. Admission for this release show is free with the option to donate, and all proceeds will go directly to the artists and presenters. Folks who donate will receive a download code for “Cool Me Down,” and get an exclusive pre-release listen!

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Janette King shot by kittyshootsfilm, styled by Dress Up Collective

Janette King (she/her) is a producer, vocalist, multi-instrumentalist, and DJ based in Montreal. [Her] unique sound blends together soulful vocals, an upbeat production style, and honest lyrics to create a truly captivating listening experience. Her debut LP What We Lost is set to release June 2021.

Bio via artist Spotify

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DijahSB shot by Jarius Madion

DijahSB (they/them) is a Toronto-based rapper who makes navigating synth loops, booming bass claps, and smoothed out production look easy. [They] effortlessly glides across these soundscapes with lyrics that are as earnest and personal as they are agile and quick witted. Inspirational without being preachy, their music is a raw look into the mind of a Black, non-binary artist rapping their way through hope, heartbreak, and breakthroughs. Their sound [is] a small light pushing through dark cracks as the self-aware inner workings of an artist in a constant state of growth.

Bio via artist Spotify

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Visit the event page for more information and tune-in tonight via the event link

Tickets available here

Pre-save “Cool Me Down”

Janette King

Instagram | Website | Spotify

DijahSB

Instagram | Twitter | Spotify

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Magi Merlin Reveals Surrealist New Video for "Mock Meat"

If you could visualize personal growth, what would it look like? For Magi Merlin, i's a shimmering gold and blue haze of past versions of yourself, swirling to culminate into something new and more beautiful than ever before.

Today Montreal's rising indie sweetheart Magi Merlin releases her official music video for “Mock Meat” in collaboration with director Laurent Malo. According to Magi, "I wrote ‘Mock Meat’ after removing myself from a toxic and unhealthy friendship. I wanted to protect myself while at the same time making sure to be introspective and self-critical. I found it easiest to do this through songwriting. ‘Mock Meat’ and my entire EP Drug Music is essentially my attempt at developing into a more badass person. My music documents my personal growth, my journey to bad-assery."

On the video, Malo comments: "The concept for the video emerged from Magi's original cover idea for the EP. I was inspired by the eeriness and sensuality that emanated from the track. We wanted to show Magi's badass, powerful side while juxtaposing it with vulnerability. We kept the blue tritone of the EP's cover for the video's colour theme as well as mixing it with a yellow sepia tritone to continue to play with opposing sides (light and dark, weak and strong, cold and warm). The effects used for the video are a mix of slit scanning, bulging, time displacement and turbulent displace."

We got a taste of the surreal with her last video for “Walking To The Dep,” but this release is on a whole new level. Shimmering illusions of former identities, lava-red high heels that elevate her to the stars and more are waiting for you in her new video.

Watch “Mock Meat” now.

Magi Merlin

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

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Enter La Femme's Neo-Maximalist Nightclub "Paradigmes"

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Paradigmes album artwork by Polygon

Paris-based psyche rockers La Femme are keeping listeners on their toes in anticipation of their forthcoming record Paradigmes, out next week on April 2nd via Disque Pointu and IDOL. The LP marks a milestone for the band, being their first release after five years of touring extensively, adding several musical accolades to their trophy shelf (including the coveted Victoires de la Musique award and Gold certifications in France for their first two releases), as well as playing major international music festivals, from Austin Psych Fest to Glastonbury. Formed in 2010 by Sacha Got and Marlon Magnée, La Femme has seen a rise in success comparable to the greats, but remain humbled by the everlasting centrality of their DIY roots. 

The band has already given us a glimpse into the sultry and psychedelic smoking-lounge that is Paradigmes, through teaser tracks “Paradigme,” “Cool Colorado,” “Disconnexion,” “Foutre le bordel,” “Le Jardin,” and most recently “Le sang de mon prochain.” From what we’ve heard so far, we’re intrigued by their clever use of horn sections, DEVO-esque wind-up rhythms, and a sprinkle of cool, laissez-faire nostalgia à la Serge Gainsbourg to present a sound best described as Neo-Maximalist. 

As the title of the album implies, Paradigmes’ narrative is as complex as its grandiose musical arrangements. While the lyrics throughout unpack the many anxieties and frustrations with cultural norms and expectations within Western culture at large, it equally tackles personal afflictions within the human experience — like love and heartbreak, sexual and gendered exasperations and general feelings of depression and nihilism. The band explains that they managed to touch on both existential and intimate themes by tapping into their intuitions, noting: “Maybe it’s easier to write when you are sad or plagued with negativity? The record took on a life of its own when reflecting on our own experiences.” 

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La Femme by Oriane Robaldo

Speaking on how the record fell into place, La Femme says that the development and production of Paradigmes was a culmination of experiments, rather than a deliberate realization of a heady think-piece from start to finish. “After we toured Mystère in 2017, the band took break from music. We reunited in 2019 with the hopes of finishing a record, and brought together a bunch of material collected in our hard-drives and chose 15 songs to build Paradigmes. It’s taken a lot of time for us to finish because we are picky on the details.” 

Knowing the band gained popularity by exclusively touring North America before they were picked up by European audiences, I was curious to know if their experiences of the United States informed the cultural critiques within Paradigmes. “Really, we just toured and traveled throughout the US a lot — so yes, the influences and experiences from those memories are definitely present throughout Paradigmes. We specifically commemorate places we’ve visited like Colorado, New Orleans and Los Angeles. But the album also features influences from other countries like Spain and Turkey, as well as three different languages (French, English and Spanish) — so, it’s a world music record in that way. We like the folklore of places and what comes out of them.” 

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La Femme by Oriane Robaldo

The ambition of the Paradigmes project is topped with a particular aesthetic crafted by the band. Of the six singles they’ve put out so far, three are accompanied by a music video that takes place in the futuristic “Paradigmes” nightclub. Frequented by a collection of eclectic regulars, such as go-go dancers, cyborg songstresses and intellectuals with an uncanny resemblance to Michel Foucault, you get the sense that Paradigmes is a hang-out where all are welcome. The band expresses that the album’s title track and their song “Disconnexion” were the inspiration behind their fictitious venue. “The song ‘Paradigme’ sounds like a generic, 70s TV show and ‘Disconnexion’ like an intellectual radio show. Combined, these concepts created the set of a fake TV show where all the video clips are connected. At the end, when you watch them all together, it’s going to be a full-length film.” 

At the end of our interview, La Femme lets me in on how they plan to celebrate their release in the most fittingly over-the-top way possible. “We’re going to have the biggest digital party and eat popcorn in front of our computers! The best way our fans can support us is by dropping out, tuning into our record and movie and starting an orgy.” Ça marche, La Femme! 

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PARADIGMES

Out via Disques Pointu and IDOL on April 2, 2021

1. Paradigme
2. Le sang de mon prochain
3. Cool Colorado
4. Foutre le bordel
5. Nouvelle-Orléans
6. Pasadena
7. Lacher de chevaux
8. Disconnexion
9. Foreigner
10. Force & respect
11. Divine creature
12. Mon ami
13. Le jardin
14. Va
15. Tu t’en lasses

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La Femme

Instagram | Facebook | Website

Spotify | Apple Music | 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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Maryze Debuts Glimmering 80s Banger "Too Late"

via Hot Tramp Records

Usually, I'd write a clever opener, but this song has been stuck in my head for DAYS; that's how much I like it. You may know Maryze as Montreal's TikTok icicle queen or from her last single with Backxwash. Either way, you would know that she's a creative powerhouse, putting out hit after hit, and "Too Late" is no exception.

The track is a glimmering 80s banger, touching on themes of uncertainty and self-doubt. It's comparable to alt-pop tracks such as Sky Ferreira's "Everything Is Embarrassing" or Caroline Polacheck's "So Hot You're Hurting My Feelings."

"I wrote this song when I was feeling both frustrated about wasting time and also completely unable to motivate myself in the pandemic," explains Maryze. "I was kicking myself while I was down, which obviously isn't helpful to get back up. For some reason, even if the lyrics are pretty depressing, the song came out upbeat and dancey. I immediately heard it with an 80s beat – the era of sad dancefloor hits."

During a time when routine can become soul-crushing, "Too Late" is a relatable emo anthem for crying on the dancefloor while hoping for a brighter future. Maryze delivers her most confident performance yet, giving listeners another peek at her debut LP, out Fall 2021 via Hot Tramp Records.

Watch "Too Late" below.

Maryze

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

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Come Along on a Dreamy Adventure with Freck's New Track "222"

via frecks

Wanna get lost in a shoegaze dream? freck's latest track, "222" is the perfect fix. It's a beautiful combination of sparkly guitar strumming, with Mazzy Star-esque vocals, that make us feel like summer is on the way. The track is a follow-up to the Portland-based artist's last single, "Alone Again," which we covered earlier this year.

The music video follows two best friends as they explore a forest, have a picnic, and share predictions of the future for each other. Alternating between shots of melting candles, Tarot cards, and the cloudy sky, freck's honey-smooth vocals bring us along on the adventure in a dreamlike state.

Water rushes around the girls, and sunlight filters through the trees, leaving us with a languid sense of nostalgia. For fans of Mazzy Star, Soccer Mommy, and all those who want to feel something slow and sweet, this one's for you.

Watch the video for 222 below.

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

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Wanna Be My Daddy? Mystic Peach Talks Sexuality, Creative Process & More

Via Mystic Peach

Heavy-hitting and spellbinding, Mystic Peach's track "Wanna Be My Daddy" is a grunge-rock reminder to not give a fuck about what others think of your sexuality.

It's an anthem for every small-town kid who wants to feel comfortable and confident with their identity, despite the judgements of others. We got the chance to chat with the band about the track below.

via Mystic Peach

Malaika for Also Cool: Hi! Hope you're all holding up the best you can. How would you describe yourselves to those who don't know you?

Curtis for Mystic Peach: I don't think we've ever sat down to think about it, but here's a list we've gathered in the past few years- Melodic Pop, Psych Pop, Psych Rock, Space Rock, Noise Rock, Dwayne "The Rock" Johnson, Grunge and some others. So take your pick, but, at our last show, the sound engineer called us Psych-Punk, which we like.

Also Cool: Let's get into your origin story. How did you all become friends and get into music? 

Mystic Peach: Curtis and Joe went to the same school and had worked on a few projects together throughout the years. We went through many phases that were all enjoyable, but looking back, it was all very confusing. One minute we were recording loud droney stoner music, and then the next week, we'll be recording Mac DeMarco-Esque guitar pop. I don't think either of us knew what we wanted. 

I just felt like we were going nowhere, and I wanted to actually find the strengths in my voice and guitar playing. I vanished for a while, and not many people could get hold of me unless they actually came to my house. 

Shortly after the vanishing trick, Jimi and I met down at the pub through mutual friends and started talking about music and bands. I was astonished that Jimi wasn't in a band. We both knew of each other through previous bands, so it was a chance to woo him with my songs and get things going. After two years of not really speaking, I got in contact with Joe to ask if he wanted to give this project a go. To my surprise and with little reluctance, he said yes. 

Now we're all friends doing some pretty cool stuff and playing music that we like. We're very lucky that we actually like each other.

AC: What's the local music scene like where you're from, and what role did it play in getting you into music-making? Were there any venues or spaces in particular that made you want to be a part of the scene?

MP: I would say it's healthy, there's plenty of interest, and locals are willing to give bands a listen. I wouldn't particularly say there was a specific local scene we wanted to be part of; perhaps we just wanted to shake the whole thing up a bit. I think as long as you get on with fellow bands and those in the music community making things happen in the city, that's all that matters, really. 

We have venues like Joiners, Heartbreakers and The 1865 in Southampton, and Wedgewood Rooms in Portsmouth. We wanted to play them after seeing some of our favourite bands perform there. The promoters are always looking for new music, which keeps the city's music scene in a good state.

AC: I've noticed during the quarantine that people seem to be more and more comfortable with their sexuality and sense of self. You've mentioned that the track tackles the discomfort that others can feel because of your sexuality. How did you come to terms with your personal identities and find confidence in that part of yourselves?

MP: I never really thought I was doing anything that grown adults would need to comment on. It seems that some people bring that 'school kid mentality' into adulthood. But at the end of the day, who cares? You do you. If someone has a problem with whatever it is about you, let them simmer in their own discontent. We all have a very honest set of friends that like each other because we connect... Not because we have a mutual hobby of being a dick head.

AC: How do you find inspiration for your music? Who and what are you inspired by?

MP: We've all put our two pence in on our sound through individual influences. Anything from shoegaze (My Bloody Valentine, DIIV, Slowdive) to punk (Sex Pistols, Black Flag) and 60's garage to 70's rock. More recent influencers are the likes of Yak, FIDLAR and Peace. 

As for subjects, it seems to be based around mental state and social commentary. Sometimes it comes from personal experiences, what we've read, or sometimes just people-watching. Cult films (The Warriors, Pulp Fiction, Clock Work Orange) are a big part of this band too!

AC: Delving into some pre-pandemic nostalgia real quick, what's your favourite memory from playing live/being on tour?

MP: Our most recent and last pre-pandemic memory was our tour with Temples in France in March. It got cut short after three shows, but we all loved it. It was the most fun we had, and we savoured every moment. Playing in Paris to 1,000 people was a highlight and definitely something that brought us closer together because we're cute like that. 

But all in all, just being able to rehearse when we want. Going to the pub, going away to random places together, and getting drunk in hot tubs or in the middle of a field. We miss each other, and I'm sure that's the case for most bands.

AC: Who are some local artists or creative friends who you think deserve more hype?

MP: Defcon Lawless. Unreal talent, fantastic lyricist and incredible music taste. We could talk to him for hours about music and life. Originally from America, but he's ours now; they can't have him back.

Also, our long-term friend and talented artist, James Digweed. He's done art for our last two singles and for our upcoming EP. A true weirdo, a visionary, and we truly love him. 

AC: What are you looking forward to this year? Any upcoming projects?

MP: We're looking forward to releasing our EP this year and having more than just singles out there. We're unsure of timing due to the pandemic, but we're making plans as we speak. We're crossing our fingers for before summer, but we also know that it might happen later than that. 

If the virus starts settling down here, it looks like autumn could be a pretty busy time with shows and rescheduled releases. Intense but exciting for us. An act at our level relies on live shows so much for engaging with new & existing fans. No better feeling. Can't wait to get on that stage again!

AC: Closing out here, is there anything you want to shout out or promote? 

MP: Be safe, be kind to each other, don't shit on each other's opinions and respect people's views even though they may be different from yours. Marmite is better than Vegemite, and if you disagree, then you are wrong.

Thanks for speaking with us, and we're over at @mysticpeachh on all socials. 

Watch Wanna Be My Daddy? below

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

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Yoo Doo Right Releases Title Track From Forthcoming Debut LP "Don't Think You Can Escape Your Purpose"

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Yoo Doo Right by Stacy Lee

Montreal krautrock trio Yoo Doo Right have released the title track from their first full length Don’t Think You Can Escape Your Purpose, out on hometown label Mothland May 21st, 2021. This six-minute slow-burn propels the listener through a metamorphosis of sound; tethering between a surfy trip and an atmospheric, spaced-out drone, while remaining wholly contemplative from start to finish. The single hints at a refined stride for the group, presenting a masterful cocktail of soundscapes and experimentations that make it clear their debut LP will have a strong first impression. On the release, the band comments: "It’s about a person who is losing touch with reality. Who thinks he has a higher purpose, and is supposed to be an ambassador to a higher extraterrestrial race. It’s a looming atmospheric rhythm and crawl."

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Yoo Doo Right by Stacy Lee

Alongside this anticipatory single, the band have also released an accompanying music video that is just as immersive as their otherworldly sound.

"In an attempt to achieve a higher purpose in life, the subject instead witnesses their own deteriorating mental posture. As a means of overcoming assumed existential risk (the hurdles of our great filter), the subject looks above and within believing that they alone have been chosen to solve the problems that our species faces. Images of Eva Szasz' 1968 short film Cosmic Zoom, produced by the National Film Board of Canada were cast over foliage to make for fitting imagery, complimenting the narrative."

- Justin Cober from Yoo Doo Right

Watch the video for “Don’t Think You Can Escape Your Purpose” below

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DON'T THINK YOU CAN ESCAPE YOUR PURPOSE

Available in digital, LP & CD formats via Mothland on May 21, 2021

1. A Certain Sense Of Disenchantment
2. 1N914
3. Marché Des Vivants
4. The Moral Compass Of A Self-Driving Car
5. Don't Think You Can Escape Your Purpose
6. Join, Be Curst
7. Presto Presto, Bella's Dream
8. Black Moth

All songs written by Yoo Doo Right.

Tracks 1, 2, 3, 7 and 8 recorded by Guillaume Chiasson at Le Pantoum, Québec City. Tracks 4, 5 and 6 recorded by Sébastien Fournier at Hotel2Tango, Montréal. Mixed By Guillaume Chiasson. Mastered by Harris Newman at Greymarket Mastering, Montréal. Artwork by Louis-Alexandre Beauregard.

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Yoo Doo Right

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Bandcamp | Spotify | Apple Music

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

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Sugar, Spice and Everything Nice: Vanille Serves Up Franco-Pop for Brighter Days Ahead

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Rachel Leblanc / Vanille by Dominic Berthiaume

After three years of creative introspection, pop singer Rachel Leblanc, also known as Vanille, is footing a more sincere debut en Français with the release of her LP Soleil ‘96, via Quebec label Bonbonbon. What makes this album especially validating for the 60s-inspired artist is allowing her mother tongue, and by extension her unmediated stream-of-consciousness, to bloom in her songwriting. Ditching English lyrics has brought on a new level of confidence for Leblanc; allowing her embody a performance style that nurtures her artistic pursuits, rather than projecting the image of a “cool” frontwoman for the sake of her audience. For lovers of Françoise Hardy and Mazzy Star, look no further — Vanille is reviving yéyé with a lusty 90s sensibility. Take a peek at our interview below to read more about her playful, and signature, je-m'en-fous approach to songwriting.

Zoë Argiropulos-Hunter for Also Cool: Hi Rachel! Thank you so much for collaborating with Also Cool. To start, can you tell our readers more about your act Vanille? Would you describe "Vanille" as a persona, or more so as an extension of yourself?

Rachel Leblanc: Thank you so much for having me! Vanille is really just the name of the project. I don't really like when people call me Vanille or ''the singer of Vanille,” haha! It's not a persona, nor a fraction of myself. I just wanted a name for the project that reflected the cuteness and nice vibes of my music! I started Vanille four years ago and I originally sang in English. I later realized that I was not completely honest with myself, and that [the project] was less me and more the image of what I thought was “cool.” From that realization, I began to write songs in French — more in a classic writer-composer spirit than what I did before, and I really found confidence in that.

Also Cool: You've recently released your first album Soleil '96 - congratulations! Can you share what inspired this album, both emotionally and sonically?

Rachel Leblanc: I was really inspired by the 60's British bands and the ones from the West coast of the US in the same era. I wanted to make a rock album, but also an album with catchy melodies and bittersweet lyrics. I listened a lot to Margo Guryan, The Beach Boys, The Zombies but also Sonic Youth and Belle & Sebastian. That melting pot made me write different kinds of songs over the past four years. I usually write songs when I listen to a lot of music during the day. I spin LPs everyday and the greatness of what I hear always pushes me to write, or at least to try something. That's where I get all my inspiration.

AC: Branching off of that, releasing an album is always exciting for an artist, especially when it's your first! Did anything about the experience of producing and sharing Soleil '96 impact your outlook as an artist? Were there any moments that were particularly special?

RL: Releasing an album during a pandemic is weird, but I never experienced it during ''normal times,'' so I couldn't compare, haha. I think that it was mostly good, because people were happy to hear a new album and the enthusiasm was really there for me. I enjoyed making this album with my friends and I will continue to work with the people I know and love! I understood how important it is for me. The team of people I worked with (Guillaume Mansour, Jean-Sébastien Gervais, Julien Pagé, Benoît Parent and Emmanuel Ethier) were very tight and professional. It was also a huge, fun experience because it was taped before the pandemic and we ate a lot of food during those sessions — a lot of candy… and that's something I will remember. I'm starving right now!

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Rachel Leblanc / Vanille by Dominic Berthiaume

AC: You mention that you take inspiration from French yéyé singers from the 1960s; what about these artists and their music resonates with you?

RL: I just adore the simplistic melodies and the light-hearted energy from this era. There was a nice effort in making pretty music and the refinement is beyond compare! The looks were also on point, haha! There's also a kind of je-m'en-foutisme that I really love. The attitude and style of the Swinging Sixties and the psychedelia influence on the artists interests me a lot.

AC: In relation to those influences, what is your approach to making music that has a vintage appeal with a current twist? Are there any particular practices you use to achieve this sound?

RL: We used a lot of old guitars for this album. Emmanuel helped a lot to choose the right guitars and basses for each part on the album. We used a lot of different mics with various reverb effects, and kind of created with a speaker in another room where our winter boots were. We used different kinds of synths also… I'm unfortunately not a gear gal and I couldn't tell what we used, haha! I think it could have sounded more retro, but I the next [album] will fulfill this need! I want to use old instruments like the harpsichord and the mandoline. I'm looking forward to that!

AC: I know that you recently were on the cover of Le Devoir and were featured in the Journal de Montreal, which are amazing milestones! How does it feel to receive such positive reception so far, and what lasting impressions are you hoping the album will have?

RL: It's such a dream! I couldn't be happier. The fact that my music resonates with a lot of people is the best feeling in the world. I'm really grateful for what's happening to me and I'm living this precious time with a lot of tenderness for everyone. I wish I could play live in front of people and see them smiling and singing with me, but I'm sure it will happen one day! I hope that this album made people feel a little better or understood during these times (sorry I sound like an ad).

AC: Before we let you go, what is the year ahead looking like for you, and how can we best support you and your music?

RL: I hope to be able to play everywhere in Quebec this summer, but it's really too soon to tell... I will definitely work on my second LP, taping it in the woods in the Laurentides, probably in Fall. A bright year is ahead of me and of all fellow artists. People will want to date [again] and everyone knows that bringing your crush to a good show is the way to go baby!

Vanille (She/Her)

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

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Review: Priors Break-In 2021 With My Punishment on Earth

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If you’re a fan of the Montreal rock n’ roll outfit Priors, you may have been wondering if they were ever going to fulfill their promise of a third release before the close of 2020. Luckily for all of us, they stayed true to their word and saved the New Year with a 10-song LP titled My Punishment on Earth.

The album leans heavily into synth sounds and channels a raw, pent-up energy that feels fitting after a seemingly stagnant year spent in isolation. “Astral” is an especially propulsive track that will have you bouncing off the walls with its avalanche of thumping drums and a driving chorus that exponentially builds up until the end - peak avalanche. The other  stand-out track is “Fox Force Five,” which features a downright menacing guitar riff - and is accompanied by an appropriately murderous music video, to boot. 

As is characteristic of their music, Priors’ My Punishment on Earth is a taut listening experience - and with its clocking in at just over 26 minutes, you’ve got to be committed to the intensity. However, there’s a contemplative air instilled among the controlled chaos. The opener is a punchy psychedelic number alternating between a relentless bass hook and blasts of distortion. A meandering guitar threading its way throughout makes the songs feel unexpectedly experimental, while the lyrics are suitably doom and gloom, taking you on a deep-dive into the sinister subconscious milieu.

A few of the tracks are recognizable from pre-pandemic sets, but are now presented in a more polished digitized form. It’s a matter of personal preference whether you like the clean cut versions over the raw sound of a show, but there’s no arguing that the blend of guttural garage punk with an electronic edge has been a core element of the band’s sound since the start - and it works effortlessly here.

Most of all, this LP makes me miss rubbing shoulders with fellow dive bar aficionados. Here’s hoping for that day to come soon. You can find both digital and vinyl versions of the album on Bandcamp. 

Priors are Chance Hutchison, Stuart Buckley, Alan Hildebrandt, Drew Demers, Seb Godin, and Maxime Desharnais.

Priors

Instagram | Bandcamp | Big Cartel Store

Written by Alex Kerkhoff

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Saturday Sermon: Racquel Jones Disrupts Traditionalism with "Sacrilege"

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Racquel Jones, still from “Sacrilege” music video by Lacey Terrell

Racquel Jones is a vibrant and ruthless Jamaican rapper, visual artist and model. In her recent music video for “Sacrilege,” she brings horror movie visuals into a Catholic church. By simultaneously horrifying and intriguing her audience, Jones forces us to reflect on the dangers of blind faith in religious doctrine. Through rap flows and poetic verse, Jones aspires to disrupt hate-fuelled tendencies associated with religion, and exposes the toxic headspace that tradition can impose; proactively leading us to dig our way out.

We had a chance to chat with Jones about religious identity, spiritual practice, and the personal experiences that led to the making of her music video. Beware: this interview is not intended for people caught up in conventional ways of thinking.

Spencer Nafekh for Also Cool: Between the freaky visuals in the music video, the blaring synth in the song’s chorus and the prayer-like poetry you incorporate to denounce religion, “Sacrilege” is a very incendiary track. The intense anti-religious messaging in your work surely is not without reason, though. From personal experience, can you elaborate on the impact of religion on your life?

Racquel Jones: I am a Black person who grew up in Jamaica (a Christian country), in a very Christian family. My mother is a preacher. I’m a descendant of people who were enslaved and taught this religion, and said religion was also a crucial tool in the enslavement and oppression of my ancestors. The impact of religion on my life is devastatingly vast, more than I will ever be able to adequately express. It is so impactful that it sadly cannot be undone. So devastating that even after now knowing better, my being is unimaginable without the scars and mental rewiring of my true identity and heritage warped and erased by religion.  

Also Cool: I agree, it’s shocking how religion and tradition can warp our identities and alienate us. Do you think spirituality is something that people can practice while still being passionately anti-religious? Would you consider yourself a spiritual person, and if so, what’s a good example of some of your own spiritual practices?

Racquel Jones: For sure. Spirituality has absolutely nothing to do with religion in my opinion. I think the basis of the lies surrounding religion stem from that… They want you to think otherwise. Spirituality, to me, is my deep [soulful] connection with my inner self, my ancestors, the energies in the universe, and the powers within. Examples of spiritual practices I do are: meditation, introspection, forgiveness, self care and self love, practicing empathy and loving in spite of. 

AC: One thing that really stood out to me in the “Sacrilege” music video was the freaky, horror movie-esque aesthetic which your director Alex Di Marco creates through eerie lighting and unsettling special effects and costumes. As a big horror movie buff myself, these elements were all things I could instantly appreciate! Was the purpose of this aesthetic to reflect religious practice in a horrendous light, or does it also come from an admiration for horror movies in general? If you are an avid watcher of horror movies, could you name a few faves?

RJ: It was intentional. I cannot think of anything, aside from racism, that is more horrific, horrendous and evil than religion. Because of this, I do not like horror movies. I have lived through the real horror of cult like practices I’ve seen, and watching horror movies evokes PTSD for me. I could never sit through a horror film, especially the ones with demons, exorcisms or anything religious based. I like The Silence of the Lambs, though. Is that horror?

AC: As your first high-production music video as a solo act, the “Sacrilege,” music video can be set apart from your other video works, such as “Letter to the Editor,” which showcased your rap flows alongside the American electronic duo Thievery Corporation. It was also filmed during the COVID-19 pandemic, which I’m sure came with its own unique setbacks. How was filming the “Sacrilege” music video a novel experience for you? Any funny or interesting behind-the-scenes stories which took place during filming?

RJ: Well I was supposed to have a congregation in the video and that couldn’t happen because of COVID. We were going to simulate a whole church experience, from the pulpit to the pew. Something funny did happen… Well, partially funny. The actor scheduled to play the role of Black Jesus in the confessionals initially, showed up to set breathing heavily, sweating and seemed like he was showing symptoms of COVID. He was kept outside, paid and asked to leave. Turns out he was just having an asthma attack. Needless to say, he was very upset.

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Racquel Jones, still from “Sacrilege” music video by Lacey Terrell

AC: I’ve heard that you’ve recently been dealing with some issues in getting the “Sacrilege” music video monetized on YouTube, and that you suspect this is likely due to video’s charged religious imagery. I imagine that the issue of online promotion and monetization is especially frustrating for a unique artist such as yourself. Can you speak a little more on this?

RJ: I am not exactly frustrated or upset even, because I expected the backlash. There’s always resistance to change. And there’s always biased censorship. I didn’t expect that people were going to be happy that I’m ripping Bible leaves to roll my joint, burning a photo of “Jesus” and calling the Virgin Mary a bitch. Being anti-religious is a threat to the comfort and hope of people. And for them to find out the lies they’re told, or even exploring the idea that religion is built on the premises of lies, evil, control, segregation and false hope causes pandemonium, fear and panic among people. We are wired to find comfort in the things that hurt us. And religion is the most genius example of that. So, I figured my video is seen as a weapon and a threat as opposed to feeding the narrative they prefer. My responsibility is to put the message and the art out there and let it do its thing. If YouTube or Google fails, there are other ways. 

AC: One thing I find impressive about the “Sacrilege” music video is how much its themes and colours can be paralleled with your paintings, which I’ve seen showcased on your Instagram. It seems as though you are passionate about building your creative vision from the ground up, and mixing artistic mediums to express certain thoughts and feelings. How much does visual art tie into your creative practice when it comes to your poetry, singing and songwriting?

RJ: They are all the same. Sometimes it’s chaos in my head because they all function together, and they all speak to me together at the same time. None can operate without the others. Over time I’ve learned to master listening to them all. I am happy that I finally now have the outlet to do them all simultaneously, because before, being forced to separate them was driving me crazy. It seemed unusual and confusing to people in the past that I do them all, and I was often asked to choose and focus on only one. I don’t listen to people anymore, I listen to the voices of the arts in my head and only those. 

AC: If “Sacrilege” is a reflection of what’s to come on your upcoming album, IgnoRANT, then it seems there will be no lack of killer bars and strong spoken word for listeners to look forward to. Want to speak a little more on this project, as well as the inspiration for its name?

RJ: Man, I don’t think they’re even ready. It’s nothing like I’ve ever heard before and it scares me sometimes. “Sacrilege” is one of the few normal sounding songs on the record in terms of structure. Myself, along with the producers, followed no pattern or mold, but let ourselves be purely obedient to the art and the emotions. It’s scary but brilliant, and everyone who's heard it so far has had a strong reaction. In terms of concept, for me the title IgnoRANT is a rant about ignorance. It’s being cognizant of the fact that we’re all ignorant to something. It’s being vulnerable about being ignorant and the openness to learn and understand. It’s the recognition of the damages caused by ignorance. It’s knowing that it’s impossible to ever know everything and that we will always be ignorant, but it’s possible to love and have empathy despite ignorance. IgnoRANT is really examining and addressing harmful stereotypes under a microscope in an in-depth way and also through microcosm.  It is honest, pure, intense and raw. 

AC: Sounds like lots of thought and experimentation has been put into this project, and I’m really excited to check it out once it releases! Lastly, knowing you are a multi-medium artist, are there any recent artistic undertakings outside of your music that you’re feeling excited about? 

RJ: The record is just half of the project. I’m excited about the visual arts I’m creating to go along with the record. Each song will be accompanied by a piece of art that further explores and explains the concepts in the song. Aesthetically, these are explored through surrealism, expressionism and iconography. I’m excited about completing the art and exhibiting both the music and the art together. I am almost done making the art. 2021 will be an interesting year.

Racquel Jones

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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.

Instagram

This interview has been condensed and edited for clarity

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Premiere: Magi Merlin's Walking to the Dep

Magi Merlin by Lawrence Fafard

Whenever I've moved to a new neighbourhood or started a new phase of my life, I often romanticize my new daily routines—walking to the dep, going to the grocery store etc.

Often I'll be listening to my favourite music, or sometimes I'll even dress up a bit to motivate myself to get out of the house. I guess that's what TikTok would call being the main character.

Magi Merlin's new music video for her track "Walking to the Dep" is exactly that. It's a perfect fusion of the dreamworld going on in your head, mixed with the most mundane but comforting of routines.

I spoke with her about her artistic career, inspirations on a cold November night. Tune in to our N10.as show next Thursday at 8pm EST to hear the full interview, and be sure to check out her new music video below. 

Malaika Astorga for Also Cool Mag: Thank you for being a part of Also Cool! Why don't you tell us a bit about who you are and what you do?

Magi Merlin: Hey, I'm Magi Merlin! I'm a singer-songwriter based in Montreal, Canada. I would describe my music as an alternative RNB Neo-soul, but I've recently discovered that I'm branching into different genres. So maybe like RNB fusion. Yeah, let's say that. (laughs) 

Also Cool Mag: That's so fun. So did you grow up in Montreal? 

Magi Merlin: So, funny story, not really. I grew up in Saint-Lazare outside of Montreal, so it's actually quite boring. I went to school in the West Island, and I moved here for university, which I've now dropped out of. So now I'm just here, which I like.

AC: What were you in school for initially?

Magi Merlin: I was in computational arts, which involved graphic design and website development. 

AC: What has your experience with the music/creative scene been like? 

Magi Merlin: I've been making music for my whole life, which I feel like a lot of people say. But it started with me teaching myself how to play guitar, so very indie.

Once I moved to Montreal, that's when I started to understand what kind of music I wanted to make. Also, by being in Montreal, you're just closer to the scene. It makes it so much easier to get into contact with people, and I feel like I could like to grow as a musician after moving.

AC: Did you start going to shows here? How did you end up finding the scene? 

Magi Merlin: Okay, so I actually have a clear origin story. In 2017, I had I ripped this song from a producer called WunTwo. I had taken one of his tracks and wrote on it, and put it out on SoundCloud. 

I made a music video for it, which started getting a bit of traction, and this guy found my music. He introduced me to his friend funkywhat, and that's who I make all of my music with now. We've just been working together consistently for the past three years, and I even lived on the same street as him in NDG for a year.

AC: One of the things that I enjoy about Montreal is that you can see people around really easily, and that's a huge contributing factor to the scene. You see people at shows, but you also see people when you go out for a coffee, or you run into them sitting on the sidewalk, eating a sandwich. 

That kind of casual interaction is definitely responsible for a lot of my friendships and collaborations and discovering new aspects of the city. 

Magi Merlin: Yeah, it almost prompts inspiration. It prompts your creativity. It's just like a good-ass place to be. 

Magi Merlin by Yusuf Victory

AC: So I read that you've played quite a few shows. How do you like performing live, and how has that changed over time?

Magi Merlin: Confidence is a big part of it, getting used to knowing what I feel like and how I sound on the stage. There are older videos where I'm barely moving on stage versus more recent videos where I'm flowing a lot more; there's a lot more movement.

AC: Do you have like a favourite venue or like a favourite show that you've played?

Magi Merlin: I really liked the one I did recently for Slut Island. It was a bit weird cause everyone has masks on and all that, but I really liked Sala Rosa as a venue. 

AC: I miss that place. That kind of leads into my next question. I was watching the music video, and since I live in the Plateau I was super excited to recognize all of the locations. Is there any reason why you chose this neighbourhood in particular?

As I watched it, I found it made me think about all of my different apartments and how emblematic routines like walking to my dep would be of specific eras of my life.

Magi Merlin: I feel like in Montreal, you fall into these little routines. Deps are everywhere, but you always kind of have that one that you go to regularly. 

The song just ended up being super Montreal. It's my version of a love song. One of my love languages is gifts, but it doesn't have to be a big thing. Going to the dep and getting me like a bag of chips means a lot. I was trying to put that in a track, that homey, comforting feeling.

AC: How would you describe Montreal to someone who hasn't been here or wants to move here?

Magi Merlin: It definitely depends on the area. Right now, I live downtown, which I would describe as casual shopping, Urban Outfitters kind of vibe. But in the Plateau, it's very homey. It's very, "Going out to a cafe, chilling with your friends, reading a book, tote bags."

AC: That's so funny. When I moved to Montreal, any idea that I had that I'd ever use a purse again was gone. Tote bags from the grocery store became my go-to, and now I have way too many but also keep buying more.

So, I'm interested to talk about who inspires you. Where do you find inspiration? 

Magi Merlin: I've been super inspired by existentialism lately. I've been reading a lot of books, most recently A New Earth by Eckhart Tolle. 

I'm also super into movies. I am obsessed with this app called Letterbox. I'm on it just as much as I'm on Instagram. It's like basically this bank of just every movie ever, but not to watch the movie. You can read about the movies and then you can organize them into little lists. It's great for organization, I highly recommend it. 

I watched movies a lot growing up, and I was introduced to The Go Goo Dolls because I watched Treasure Planet. More recently, I watched The Queen's Gambit on Netflix, which was bonkers. That stayed with me for a few days afterwards. I also really liked Honey Boy by Shia LaBeouf, Hereditary, and My Cousin Vinny.

AC: Do you have any like favourite poets or books that have stood out to you in the last little while?

Magi Merlin: Yeah, Nejma by Nayyirah Waheed. It's really pretty and very direct. I like poetry that doesn't complicate things too much, but it makes you think about a situation in a new way.

AC: Who have you been listening to lately? 

Magi Merlin: This past week, I've been listening to In Rainbows by Radiohead. I'm also super into Mk.Gee's "A Museum Of Contradiction," and then older artists, like The Spinners and John Coltrane.

AC: How do you want people to feel when they listen to your music?

Magi Merlin: I want people to feel cool. Often, when I'm listening to music from various artists that I enjoy, that's what I feel like. To be able to give that to somebody else would be the ultimate goal.

Watch “Walking to the Dep” by Magi Merlin below

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Kue Varo: A Chat About Art, Community, and Reclaiming Self

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Photo credit: Ariana Molly

Kue Varo (She/Her He/Him They/Them) is the solo project of songwriter and multi-instrumentalist Kat Spreen. After years playing in bands, Kue moved from Calgary to Montreal to find her own voice, looking inwards to explore the complexities of identity and self representation - uninhibited and all uniquely hers. The title of her debut album, Daffodil 11 - coming out on January 28th! - was inspired by Kurt Vonnegut’s Slapstick, the famous novelist’s exploration of the idea of building social support networks to counter the loneliness imposed by a capitalist world.

Also Cool got to chat with Kue about her sensitivity to color and light, her love of art, and her collaboration with Ariana Molly on the sultry music video for “Just Don’t Lie” - the first single off Daffodil 11.

Maya for Also Cool: Kue Varo - what does the name signify? How did this musical project come to be?

KV: Kue Varo is a gender ambiguous name which was on my radar because I perform in drag sometimes. I just wanted [a name] that wasn't super gendered. Kue is actually from Star Trek - the character Q - but I spell it with a “K” because my given name starts with it. I tried to keep that part uniform. I went by a different name in a project before this one, so I wanted a smooth transition - and for my fanbase to find me if they wanted to.

Varo is the last name of my favorite surrealist painter, so I borrowed from her name - Remedios Varo. She's had a really huge impact on me. I found her paintings one day - I just decided when I was like 12 or something that I needed a favorite painter - it was just really important to me.

I needed to know - who paints the things I really connect with? So I spent probably two weeks just Googling - going to online galleries all over the world and searching for someone who paints the way I like it. And I ended up finding one of Varo's paintings. I just instantly was like, "This is exactly what I love. This is what I would paint if I were a painter." So my love of her work still stands today. She had enough of an impact that I wanted to take on some of that - the energy that surrounds her art.

AC: Do you think that your painting reflects that as well?

Color is really, really important to me. I'm very sensitive to light in general - more so than most people. It can cause a lot of headaches, unfortunately, but because of it I can tell subtle differences in color really well. So in that respect, yes - I think we both share a love of rich, intense colors. I'm not a visual artist by trade, I do music. Painting is very much therapeutic for me - I don't have mad skills - I just love to do it.

I've been playing music [in front of other people] for about a decade. As a 20 year old I played in bands in my hometown and in a city just outside of Calgary. It was always with a bunch of guys - no shade to that - but I definitely let it stifle my creative voice in a lot of ways.

After years of dedicating myself to that project, I decided, along with a move to Montreal, that I wanted to find my own voice again, and really take the song writing part to heart. That's why I started playing music [in the first place]. When I was a kid, I learned piano not because I wanted to play piano, but because I wanted to write songs.

It was a huge missing piece and was making me really sad in ways that I didn't even realize. That's why this project exists. It's me reclaiming myself - as a voice and as a conduit to the creative forces that be. I don't take full credit for everything I write.

When things flow out of you, you're sort of taking from the collective conscious and you just get to be the translator, which is where your unique voice comes in.

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AC: How did joining the Montreal DIY scene been for you creatively? In terms of possibilities for collaboration or any new influences you had during this time?

KV: The first bit was really hard because I didn't have any contacts when I first moved here. It was obviously a huge leap and didn't happen really quickly, but with the creation of this album I ended up meeting some other people who also came from Calgary. [One of them] happened to be working in a studio - Rena Kozak, the producer of the album. I hadn't worked with a female producer before, so I was really excited to collaborate with someone who wasn't a guy - for reasons like I mentioned before. I play music with a bunch of guys still, and I love them, but it's really nice just to have somebody else around. She really helped me get the most out of what I was doing.

Now I share a studio space, like a co-op studio space, with some people who run a label called Baby Horse Records. They're all friends of mine, they're all musicians, and they're all super talented.

I've been welcomed by two different groups and I'm very much in love with both of them - I'm very lucky. This is a really good time to ask me that question because I feel very full and accepted - and lucky.

AC: I've been like rethinking my relationships with people lately and have been really mindful and appreciative of the support and sense of community I feel.

I heard that the title of your album Daffodil 11 is from Vonnegut's Slapstick - which also ties into the whole idea of community building. Was that on your mind when you were writing the songs?

KV: Slapstick is my favorite book and Vonnegut is my favorite author. I've read almost all of his works and I'm trying to collect the last few books. Yeah, Slapstick was heavy on my mind. I actually have a tattoo that's also in part because of [that book]. It was the perfect thing for me to read when I started letting the voices of adulthood come in and say, "There needs to be a good outcome for a good deed to mean anything."

The idea of doing something fully and authentically, without attachment to the outcome - just because it's the decent human thing to do - really speaks to me. That was really heavy on my heart when I was making the album and is still. Hopefully it will be forever because I think it's an important virtue.

AC: You mentioned that you sometimes perform in drag and that you are gender fluid. Can you talk about expressing your identity as an artist - do your drag performances ever reflect your day-to-day experience?

KV: I flip-flop around, it so depends on how I feel when I wake up in the morning. Clothes are very important to me because they're me expressing myself and how I feel every day. I'm sure that I'm also really vain. I'm sure that's a thing too, but I like to think it's because I'm just an expressive person. So I'll just love myself - I'll keep that lie (laughs) .

I definitely have boy days and girl days and I think it's pretty obvious to anyone who's around me a lot - because my whole demeanor changes a little bit.

I like Carl Jung a lot because he also always speaks of having two sides to himself - the scientist and the spiritualist. There's always this duality within him and I've always felt that duality within myself. I grew up in a pretty religious setting that had some serious, hardcore gender roles imposed. So luckily my family is really cool and loving, but there's still a lot of me decluttering all those experiences.

I definitely take advantage of that in art because. I mean the best part about - well not the best part, but the best superficial part, I suppose - about being an artist is that you get to play dress-up and nobody really cares. Which, in Montreal, is not as big of a deal because people are very expressive with the way they dress anyway.

Coming from a super small, super conservative, really just prairie town Alberta, the whole idea of playing dress-up is a much bigger deal. I guess the duality is an everyday experience - and that's totally normal. In terms of dressing up in drag, it's only for performances, as like with who you are as an artist.

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AC: You also introduced yourself as being neurodivergent - how do you think being on the spectrum enriches your experience and your expression of it? You said earlier that you're sensitive to light and see differences in colors very well. Musically, do you think there's also an expression of that?

KV: I think, because it's a processing difference, it would have to have some influence on how I'm going to output what I've processed. Also socially, I think. I'm quite good at pretending to be good at socializing now.

It's been 20-some years - it's been a long time and I didn't know what was up. I was a really late diagnosis. Having the ability to reframe my entire life with things that made sense was really awesome. Sensorily, being a musician can sometimes be a little tough. I have to know when my limits are coming because otherwise it's like, "time to go into a dark room for a while", but it must serve me in some way artistically. At least being a slightly different perspective is valuable. I think it would be impossible for literally how I experience the whole world not to change how I make art about it.

AC: The video that you made with Ariana is so amazing - what is the story behind the song "Just Don't Lie"?

KV: I have residual effects of being a super self-righteous person. In my youth I was really well-intentioned, but my intensity factor wase a bit much for a lot of people. This is also part of being on the spectrum - lying is typically really, really difficult to comprehend. I can't speak for everyone, but hearing from other people that I know are on the spectrum, lying [takes time to understand].

It's taken me until now to realize that small lies are okay and everybody does them. So the song is me poking fun at myself, my younger self, for being so adamant with what I expected from other people. That's why I say, "Forgive how intense I am, because I want it to be right."

AC: What about the video itself?

KV: It was a lot of fun to make. Ariana came up with pretty much all of it. I basically told her to just go crazy. I wanted to do something fun and she loved the song, so I just gave her free reign . All of it had themes that we both felt matched the song, so a lot of things happening and then happening in reverse. A lot of symbolism - like water and fire. We're both pretty into the subliminal power of symbolism. That's how it came to be - it's largely her. So I won't take credit.

AC: And the aesthetic? It's sultry, romantic - was that something you were going for initially?

KV: Yeah, that's part of my artist female persona. I describe it as my artist male persona being a cross between a 1960's bad-ass beat poet and a grungy nineties guy. And then my female persona is more of a sixties to seventies pop goddess, dream-girl type.

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

Written by Kue Varo (Katrina Spreen)
Produced, Recorded, Mixed by Rena Kozak
Bass: Rena Kozak
Drums: Chris Dadge
Synth: Scott Munro
Lead Guitar: Kue Varo
Rhythm Guitar: Matthew Spreen
Vocals: Kue Varo
Video: Ariana Molly

January 28th is the official album release day - it has taken almost two years!

Follow Kue Varo on Instagram

You can find the first single, "Just Don't Lie" on Spotify and everywhere else.

Premiere: Alicia Clara Debuts Ethereal Video for "Five"

Montreal’s new favourite dream pop queen Alicia Clara debuts her video for “Five” today via Hot Tramp Records. This single follows up Alicia’s first-ever release ‘Closing Time at the Gates’ in February 2020, and is off her forthcoming EP Outsider/Unusual. For fans of Helena Deland, Weyes Blood, and TOPS, Alicia Cara might just be your new shoegaze fave.

Shimmering in a halo of light, and surrounded by lush greenery, Alicia sings to the human condition and to failed relationships. As Alicia describes, ‘it is a bit of a self-fulfilling prophecy about having finally forgiven past hurt, all the while still being unable to let myself feel anything out of fear of getting hurt again.’

On the topic of the stunning video by Aaliyeh Afshar, Alicia says, “I wrote Five after waking up from a strange dream during the first lockdown, and the song was written based on my state of mind at that time rather than on a narrative anecdote. To match the nature of the track, I was envisioning something simple but oneiric for the video, shot in nature. Aaliyeh then translated this into her own vision. In maybe a little bit of a sad way, I find that the solitary vibe of the video matches the current mood around the world too!”

Watch Alicia Clara’s “Five” below

Alicia Cara

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Oddysseys Debut Lyric Video for "Body Heat"

Via Oddyssey’s lyric video for Body Heat

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

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

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

Watch the lyric video for Body Heat below

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