3 Queer Happenings: Cosmic Drag-Pop Double Feature Review

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Photo by Emm Pics You

Last month, Montreal, arts interculturels (MAI) transformed their gallery space to be the thrust stage of our dreams for 3 Queer Happenings: Cosmic Drag-Pop Double Feature and we haven’t been able to stop thinking about the cosmic duo BiG SiSSY & Bijuriya.

The two drag artists and musicians came together for two sets of live music featuring their original songs, collabs, and cosmic covers as part of the greater series.

Starting off the evening was Bijuriya, inspired by her South Asian heritage and appreciated for her proud, festive, wacky, and critical outlook on Bollywood and other elements of Desi culture.

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Photo by Emm Pics You

Her performance brought us through many different emotional moments. She began with her melancholic baroque opera piece Cold Genius Aria, composed by Henry Purcell, to having the audience laughing hysterically through her throwback original song “Les bouchées doubles”.

Bijuriya closed the performance off with a magical piece called “Geeta”, written from the perspective of Geeta Dutt, one of her favourite Indian singers from the ‘50s and ‘60s film industry. Geeta’s husband was a filmmaker and had cast another woman in Geeta-like roles while having Geeta sing for the character. Allegedly, there was a love triangle between the two of them and this other woman — a story that has since inspired this beautiful piece by Bijuriya to give Geeta her voice back.

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Photo by Emm Pics You

Popping-in for a duet with Bijuriya in the first act—and dominating the second act with her witchy prowess—was BiG SiSSY, a favourite of Also Cool. BiG SiSSY is a drag/performance artist, vocalist, and producer who makes pro-Black, pro-sex, and beat-driven music. Mixing post-disco beat machines and electro-clash looped guitar riffs, SiSSY's subversive lyrics are drenched in Afro-futurism, humour, and blunt honesty.

The performance started out with some classics, contextualizing BiG SiSSY as an alien from the fictional “Black Starr Planet”. The songs are stars of her upcoming EP release Black Star, including the song “Black Supremacist”: “Whiteness will be your demise / Salvation lies between my thighs… / She was a Black Supremacist / The worst, reverse-racist queen.”

BiG SiSSY dazzled with her signature green glowing hair and stellar vocals.

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Photo by Emm Pics You

The duo collaborated on two songs throughout the eve. There was one original by Bijuriya called “Problematic Fantasy”, which was an ode to the objectification of men whose morals/existence are objectionable (hilarious), as well as a cover of Jamiroquai’s “Virtual Insanity”.

A highlight of the performance was when BiG SiSSY asked for a volunteer from the audience. A very enthusiastic volunteer raised their hand; she then deemed them “Cilantro”, and reminded everyone that it was Black History Month and Cilantro would be bringing around a hat for the audience to fill with their cash.

The lighting and costumes were beautiful – the stage at the MAI really elevated the performances, and made sure audience members were soaked in red for one of BiG SiSSY’s climactic pieces: “The Period Song”. After this performance, BiG SiSSY and her assistant blasted red party-poppers out into the audience as we all shouted “free bleed”.

The show ended with BiG SiSSY’s latest release “Cake”, featuring BACKXWASH (another Also Cool favourite), where she wants to “have [her] cake and eat it too.” You’ll have to listen to the lyrics for that one to get the full picture…

To experience the fun for yourself, join us at the BiG SiSSY EP release on April 6th. We’re also looking forward to seeing Bijuriya again quite soon – stay tuned!

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BiG SiSSY

Black Starr EP out on all platforms April 6

Instagram | Bandcamp | Website

Bijuriya

Bijuriya Chamke out now

Instagram | Bandcamp

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Youth Lagoon, May Rio, Ayane Yamazaki, Disq and More: Also Cool's Playlist Refresh

Heaven Is A Junkyard by Youth Lagoon

As we move into what is hopefully the final leg of a long winter, our listening habits have lean towards comfort songs and new releases. From the Ottawa-core soft indie rock of Trevor Sloan, to a high-energy party track from The Dare, our Refresh hits all the notes you need to get through your snowy walks and cozy days.

Listen to the latest chapter of our Playlist Refresh series on Spotify.

Trevor Sloan by Patrick Dinglasan

If you like upbeat indie-folk, 8mm footage, and mid-sized Canadian cities, you’re going to love Toronto-based artist Trevor Sloan’s latest single “Ottawa 1977”. The track marks one chapter of his new album Dusk Among the Palm Trees, out April 14. As Sloan delicately pores over fragments from his family’s past, the music video brings those recollections to life: twists and shouts, colourful beach balls, all-knowing grandparents and not-caring tots. His vocals are buoyant and pure, as ephemeral as the memories themselves: “Let’s laugh and dance / when we got the chance”. Sounds like good advice.

Trevor Sloan

Website | Instagram | Bandcamp | Spotify

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May Rio by Logan White

Brooklynite May Rio has quite literally gone goblin mode with her new track “Need You Like”. Premiering this past Wednesday via Paper Magazine, the dream pop single is another instant classic from Rio, wherein she pens herself as a villain leading-on an unnamed lover: “You went to bat for me / I triple-played a loner / Gift-wrap your heart, you’re sweet / I’ll pickle it with the others”. Rich with bubbling synths and swanky guitar, Rio’s sugary voice and wit take centre-stage in the two-minute earworm. 

May Rio

Instagram | Bandcamp | Spotify

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Ayane Yamazaki by Masahiro Yanagisawa

Tokyo’s Ayane Yamazaki reimagines city pop on her latest arrival “Saturn and Unicorn” Released on February 24th on me and baby music, Yamazaki’s buttery vocals glide atop luminescent melodies with hypnotizing danceability. Working tirelessly in crafting electro-pop perfection since the age of 15, Yamazaki has garnered a following from college and alternative radio stations around the world. In a statement on “Saturn and Unicorn”, Yamazaki shares that the song represents entering a new frontier; we can’t wait to see what’s next for the 24-year-old singer! 

Ayane Yamazaki

Website | Instagram | Spotify

The Dare via Bandcamp

New York’s Harrison Patrick Smith AKA The Dare resuscitates aughts electroclash hedonism on his brand new offering “Good Time”.  A fuzzy comedown from his breakout banger “Girls” (which has been a constant spin since its drop, by the way), “Good Time” is a sexy smoke break from a hazy dancefloor. The anticipated single expertly nods to dance-punk taste-makers like LCD Soundsystem and Peaches, making for a saturated rager that instigates entertainment for entertainment’s sake; and we’re absolutely here for it.

The Dare

Instagram | Spotify

Disq via the band’s website

Wisconsin rock band Disq have spent the week rolling through 400-series highways, spreading flecks of grungy magic along the way. The five-piece group is supporting the first half of Alvvays’ Canadian tour, but they emerge as the stars of the show – uneasy yet audacious, impossible to pin down and indifferent to your attempts. Their latest album Desperately Imagining Someplace Quiet feels agile and provocative, probing issues of the modern age with stream-of-consciousness wit and frenetic punk stylings. Many highlights to be found within their catalogue, but fellow emos will delight in how “The Hardest Part” scalds with its imagery and explosive climax.

Disq

Website | Instagram | Bandcamp | Spotify

Lucy via Interview Mag By Annabell P. Lee

It's fair to say that LUCY (Cooper B. Handy) is our latest musical obsession here at Also Cool. We initially discovered his music through his collaboration with Boy Harsher, "Autonomy”, and have since dove deep into the world of LUCY and caught his recent live set in Montreal with Night Lunch and Mark Cone.

His approach to songwriting falls balances simplicity with sometimes absurd but always heartfelt messages. Although it's not a new release, "Even The Score" (a collaboration with Whitearmor) has been on repeat for the last month, making it a worthy addition to our Refresh.

LUCY (Cooper B. Handy)
SoundCloud I Instagram

Youth Lagoon (Trevor Powers by Tyler T. Williams

Youth Lagoon (Trevor Powers) makes a tender return with his latest track, “Idaho Alien”, which comes off his forthcoming album Heaven Is a Junkyard. In 2016, Trevor Powers shut the door on Youth Lagoon. “I felt like I was in a chokehold,” he says. “Even though it was my music, I lost my way. In a lot of ways, I lost myself.” But after an over-the-counter drug reaction caused eight months of harm to Powers’ larynx and vocal cords, temporarily silencing his voice, he decided to return to the project.

Trevor comes home to Youth Lagoon through reflections on family, drug use, youth, brotherhood and war. “I don’t remember how it happened / Blood filled up the clawfoot bath, and I will fear no frontier.” 

Youth Lagoon
Instagram I Spotify

Scarlet Rae returns with a gentle heartache of track, “Waking Dream”. Her wavering vocals reflect on relationships with others, being alone, and moving on. “arms are open wide, my baby holds me tight, between love and light there’s always something left behind.”

For fans of Elliot Smith, Sparklehorse, and PACKS, keep an eye out for Scarlet’s live NYC shows.

Scarlet Rae
Instagram I Spotify

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Paying To Play: fanclubwallet on the Price of Touring the United States as an International Artist

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Hannah Judge AKA fanclubwallet via Bandcamp

Editor’s note: The following interview originally aired on First Crush on CKCU 93.1 FM (Ottawa, Canada) on Friday, February 24th, 2023 and was produced by the author of this article.

Editor’s note (March 4th, 2023): Since the release of this article, the deadline to submit feedback to the Federal Register regarding the Department of Homeland Security’s proposed increase to visa rates has been extended to March 13th, 2023.

While the concept of "paying to play" is unfortunately nothing new in the music industry, especially for emerging artists, its harsh reality has risen to a whole new level.

In early February, the United States Department of Homeland Security announced proposed increases to performer visa fees that would make touring in the United States significantly more expensive, if not completely inaccessible, for international musicians.

In order to legally enter and tour the United States, international musicians are required to obtain P-type and O-type visas. Should the new rates come into effect, musicians will have to pay at least 250% more for the mandatory paperwork. As cited in Stereogum, P-type visa costs would skyrocket from $460 to $1,615, and the O-type visa from $460 to $1,655 (this is USD, by the way).

Not only will musicians be further inundated with the debilitating financial burden of touring, but the state of the North American music industry at large—and the hundreds of thousands of creative workers it employs—is under threat.

This news has driven musicians to take to social media to recruit supporters in lobbying the Department of Homeland Security to keep touring in the United States possible for international acts.

Also Cool had the chance to speak with Hannah Judge, AKA fanclubwallet, an Ottawa-based indie artist, on the issues facing Canadian musicians in the current cultural climate and how the community can show up to help keep touring possible for artists from our own music scene and beyond.

Listen to our conversation below. Supporters have until March 6th to oppose the move by leaving a comment on the Federal Register website here!

Also Cool Mag · Paying To Play: fanclubwallet on the Price of Touring the United States as an International Artist

fanclubwallet

Instagram | Website | 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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Also Cool Presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Corinita

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Poster by Vasco Cavalheiro

Though flooding dancefloors in spring attire may be hard to imagine in midst of this week’s major snow dump, we’re asking you to save the date—and potentially bear the cold—for our next show! We promise, it’ll be well worth your while.

On Thursday, March 30th, hit Bar le Ritz to experience both the gig and the rave in true Also Cool fashion. Open the pit with surf punk trio NO WAVES, taking the stage with fishnet-tearing hardcore ensemble Whoredrobe, followed by a deepcut dance party led by DJs Beamskii, 1800pastamoney, Mayalabae and Corinita,

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Also Cool presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Coronita at Bar le Ritz

Thursday, March 30th, 2023

Doors — 7:30PM | Show — 8:30PM | 18+

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In a recent interview, NO WAVES is described by Also Cool contributor Uma Nardone as:

Maybe a kaleidoscope of indie sleaze, where Blink-182 and Surf Curse intersect? Their sets radiate a joyousness and respect that's rare in the industry. They want to be there as much as the audience does, and it shows. 

Joining the bill is up-and-coming hardcore band Whoredrobe. “Never taking themselves too seriously,” Whoredrobe uses riot grrl, punk and metal influences combined with humour and irony to create music that is uniquely their own.

Get ready to mosh, dance and let loose at our punk show-turned-after at Bar le Ritz! Save the date and see you on March 30th.

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Tennis' Love Sprawls Towards the Sun on "Pollen" (Mutually Detrimental)

Tennis by Luca Venter

With the release of Pollen, the latest chapter of Alaina Moore and Patrick Riley’s love story has unfolded. The indie pop duo better known as Tennis has captivated audiences for over a decade with their signature lovesick mystique, and with its mellow delivery and emotive conviction, this sixth studio album carries the torch.

On the foundations of Pollen, Moore notes that the pair set out to produce an album that gestured more definitively towards the mainstream, and balanced their dexterous production with a clearer concentration on affective lyricism. The inspirations behind the record narrow down—in the loosest sense of the phrase—to “small things with big consequences: a particle, a moment, a choice.” 

Indeed, the overarching feeling across the release is that a psychic balance is at stake. Simple motifs like a summer breeze or a winding road act as vessels of complexity; Moore remains fixated most steadily on the gravity of her devotion and its ability to topple over. 

Album opener “Forbidden Doors” sets an arresting stage, with Moore’s inquisitive recollections layered overtop of a satisfying bassline. The folk-rock grit on “Glorietta” feels exciting and unexpected, with crispy feedback bookending subtle swipes: “Their patriotic displays are so loud / They’re controlling Eden from the clouds / You can’t resist the urge to dominate / Like it’s written in your DNA”. The sharp retro-pop production that encapsulates Pollen is best exhibited on “Let’s Make A Mistake Tonight”, with a late-disco groove and an earworm of a bridge elevated by Moore’s syrupy-sweet tone.

In comparison to this bold start, the second half of the album feels a bit more familiar. This is not to say that it’s disappointing—devotees of the duo will find plenty to enjoy—but certain moments fade with a passing sigh that feels comparatively less impactful. “Paper” has this floating quality that feels like the song’s on the tip of your tongue – its airiness complements Moore’s confessions of uncertainty. “Gibraltar” sparks some intrigue with its vocal melodies and psychedelic licks but doesn’t land as convincingly as its counterparts.

Ultimately, Pollen builds on the sophisti-pop legacy that Tennis has cemented, sprinkling tasteful experimentation throughout a timeless musical premise – the overpowering beauty of a love that lasts.

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Pollen

Out February 10, 2023 via Mutually Detrimental

1. Forbidden Doors

2. Glorietta

3. Let's Make a Mistake Tonight

4. One Night with The Valet

5. Pollen Song

6. Hotel Valet

7. Paper

8. Gibraltar

9. Never Been Wrong

10. Pillow For a Cloud

All songs written and produced by Alaina Moore and Patrick Riley

Drums and engineering assistance by Steve Voss

Ambient noise on “Gibraltar” by Griffith James

Latin translation on “Never Been Wrong” by Alan Sumler

Mixed by Claudius Mittendorfer

Mastered by Joe LaPorta

Album artwork by Luca Venter and Allison Freeman

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Tennis

Instagram | Bandcamp | Spotify

Website | YouTube | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool Presents: Frankie Rose & Chiara Savasta at Taverne Tour on Feb 11th

It may be the coldest month of the year, but Taverne Tour is hitting the streets of Montreal this weekend to warm us up with too many good shows to count. 

We're excited to co-promote a Taverne Tour show of our own featuring Frankie Rose and Chiara Savasta at Casa del Popolo on February 11th. Almost all of the Also Cool core team will be in town, and we'd love to see you!

Get your tickets here. 

Taverne Tour will be taking over the many bars and music venues of Avenue du Mont-Royal, Boulevard St-Laurent and Rue St-Denis, and present the very best music from Montréal and abroad. Headliners include of Montreal, Lydia Lunch Retrovirus, BACKXWASH, The King Khan & BBQ Show, and Choses Sauvages.

The lineup also includes a ton of Also Cool forever favs, including Piss for Pumpkin, Laura Krieg, NO WAVES, Yoo Doo Right, La Sécurité, Boyhood, and SO many more. 

Good luck in the cold, we'll see you in the pit!

Taverne Tour

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Montreal's Eve Parker Finley Hosts New CBC Music Series "Ten Minute Topline"

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Eve Parker Finley by Stacy Lee

Eve Parker Finley is putting musicians to the test by challenging them to write an original song based on a randomly-selected genre and a topic pulled from a hat. To top it off: contestants have ten minutes to compose their lyrics in-front of rolling cameras from the country’s biggest broadcaster. This is the concept behind Ten Minute Topline, the new CBC Music series hosted by the Montreal-based multi-instrumentalist and comedian.

On Ten Minute Topline, Parker Finley shares, “I hope [that people watching the show] get an excitement to try and play and experiment artistically themselves.”

With three out of five episodes out so far, the short series aims to “bring awareness to [the] diverse talent” making-up the Canadian music industry.

Hear our conversation with Eve Parker Finley on Ten Minute Topline below!

Also Cool Mag · Interview with Eve Parker Finley on "Ten Minute Topline"

Eve Parker Finley

Website | Instagram | Bandcamp | Spotify

TikTok | Facebook | Twitter | 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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Surf Curse Talks DIY Music Scenes, Friendship and TikTok Algorithms

Surf Curse by Julien Sage

When I think of 2013, I think of Buds, the debut album from Los Angeles indie-rock band Surf Curse. At the time, I was just discovering the music and film that would impact my teenage life in an identity-shaping way. I was stoked to hear those same points of inspiration in the band’s collaborative songs and independent projects (Current Joys and Gap Girls), and couldn’t get enough of their garage-rock sound that was re-emerging at the time. 

Surf Curse has come a long way since then, and have been touring their new album Magic Hour this past year following the viral success of “Freaks,” which came off their first album. 

I’ve been lucky enough to get to know Nick and Jacob over the years, in both Los Angeles and at home in Montreal, and was happy to catch up with them before their recent show at Club Soda. We spoke about the all-ages venue in Reno that changed their lives, their friendship over the years, and the impact of TikTok algorithm’s on DIY music scenes.

 Malaika Astorga for Also Cool: Can you describe the scene you came up in Reno and what it was like when you moved to L.A.?

Nick Rattigan: I feel like there's like three parts: Vegas, Reno and L.A.

Also Cool: I went to Vegas for the first time recently and was wondering how people live there full-time. 

Nick: Yes, we do that every time we come back.

Jacob Rubeck: Especially when you're young, it's like you're musically depressed, you know? It would take forever just to go see a band that you actually like. When we got to Reno, there was finally an all-ages space,The Holland Project, where bands that Nick and I loved would actually play.

Nick: It was kind of shocking.

Jacob: The very first night we were in Reno, we got invited to a show that was on the college campus by this guy handing out flyers. It was for a band called The Babies, and it was Kevin Morby and Cass Ramone from Vivian Girls. I had literally gotten the seven-inch record that day in the mail and loved it. Then this guy's handing out flyers for a show that they're playing in like two weeks, and I was like, “Where have you been my whole life?”

Nick: That guy booked our first show.

Also Cool: Not to say that Vegas is a small place, but I understand that there's not much going on music scene wise, and I’m also from a place where there was not much going on. This made it so that any show at all was really exciting and special. It was better than nothing, and I so desperately needed that.

 Nick: We went from a little bit of something to a lot, because L.A. is a lot. When we first visited, it was always the extreme of what we experienced at The Holland Project. There were so many all-ages shows, so many event spaces and places for people to play. So that was very exciting and exhilarating. Now I don't have my ear to the ground at all. I'm like, “Where’s the new stuff in LA? What's going on with the scene?

Jacob: Yeah, it's funny; it’s a lot of touring bands. What's great about being able to live in Los Angeles is that everyone comes to play here. So, you're reunited with old friends, bands that you always wanted to see; they’re all going to land here at some point. I got to see Duster this year and have been stoked on that. I got to see two nights of Pavement, which was incredible, and Danny Elfman for Halloween at the Hollywood Bowl, which was absolute lunacy. The one thing that I do like about L.A. is that you have access to so much.

I will say that I do miss being in smaller venues, like seeing a show at The Holland Project back in Reno. I miss being in that room and on the stage and figuring out what to do at the end of the night. With all these LA shows, I tend to leave immediately afterwards and go home, you know? Like an old guy. 

AC: Yeah. I mean, one of my questions was, and I know politics with The Smell are a bit complicated, but it obviously had a huge impact on your lives, so much so that you wrote a song about it. I'm wondering what other venues or spaces have been impactful for you in that way? Often when I talk to musicians, they often have “this one venue that was the only spot where everyone went to, and where that's how they met everyone in their lives.”

 Nick: Yeah, I feel like that was mainly The Holland Project for us in Reno because it was the only all-ages space we'd ever experienced before. It's where we played all our shows and where the bands that came through hopefully would play.

 Also Cool: And bands don't really tour through Reno?

 Nick: And bands don't really tour through Reno. They do sometimes. They did a pretty good job of lassoing some pretty big bands. I remember Future Islands came through, and that was like the biggest deal of the year. 

But then in LA, my favourite was Pehrspace. It's actually the new cover of our first album because the other cover was so bad, I was like, “We have to change this.”

 Also Cool: Why do you think it was bad?

Nick: It's just like us sitting on a couch with some waves behind it.

Jacob: It was a little beachy.

 Nick: It's a little beachy. We already suffered the “surf curse,” which is that everybody just seems to think that we’re a surf rock band.

Jacob: Which you know–-

Nick: It's the surf curse.

Jacob: It's a curse.

Nick: You get what you know, two beachy dudes from LA.

 Jacob: We love eating pizza.

 Nick: Yeah, yeah. We love movies and pizza.

Also Cool: Movies and pizza, great.

Nick: Movies and pizza, yeah, we still like movies. I've actually been eating a ton of pizza the last few days, but Pehrspace was just this really cool DIY venue in L.A.

Jacob: It's supposed to be coming back.

Nick: It's supposed to be coming back for years.

Jacob: It disappeared because they got kicked out of their location. I'm pretty sure it got replaced with a big chain coffee shop, if I'm not mistaken, but they're moving somewhere else. We opened up for Omni there.

 Nick: The Bootleg, Pehrspace is moving into the Bootleg.

Jacob: Bootleg was a good spot, Non Plus Ultra was also a great spot.

Surf Curse Magic Hour

Also Cool: So, I like to ask people who've been in bands together for a long time: What have you learned about friendship from each other?

Nick: It's complicated.

 Jacob: It is complicated. I like to look back on us. The cool thing about us is that we didn't drive each other crazy so fast because we had too much time in between everything.

Nick: Yeah, we didn't like, blow up, right away.

Jacob: When we first started, Nick moved to New York and worked as a PA, and I was working as a dishwasher.

We had a lot of time to take space from each other and then reunite again, work on music and show each other stuff whenever we did have the time. So it wasn't like we were young, and then our egos got to our heads and were like, “ I fucking hate you,” or nothing like that. It was like, “It's good to see you again. Let's go back into it.”

The more we’ve toured and added members and worked on new music, you know, not gonna lie, it has been tough and hard, but we've been able to communicate with each other.

 Nick: Yeah, communication is key. That's the glue.

Jacob: When we added Henry and Noah, we wanted people that we one; totally respect musically, and two; who are just like really great people. It’s balanced a lot of things out between all of us.

It feels good, creatively. When we do Magic Hour, and we are writing new stuff, I have it in my head that it’s intentionally for someone, you know? Like something that's going to be appealing to them. So when I pitched them like, “You like this, do you like this?”

 Also Cool: You both have your independent projects too. I'm sure you separate: “Okay, I'm writing for Surf Curse, and maybe this one is just more for me.”

Nick: I think this year has been a good learning curve to this year because it's the busiest year of our lives, and we're kind of figuring out how to make it all work.

Jacob: When we did figure it out, being as a DIY, independent band or whatever, I think, you know, we mastered it. But then when the major label thing came about, it was a whole other learning curve of trying to figure out what makes sense and what feels good.

Also Cool: I know that film has hugely influenced your music to the point of having song titles on Buds named after movies. What visual media in the last few years has had a similar impact on your creative process?

Nick: We're All Going to do the World's Fair (2021). That's one of the best modern movies I've seen, and is forward in its storytelling techniques. It's a horror movie about this kid that starts playing this online horror game… and that's really all I can tell you about it. You just gotta watch it. It's so good. Alex G does the soundtrack, and I came for the soundtrack, but stayed for the movie.

Also Cool: This is the only TikTok-related question, but I see a lot of kids on TikTok the Internet void, “How do I get involved? Where is the scene? How do I get invited to the party? Where is the secret DIY venue?” Which is really funny but also sweet. They're just like: “I don't know!” So, I'm going to ask the algorithm until it gives me what I want. 

I think the pandemic affected this sort of integral experience of being a teenager that starts going to shows. When I was like 16 to 18-ish and was like figuring it out, I had older people showing me how to act at shows and where to find them. That was completely gone for this generation, where they went from being a teenager to being a sort of adult wondering, “How the fuck do I find friends?”

Nick & Jacob: Yeah.

Also Cool: I'm interested in what your advice is for those people who would like to get involved in things in a meaningful way and have a scene again in real life and not on the internet. 

Jacob: It's a great question. I think the best way is to pick the shows that you like going to, if you do have that music scene and just start noticing who's there and who are the recurring suspects. Those are potentially going to be the people that you can find in all your music, love and trust in.

 Nick: Yeah, that's funny, as soon as you said that, it kind of reminded me of the Facebook question of when people would post their status like: “Hey, what's everybody up to tonight?”At least that's like, my equivalent of it.

When I was 19, we were looking for that too, you know? I think everybody's looking for that. And you sort of stumble into it. I think just life just happens, and you find your people.

Jacob: One thing that I do like about TikTok is that there's no gatekeeping. I see this one girl always posting slowcore stuff. I don't know her name, but she's like: “If you like this, you like Alex G. Here's another five bands,” and then there's discourse that's happening in that comment section. It's like a good way of connecting with people. That's how, you know, I was back in the day on Tumblr, Facebook, and Instagram, just trying to find some sort of sense of a community. It still exists, it’s just changing.

Despite our conversation about searching for community through the algorithmic void, there weren’t as many phones out as expected during Surf Curse’s set that night. The crowd was energetic, respectful to each other (from what I experienced in the mosh pit), but most importantly, just really happy to be there.

Stream Magic Hour on all platforms, and keep an eye out for future shows via Surf Curse’s socials. 

This interview was transcribed by Cyril Harvin Musngi.

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Mue On Ritual, Intimate Spaces, and Decomposition in LP "Les vasières" (Halocline Trance)

Mue by Vincent Castonguay

Explore the esoteric and terrestrial that is embodied in Mue’s first full-length new album, Les vasières. Even though the electronic duo—made up of Léon Lo and Catherine Debard—is based in Montreal, the sonic perimeters of Les vasières are vast, spanning across complex layers of sound and space. 

Elaborating on the landscape of their latest release, the band explains: “The French album title translates to “The mudflats.” Sounds from disparate sources form aural silt that is brought to life by waxing and waning cycles, each improvisation presenting a new, different mudflat scenario.”

By incorporating the sound of water, nature, and compost, Mue presents more than an album but an auditory experience through their experimental rhythms and alternative percussions. In this conversation with Mue, Liza Makarova mediates the intimacy of Mue’s spontaneous-yet-methodical approach to their world-building and soundscaping process. 

Les vasi​è​res by Mue. Cover artwork by Katherine Melançon, graphic design by Haley Parker

Liza Makarova of Also Cool Mag: What is the history behind Mue? When did it start and why?

Catherine Debard of Mue: Mue is definitely a pandemic project. It [all began]in March 2020 – I was supposed to go on a European tour and had sublet my place. A few days before leaving, I started having doubts and ended up cancelling everything (which was a really good decision, since the international lockdown happened the week after). I stayed at Léon's place and we quarantined together.

Léon Lo of Mue: I had some gear stocked at home from a previous performance, so one day, out of boredom or curiosity, we decided to jam together for the first time. I set up my computer to record it just in case and it turned out to be unlike anything either of us had done individually before.

Liza: Throughout the three- (or more) year process, what were the feelings, sources of inspiration, rituals, and expectations that motivated you to develop Les vasières?

Catherine:  Looking back on the recording process, the ritualistic aspect was undeniable. I think the pacing was important in this respect. We recorded a song or two at a time, a few weeks apart, for a few months. Each time, we would clear the space and since our project is hardware-heavy, it would take us about an hour to set everything up. It was meticulous and messy as if we were building a world out of a bunch of cables and machines, all intertwined and tangled together. Then, without talking much or planning anything, we improvised until we connected with each other and when the sounds locked, we would record until we felt satisfied. It would always start playfully and chaotically, but then, intuitively, we'd find each other and vibe on the same frequency.

Léon: I would say “frequencies”, as there were so many elements acting of their own accord. It was entrancing but also eerie in how egoless the process was.

Catherine: Somehow, we always intuitively stopped recording at the 12-minute mark, possibly our own sacred time unit. That was the first phase of the project, and we didn't have an album or concept yet.

Léon: After letting those recordings sit for a bit, we revisited them, chose the ones we liked best and set about cutting them down to more digestible formats. That proved to be really difficult because of the overlapping cycles of different lengths. Finding the right spots to cut out without it showing too much was challenging. But at that point, there was a feeling that the compositions could become something more concrete –that together, they could turn into something else. Kris from La Rama was an early supporter and singled out two songs (“1,000 Passages” and “A Tangle of Filaments”) to release as a limited edition 10” vinyl on the store’s in-house label La Rama Dubs. Toronto-based label Halocline Trance gracefully signed on to release the remaining tracks, which were coalescing into something like an album.

Catherine:  It's around that time that we started thinking about mudflats, right? That's what “vasière” means. We added the interludes to expand a bit more on the idea. Before that, I remember we were into more of a “compost”, “slimy” imagery. I was trying to grow plants out of vegetable scraps, and I recall we were both pretty invested in the process.

Léon: Yes, listening to the tracks, we started seeing how our disparate sounds would come together like all the different overlapping cycles present in mudflats: those of the waves, the countless micro-organisms, the vegetation, the birds overhead, etc. So, each jam was re-imagined as us having set up a new mudflat and wanting to see how all the different elements would co-exist.

LM: The album is both transcendent and down to Earth. While utilizing high-frequency vibrations to create an ethereal aura, the title—Les vasières—and the organic rhythms create a grounding sensation. By balancing the abstract and the earthly, where would you “place” the sonic atmosphere?

LL: I think "transcendent" and "down to Earth" are two poles that we reach for. However atmospheric our music may be, we really want it to be a physical experience.

CD:  I think a telling example is the kind of field recordings we used in the songs. I had recorded myself playing with rubber bands, pine needles, water... I think these sounds bring everything together in a more physical way, as you were saying.

LL: When you listen to the music and hear these sounds from different sources, you're getting all of their original sonic contexts as well. So, the sounds are actual physical spaces merging and vibrating in your space, and not just ethereal evocations of ideas of space.

CD: Thinking about your question, it made us realize that we both embody a different end of that spectrum. I am very much in my body and my senses, but my contribution to the music is more amorphous, and ungrounded.

LL: Whereas I'm very much in my head most of the time, I contributed the more grounding rhythmic base.

CD: Weird!

LM: Les vasières was recorded on your living room floor. What do “home vibrations” mean to you? What kind of energy is generated while recording in a home studio and how does producing in intimate spaces affect your creative process?

LL: Recording in a small living room with all of our gear felt like a cozy spaceship.

CD: Like the cover of that Silver Apples record, but super chill, and with herbal tea and fruits.

LL: Because we didn't have any plans at the outset, the recordings were intimate moments of exploration. There were no clocks ticking overhead, no pressure to deliver anything specific.

CD: I think it's because the whole thing was so low-key and fun that I made much bolder moves than I would usually. I had the time to dive further into my instruments' menus and settings, which led to more sophisticated, weirder textures. I didn't care about perfection at all, and you can hear that. Also, not using a computer led me to rethink my way of creating loops or to improvise using more than one instrument at a time. It was all quite clumsy but special.

LL: Also, I think it's important to let people know exactly where we worked so that the music doesn't just float around untethered. The context is important because it defined what we could and couldn't do at that specific time. For example, I was a middle-aged, middle-class, cis-het settler of colour lucky to still have a job and some music gear at home.

CD: I was a white settler part-timer in the service industry—temporarily out of work and living out of a suitcase—but still, I was able to get some of my equipment from my place.

LL: We didn't have access to a professional recording studio, and neither were we constrained to just doing everything in Fruity Loops. All this binds the listener back to us at that specific time and avoids creating a purely isolated aesthetic experience.

CD: What I like about working with Léon is that context also becomes a performative, playful and intrinsic aspect of creation. For example, when we started working on our radio show (Heavy Metal Parking Lot, N10as), he had this whole idea of using dice to determine the “energy curve” of each episode. That led us to make adventurous, playful choices that we wouldn't have necessarily made. We could say our live project at Mutek with Katherine Melançon was another example of a both constricting and super-stimulating context.

LM: Many visual and video art pieces, such as the album cover (created by Katherine Melançon and designed by Haley Parker, in addition to Melançon’s music video), were produced in tandem with Les vasières. How do you think the listening experience of “Télophases” changes when paired with the visual component?

LL: The visual aspect of the music video really transforms the listening experience, especially with someone as talented as Katherine. She had run the idea by us of scanning our shared compost and using the resulting images to produce the video for “Télophase”. That sounded awesome, but she mostly kept it a secret until it was done, giving us periodic progress reports along the way. We were totally confident that it would be fantastic, but we were completely unprepared by exactly how fantastic it would be.

CD: When we watched it for the first time, we kept exclaiming throughout the whole thing. We had to watch it a few times in a row to wrap our heads around it.

LL: The images in the video end up taking the lead, in my opinion. They're so strong and the narrative arc is so well-constructed that it could seem like we composed the music to go along with it. That's definitely not a bad thing, and I think it's okay if the music is not experienced the same way as if it was listened to on its own.

CD:  As for the album artwork, it offers a very earthy, physical, material palette (food, leftovers, intimate bodily relationships), but made surreal andeerie. The meticulous beauty and the strangeness perfectly set the tone for the record.

LM: To follow-up: in using compost as material for “Télophase”, the binary between decomposition and composition is blurred. Do the song titles and order convey a narrative regarding these themes?

LL: In keeping with the theme of mudflats, we didn't set out to mark any clear beginning or end for the album. We preferred the impression of catching the middle of something, that things were already constantly starting and ending.

CD: Or like if each piece is a glimpse of an ecosystem at a specific time, a fleeting impression of a landscape. As for the song titles, they emerged from an intense research session on various subjects that we felt resonated with the music.

LL: Things, beings, spaces, and the relationships between them.

CD: We followed various rhizomatic associations and jammed intellectually. We looked over the results and named the songs.

LL: Song titles for instrumental music end up acting as super-condensed lyrics, so we tried to choose the most potent words we came across. And about binaries, though they can be useful sometimes, we make it a point to avoid them. A blur is much more interesting to us. Ambiguity rules!

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Les vasi​è​res

Out November 25, 2022 via Halocline Trance Records

1. Hylozoïste

2. Ambeing

3. Balanes

4. Télophases

5. Quatre Temps

6. 433 Eros

7. Andand

8. Sumac

9. Naica

All pieces composed, produced and recorded by Catherine Debard and Léon Lo

Mastered by East End Mastering

Cover artwork by Katherine Melançon

Graphic design by Haley Parker

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Mue

Instagram | Bandcamp | Spotify

Liza is a multi/interdisciplinary artist and writer who, at all times, feels an inner pull toward the stars, towards the future. They gratefully reside in Tiohtià:ke, which is the unsurrendered territory of the Kanien'kehá ka.

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Montreal Surf-Punk Trio NO WAVES Talks All Ages Shows, Artistic Influences and New Music

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NO WAVES by Daniel Takacs

The soundtrack for most teens' early years is moaning vocals and distant pop icons from another decade, but some of us are lucky enough to have NO WAVES. The smell of sweat and Twisted Tea fills each venue; pink hair and neatly pressed dress shirts swarm together as the crowd swells. At their shows, young Montrealers experience the special feeling that comes as you start to uncover the ecosystem of music around you. Whether it be your first mosh-pit-induced black-eye, or wringing out a t-shirt soaked with sweat, NO WAVES is the breeding ground of Montreal's next-gen in music.

The band has a look you can't define… Maybe a kaleidoscope of indie sleaze, where Blink-182 and Surf Curse intersect? They all sit in the limbo zone before adulthood, with boyish smiles and CEGEP classes packed between shows. Their sets radiate a joyousness and respect that's rare in the industry. They want to be there as much as the audience does, and it shows. 

In the aftermath of the pandemic, NO WAVES is the light at the end of the tunnel for many, with their underpass show of August 2021 acting as a green light for commotion. They lit a fire, and the scene couldn't resist dancing around it. 

As someone who began the pandemic starry-eyed and unknowing of the music world,  NO WAVES has been a gateway into Montreal's music scene. NO WAVES is for the people who go to shows every night, and those who've never entered a venue before. They are an instant family of sorts; one that pulls you in for a hug and never lets go. 

I had the chance to catch up with the surf punk three-piece about their early beginnings, where they’re headed now, and everything in-between.

Uma Nardone for Also Cool Mag: Let's start off easy! Tell me about your first gig?

Sam: Our first show was at one of the Climate Demos, a protest in the middle of winter. Cy wasn't even there, so it was early early days. It was during our March Break and held outside. It was crazy! It was the coldest I've ever been.

Angel: Later on, we did shows in a dance studio. We weren't supposed to be there, and everyone had to take their shoes off. It was very hot and small, with like 50 kids crammed into a room. 

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Also Cool: You've begun your second stint of recording. What has it been like working on the first EP versus your second?

Cy: Very, very different.

Sam: The songs are more fleshed out.

Angel: During our first EP, we had this frustration: We really wanted to just release our music, have it out there, and start playing shows as soon as possible. It was done with this mentality of recording as soon as possible. Now that we're recording again, we're in no rush. We're revisiting old songs and reworking them. 

AC: How has the music you're listening to impacted your new music? Have you discovered anything recently that has completely changed your creative process?

C: It's ever-changing, and I don't think it will ever stop, or at least I hope not. 

A: I've gotten into more hardcore punk, but everything feels new. Lots of Bad Brains, TURNSTILE, Dying Fetus, and very Midwest emo shit.

S: It's all over the place for all of us, everything from breakcore and punk to pop. 

AC: Do guys consider NO WAVES as falling within a specific genre? How do you typically describe your music to others?

S: I call it pop. It's all pop, just pop.

A: I've come to terms that with everything we do, it comes out trashy or punk. I used to struggle a lot, ‘cause I would try to write stuff that was soft, but no matter what, it would end up noisy and loud.

C: Noisy pop!

AC: That's perfect, though, because I consider you guys—and I mean this in the best way—the greatest gateway band in the city. After COVID-19 lockdowns, you started that revival of live music, especially for a younger crowd. 

A: That's kind of our goal, to be accessible to everyone. There are a lot of bands that feel hard to get into because of the crowd, and places sometimes feel snobby or unsafe, and that sucks.

S: Right, that's what I love about us. If you go to one of our shows, every kind of person is in the crowd. If you go to different venues, there's all these different cliques or groups, and at our shows, they're all there together.

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Angel from NO WAVES with audience members, photo by the author

AC: That's so true. At your summer bummer show, I met these girls from the Laurentians who had taken the train in. It was their first time moshing, seeing a gig in a small venue. You guys help people feel safe enough to experience these things for the first time.

C: That feeling is something we prioritize. We want an environment where people can hang out without worrying and have good vibes. 

S: It's not that deep either. Shows should be safe for everyone. That's how it should be.

A: There's this thing I learned when I was really young, that has stuck with me. I was told at 15 or 16 that music is sharing. Ever since, that's been how I see music. You're sharing with the crowd, the staff and the musicians. We all share this common love, you know?

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Crowd at a NO WAVES show, photo by the author

AC: That's evident in the crowd, as well. You've grown up with the people who come to your shows, and they keep showing up for a reason. It's like a big family that keeps growing. 

S: I think it’s so beautiful. 

A: It's super sick because I see people who were at our shows five years ago, who went to our launch party, pull up to our shows now. They are the OGs of NO WAVES. 

S: People we've known since they were 13 and playing at school, and now they're grown up and still coming. It's amazing. 

AC: I can attest to that. I was maybe 12 or 13 when I went to my first show, and now I'm here. I consider you guys integral to my childhood, and many others feel the same way. NO WAVES is the soundtrack to teenagedom here! My first black eyes were at your show, and my friends' first kiss happened at your show. You guys are part of all that. 

A: I think it's so cool. We've been able to play our music and grow up with them. After the outdoor show, this dude slid into our DMs and told us about his first experience with LSD. It was so crazy cause what band gets to experience that so closely. 

S: Right, I was like, man, you're a stronger person than I am. 

AC: Tell me more about the underpass show. How was that experience for you all? 

S: Oh man, I loved that show. It was my favorite show we've ever played because of how close we were to the crowd. There was no stage, so people surrounded us. At one point, this dude slapped me on the back and complimented me from behind the drum kit. He was a complete stranger; it was so cool. The formality of a show was gone, and we were immersed in the crowd.

C: We go against that formality. We play better when not on a real stage. 

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NO WAVES by Daniel Takacs

AC: Do you guys channel certain people in terms of stage presence? Like when I was kid, I wanted to embody Sid Vicious or maybe even Zappa. Who is it for you? 

A: I would say Blink-182 for all of us. To me, they are the standard of what a trio band is capable of. Whenever I'm on stage and feel stuck, I have a guitar, and I can't move or whatever; I look up to them. 

S: Same; I channel my inner Travis.

A: I think at most shows, we're just daydreaming that we're Blink. That's our secret.

AC: Would it be a dream to open for them? Is there anyone else that you want to play with in the future? 

A: Surf Curse, too; we just have to do that. We've been thinking about it for so long. 

S: I just want to go on tour and go as far as possible with this.

A: We want to expand our horizons and explore new places. I really want to go to Mexico. The whole scene that inspired me to do everything I'm doing now all comes from there. Those kids inspired me. 

C: I remember hearing my first songs from Angel in Spanish, Los Blenders and Senor Kino; they influenced me so much. They taught me how to put on a show. He showed us all this world we didn't know about. 

AC: What's the songwriting process look like for NO WAVES?

S: It's really all of us. Every song is a collaborative effort.

A: I'll come in with a guitar riff or a single verse - these very unrefined songs. Then we'll all write over it and work on it over time. We all just pile on ideas until something comes out of it. Some songs take thirty minutes, and others take years.

S: We have songs we've been working on for more than four years. 

AC: Has playing in NO WAVES changed your social life at all? 

S: We all have the same mentality when it comes to playing: We don't feel better than anyone because of it. So many people have helped us come to where we are today, and we're really grateful.

A: People made fun of us in high school. We didn't feel cool then.

S: I just hate the mentality that people have. No one is better because they are on stage. It doesn't change who you are.

C: It's also not what music is supposed to be. Music is not a hierarchy. No one is better than anyone else. Our shows are for people who love music the way we do, that's all. 

NO WAVES holds a place in my heart that I can’t quite explain, I feel oddly devoted to the music, to the crowds and the all encompassing joy it brings. They are the band that sings to a choir of misfits, welcoming old punks and scene kids alike. 

They keep growing and as more and more people come to love them as I do, the excitement of experiencing a small history being made is thrilling. NO WAVES is ever-moving and might change, as young bands do, but no one will forget them. Everyone who's been in a crowded room with damp floors and broken stereos singing along with NO WAVES knows their systems have been shocked and their brain chemistry never be quite the same. The NO WAVES phenomena, explicable in their talent, is band who will forever be ingrained in my brain, and hopefully yours as well!

Don’t miss NO WAVES’ free Taverne Tour pizza party at Le Ministère on February 11th at 11:59PM!

NO WAVES

Instagram | Bandcamp | Spotify

Uma Nardone 

Instagram

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Best Fern, Debby Friday, Libianca and More: Also Cool's Playlist Refresh

Rachel Chinouriri by Alice Backham

Happy Saturday, Also Cools! Another Playlist Refresh is coming in hot, and here to narrate your weekend.

There is truly a slice of everything in this weekend’s Refresh, which makes it all the more exciting to browse. From Gatineau to the English Channel, Afrobeats to indietronica, peruse some of the tracks that have topped our charts.

As always, you can listen along via our Spotify playlist.

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Best Fern by Hugo Bernier

Gatineau and NYC excellence collides on Best Fern’s “On and On”. The single is the long-distance ambient pop duo’s second offering from their to-be-released debut Earth Then Air, arriving February 3rd via Youngbloods and Backward Music. “On and On” is one of twelve tracks realized by the pair while in residence at the Banff Centre for the Arts and Creativity, surrounded by the awe-inspiring and all-consuming might of the Rocky Mountains.

In a delightful three-minute whimsy, Best Fern twirls through a chamber of playful stringed arrangements, between sprinklings of horns and cosmic flirtations. Picking up on its earthly inspirations, “On and On” awakens the sensation of drawing the curtains first thing in the morning, and feeling the warmth of the sun beaming in as the day begins. 

Watch the accompanying music video for “On and On”, shot by Stephanie Kuse on 8mm film, below!

Best Fern 

Instagram | Bandcamp | Spotify

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Debby Friday Good Luck album artwork via Bandcamp

Toronto-based musician, multimedia artist and astrologer Debby Friday breaks new ground on new track “So Hard To Tell”. Along with the lead single from her forthcoming debut album Good Luck, out March 24th, Friday shared her signing to seminal Seattle label Sub Pop Records. 

On “So Hard To Tell”, Friday subdues her metallic, industrial-punk foundations to unveil raw, reflective and luminous R&B by allowing her unmodified singing voice to surface. 

In a statement on “So Hard To Tell”, Friday explains that experimenting with her voice was a leap of faith in the right direction: 

“I have a lower register and speak with vocal fry so I don’t know what came over me when I made this track. I have never in my life sung like this before, and I had no idea I could even make these kinds of sounds with my voice. There’s no pitch effects on ‘SO HARD TO TELL’, it’s all me.”

Upon first listen, the dynamism of “So Hard To Tell” made Friday’s Good Luck one of our most-anticipated albums of the year (yes, already!). While we wait for more, draw out the excitement and watch Friday’s gorgeous and futuristic video for “So Hard To Tell” below!

Debby Friday 

Website | Instagram | Bandcamp | Spotify

Libianca via Spotify

Minnesota-based Cameroonian Afropop singer Libianca participated in NBC’s The Voice on season 21, quickly becoming a favourite with her thoughtful song choices and mesmerizing performances. Although she didn’t win the competition, she continued her passion and grew a fanbase through the release of tracks like “People” – we have been listening on repeat ever since. 

When engaging with this song for the first time, it is easy to miss the depth of the message, which poignantly enough is exactly what Libianca describes is happening to her in real life. “I’ve been drinking more alcohol for the past five days / Did you check on me?” She conveys the sadness of when the ones closest to you are the least aware. However, through the international community that she has reached with her music it seems as though some of that sadness has departed. On her YouTube channel, Libianca writes: “I wrote this song when I felt unheard... UNSEEN. To everyone who has resonated with my overflow of emotion through this song, THANK YOU!”

Libianca

Instagram | Spotify | TikTok

Rachel Chinourini by Martina Martian

With the release of “So My Darling (Acoustic)”, English indie singer-songwriter Rachel Chinouriri has written a tale of heartache, longing, and never-ending love. Chinouriri so poignantly describes the feeling when you realize that someone may not always be there, but your affections for them won’t ever change – a lover, or a friend. Max Pilley from DIY Magazine perfectly describes it as “a delicate, intimate and charmingly endearing paean to real love.” Rachel touches on the reason she released her acoustic version:

“I felt “So My Darling” was going to be special from the day I made it when I was 17. It’s always one which people go back to and say it always resonates with them at my shows. Despite making it 4 years ago, I’m so happy that it has connected with a new audience on TikTok and see the song being used for videos that reflect the meaning. It’s stripped back but that’s how the song began so it makes me happy that it’s perceived so much love and everyone’s spreading a lot of love with it too.”

Rachel Chinouriri

Instagram | Spotify | TikTok

Nisa by Sara Laufer

Brooklyn singer-songwriter Nisa Lumaj has begun a dazzling new chapter with the release of Exaggerate. While each track on the EP—out now via Hit The North Records—strikes a particular nerve, the title track’s skittering motifs and elevated lyricism come out on top. The single was produced with Nate Amos, who has steered the sound of artists like Water From Your Eyes and AC favourite Lily Konigsberg. 

Conceived in a period of travel and transience for Nisa, “Exaggerate” documents the intensity of emotion that came from her personal instability. Her vocoder warble blends with the muted indie production to paint a sonically-nostalgic picture. Imploring her detached lover to let her clean in solitude, Nisa rambles with an anxious confusion: “If I could delete the pain / It might take me / To your heartbeat faster / I'll miss yesterday / When you told me / You could love me harder”.

Nisa

Instagram | Bandcamp | Spotify

Our Playlist Refresh series is available in full on Spotify, refreshed on a rolling basis.

Stream it all below!

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Empty Nesters, The Lemon Twigs and Tennis: Also Cool's Playlist Refresh

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Empty Nesters by Steph Dinsdale

The January air is rife with possibility, crystallizing all around us like porcupicicles from the roof, and some of our favourite musicians have started the new year by hitting their creative stride. Catch up on our recent listenings in this week’s Playlist Refresh, marking the first new music review of the year.

While the calendar flip is still fresh, we have an itch that 2023 will be defined by endless listening opportunities, from artists local to the Also Cool music scenes and beyond!

Explore the chapters of our Playlist Refresh series on Spotify.

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Empty Nesters by Steph Dinsdale

Empty Nesters, the project of Chinese-Canadian artist Eric Liao, is an Also Cool musical mainstay. Having planted seeds in the same Ottawa DIY music scene, and eventually making the move to Montreal alongside some of the magazine’s founding members, every Empty Nesters release is an emblem of peers growing alongside each other and self-actualizing in the once intangible layers of the Industry™.  

This maturation is evident in Liao’s newest single “Going Bye”, self-released on January 6th. Outfitted with a dissonant shoegaze flare and bound by signature indie know-how, “Going Bye” brings forward the inner workings of Liao’s thoughtful songwriting — once buried by the fuzz of his house-show beginnings. Now with five EPs under his belt and an ever-growing curriculum vitae of live performances, Liao’s creative prowess takes centre stage with “Going Bye” winking at an exciting new chapter.

Catch Empty Nesters at Casa Del Popolo on January 28th alongside Blooming Season, Bedridden and Plastic - presented by KickDrum! More info and tickets available here.

Empty Nesters

Instagram | Bandcamp | Spotify

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The Lemon Twigs via Bandcamp

Long Island brother band The Lemon Twigs graced us with elegant love song “Corner Of My Eye” earlier this month. As the duo’s first offering since their acclaimed 2020 LP Songs for the General Public, “Corner Of My Eye” reminisces with the feel of 1960s soft rock pining. 

Written and produced entirely by The Lemon Twigs, the single’s uncluttered mingling of melodic guitar, muted percussion, dreamy vibraphone and winding upright bass cushions Brain D’Addario’s delicate vocals and the pair’s sparkling harmonies. 

“Corner of My Eye” is out on Brooklyn label Captured Tracks, and while no hints of a fourth album are on the way, we’re hopeful that The Lemon Twigs are brewing up big plans for 2023. 

The Lemon Twigs

Instagram | Bandcamp | Spotify

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Tennis by Luca Venter

Inching closer to the release of their highly-anticipated sixth studio album, Tennis has released the crisp and evocative “Let’s Make a Mistake Tonight”. This track marks the second single from Pollen, out on February 10 via the duo’s own Mutually Detrimental. 

Overtop of a laidback disco sound, vocalist Alaina Moore paints pictures of impassioned escapism. Her Madonna-tinged lilt elevates the vintage decadence as her fantasies of runaway romanticism culminate in destruction.

Elaborating on the vision behind the single, Moore notes: 

"'Let’s Make a Mistake Tonight' is all hubris, attitude, and wish fulfillment. I’m turning water into wine," says Tennis. "I’m reshaping my reality through projection or denial. While tracking with Patrick [Riley] I kept envisioning the same scene: I’m in the passenger’s seat. Patrick drives with one hand on the wheel and one on my thigh. This song plays us out."

Those in and around Toronto will want to catch Tennis on April 5th at HISTORY, featuring folk musician Kate Bollinger.

Tennis

Instagram | Spotify

Our Playlist Refresh series is available in full on Spotify, refreshed on a rolling basis.

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Kickdrum & Also Cool present: Late Nite Laundry, Sophie Ogilvie & Lucy's Delirium at La Sotterrenea

Our favourite Chicago psychedelic soul band Late Nite Laundry is coming to Montreal, and we're happy to be co-presenting their show on February 12th at La Sotterrenea alongside Kickdrum. We recently interviewed the band about their self-titled EP,  Late Nite Laundry (released via Acrophase Records), which you can read here.

Late Nite Laundry will be joined by Sophie Ogilvie (feat. members of Helen Paradise and Bodywash) and Lucy's Delirium, who played our holiday charity event for the Mile End Mission. 

Sophie Ogilvie is a singer and songwriter based in Montréal, Quebec. Approaching songwriting with the confessional lyricism of folk and an indie rock penchant for pop song structures, Ogilvie's sound is set apart by her deft command of the voice. Ogilvie has performed in Montreal's synth-pop and indie-rock scenes with the band Helen Paradise, with whom she recorded their External World EP (2021). On her upcoming EP Coming Up, Crocus, Ogilvie uses both electronic and acoustic instrumentation, borrowing from downtempo, singer-songwriter, and R&B genres. 

Lucy's Delirium is an alternative rock band from Montreal, made up of members Addie, Franky, Lila and Hanak. They want to dance, jump, cry and yell with the audience while keeping the scene open and inclusive. They'll be releasing music this year and can't wait to scream on stage.

Portes/Doors – 20h30 I Spectacle/Show – 21h I $12 adv / $15 door

***Nobody will be turned away for lack of funds***

Tickets

*** ACCESSIBILITÉ / ACCESSIBILITY ***

Le lieu est appelé La Sotterrenea, situé dans le sous-sol de La Sala Rossa (4848 St. Laurent Blvd.). Des escaliers sont nécessaires pour se rendre au lieu. Il n’y a pas d’ascenseur.

The venue is called La Sotterenea, located in the basement of La Sala Rossa (4848 St. Laurent Blvd.). Stairs are required to get to the venue. There is no elevator.

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Enter Palingenesis: A Night of Independent, Genre-Defying Creative Expression

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To start off 2023, we’re unveiling the lineup of Palingenesis: a night of independent, genre-defying musical performances and multimedia installations animating multiple levels of church-turned-event space allsaints – 330 Laurier Avenue East, on Saturday, January 21st, from 7:00PM-2:00AM in Ottawa. Presented by Congrego in collaboration with Also Cool and Debaser, Palingenesis brings together cutting-edge talent evading the cultural mainstream from the curators’ hometown scene and beyond, including musical acts Pony Girl, Fraud Perry, Treus Jones, Crasher, Lesser Evil, maxime., DJ TRINIDADDY, Dimitri Georgaras and DJ Russ Plus, accompanied by works from local artists SLVR, Cheru Pompey and Andrew Doxtater.

Advance tickets are available for purchase here. Limited quantities available at the door. 

Excited? Us too. Save the date and meet the Palingenesis musical guests below and get ready for the hottest event of the season (on the coldest day of the year)!

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Pony Girl

Pony Girl are masters of artpop, invigorating stages with a prismatic sound that’s all their own. Hailed for their “evocative soundscapes” (CBC Radio), “ability to push the boundaries that define pop-rock” (Mixtape Magazine), and “musical depth quite astonishing to experience in person” (Exclaim!), Pony Girl is a rare gem worth uncovering.

Instagram | Bandcamp | Spotify

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Fraud Perry

“Fraud Perry is a vibe, a don't take shit type. Emerged from her chrysalis to ride a beat like a dick type...”

Instagram | Bandcamp | Spotify | SoundCloud

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Treus Jones

Instagram | Spotify | SoundCloud

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Crasher

“Crasher is a new three-piece electronic punk band fronted by Airick Asher Woodhead (Doldrums, errhead). Crasher formed during COVID while ‘bubbling’ in a shared jam space, and recorded the tape Street Cleaning Machines of the World, which released in spring 2021. They performed it live at Montreal’s OXYGEN outdoor rave event series in summer 2021.” — Suoni Per Il Popolo

Bandcamp

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Lesser Evil

Lesser Evil is Ariane and Christophe, who grew up strangers in houses next to one another in the same small town, met years later and morphed into a haunted two-headed beast of a musical duo as if it was always in the cards. Driven by Ariane's vocals, Christophe's electronics and a shared propensity for refined-meets-broken production, they plumb the depths of sound and mind in ways equally intense, intricate and immediate.

Instagram | Bandcamp | Spotify

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maxime.

maxime., born Maxime Trippenbach, is an alt-pop artist (self-released/AWAL) who writes, records, produces and engineers his music in his bedroom in Montreal. For his live show, he is accompanied by two friends: James Clayton on guitar and Lucas Kuhl on drums.

Instagram | Spotify | SoundCloud

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DJ TRINIDADDY

“DJ TRINIDADDY (they/he) is an Odawa based and Tkaronto-born DJ, musician, & overall multidimensional artist. As a queer & trans Coolie femme boy in the DJ & music community, they aim to make party & gathering spaces accessible & safe(r) for QTBIPOC, and hope to inspire & create community through their sounds. From soca, chutney, & dancehall to afrobeats & sick club edits, there's no way yuh cah free up & feel up yuhself when they're spinning!” — Pique

Instagram | Mixcloud

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Dimitri Georgaras

Ottawa-born composer, sound artist, and instrument builder. Dimitri's compositional voice is informed by deconstructing the fundamentals, limitations, and chaotic behaviours of analog electronics and digital signal processing, creatively exposing their musical potential through composition and performance.  

Instagram | Website | Bandcamp

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DJ Russ Plus

Instagram | SoundCloud

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Palingenesis Floor Plan

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2022 in Review (Also Cool's Top Albums)

Illustration by Malaika Astorga

Sounds Cool 2022 (Also Cool’s Top Albums)

Alvvays - Blue Rev (Polyvinyl / Transgressive / Celsius Girls)

“These are 14 zippy songs that echo in your brain long after they end, largely thanks to the group's ability to repeatedly knock reliable song machinery into a woozy disequilibrium.” — Jacob Ganz, NPR

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Born At Midnite - Alternity EP (Arbutus Records)

“Born At Midnite show the range of their DIY stylings with ‘Alternity’, incorporating an invigorating drum beat alongside bouncing neon synths and slick guitar licks to create a stylish, swaggering whole. It’s the perfect setting for this tale of a high-class party, where everyone’s wearing designer clothes and bopping around in this rarified social strata.” — Rob H., Beats Per Minute

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Boyhood - My Dread

“Stroke It” on Also Cool’s Playlist Refresh (June 24th, 2022)

“Central Frontenac’s Caylie Runciman—AKA Boyhood— has recently shared ‘Stroke It’, the second single from her upcoming album My Dread. Complete with Runciman’s signature contemplative instrumentation and frank delivery, ‘Stroke It’ indicates a deepened confidence in her artistic stride.”

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Cola - Deep In View (Fire Talk)

Interview with Cola by Zoë Argiropulos-Hunter (May 17th, 2022)

“Rather, Deep In View relishes in poetic revelations in a era of lukewarm takes. With an observational tone akin to David Byrne’s commanding Talking Heads personas, coupled with direct, yet animated, guitar-bass-drum arrangements reminiscent of early works by The Strokes, Cola strikes political conversation on modern life with refreshing sincerity.”

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DR. GABBA - Planet Piano

Review of DR. GABBA’S “MAGIC RIDER” by Malaika Astorga (May 5th, 2022)

We discovered DR. GABBA earlier this year when the Tiktok algorithm gods were feeling particularly generous. The anonymous space doctor pairs old-school video game graphics with bouncy, synth-heavy beats, which he used to roll out his 2022 album Planet Piano. "Plasma" and "Googoo Lagoon" were the standout tracks that took the algorithm by storm, but "Sunday 2pm" was our personal favourite. DR. GABBA has since gone on to play his first live show with non-other than Montreal electro-sweethearts Blue Hawaii in Los Angeles and will hopefully be blessing us with another synthy space journey sometime soon.

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Dry Cleaning - Stumpwork (4AD)

“It’s post-punk but also incandescent slow rock; it’s hardcore vandalized with Dadaist-diary meditations; it’s cold and moody but also lush and friendly, alternately borderline industrial noise or dream pop.” — Kieran Press-Reynolds, Pitchfork

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Gloin - We Found This (Mothland)

Interview with Gloin by Holly Hilts (November 24th, 2022)

“While their 2019 album Soft Monster was loaded with head-bangers, there are some more soothing rhythms on We Found This, always with some level of distortion and dark underbelly (a Gloin signature).”

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Grim Streaker - MIND (Mothland)

Grim Streaker featured in Also Cool’s FME 20th Anniversary Top Picks (August 30th, 2022)

“Brooklyn’s Grim Streaker sport weirdo sing-talk rock that you cannot help but bop to. Their latest album MIND is described as ‘a surreal, subversive world of four songs that reflects on the current state of mental health, laughable social constructs and the inescapable working grind.’”

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Imogen Heap - Chordata Bytes I (Megaphonic Records)

“Heap helped define the popular soundtrack of the early 2000s. Her solo work and sole album as a part of the electronic duo Frou Frou have become touchstones for the millennials who grew up hearing Heap’s otherworldly, oft-modulated vocals on-screen. Now 44, the pop innovator continually resurfaces as a point of inspiration.” — Cat Zhang, Pitchfork

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Isabella Lovestory - Amor Hardcore

Isabella Lovestory is a perfect balance of sexy bitchiness and everything we love about reggaeton. Her 2022 album Amor Harcore took Montreal's perrero princess to new heights this year, with countless shows across the globe, including some memorable shows in her hometown. It's an album to pre before a night out with your besties or blast while you get over your ex.

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The Linda Lindas - Growing Up (Epitaph Records)

The Linda Lindas’ POP Montreal show review by Rebecca L. Judd (October 8th, 2022)

“The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night through. Between coordinated sways and jittering struts, the group carried themselves with carefree coolness that felt easy to absorb.”

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Magi Merlin - Gone Girl (Bonsound)

Magi Merlin comes into herself and her sound with her explosive 2022 album, created in collaboration with her longtime friend, Funkywhat. Using themes of rage, raving, and ultimate self-expression, Magi hit the ground running with this release, launching herself across international stages for much of the year.

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Maryze - 8

Review of “Experiments” by Malaika Astorga (March 7th, 2022)

“Inspired by her Celtic roots, years of studying jazz, and a healthy obsession with emo as a teenager, Maryze's music transcends genre while still providing one hook after the other.”

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MICHELLE - AFTER DINNER WE TALK DREAMS (Transgressive)

“Much like its predecessor, the record sees each member narrate not only their own vulnerability, but that of their bandmates, encouraging survival and self-improvement over group harmonies and striking pop choruses. Their liberation is individual and universal at once.” — Sophie Williams, NME

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Eliza Niemi - Staying Mellow Blows (Vain Mina / Tin Angel Records)

Interview with Eliza Niemi by Zoë Argiropulos-Hunter (August 4th, 2022)

“Between cello musings, folk experimentations and modular synth flirtations is Niemi’s most bountiful collaboration to date—a testament to her talent and creative kinship.”

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OMBIIGIZI - Sewn Back Together (Arts & Crafts)

Interview with OMBIIGIZI by Zoë Argiropulos-Hunter (October 1st, 2022)

“Through its exploration of both individual and collective identity, Sewn Back Together reckons with the realities of generational trauma, guided by familial teachings and a connection between Monkman and Sturgeon that transcends their collaborative brilliance.”

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PACKS - WOAH (Fire Talk, Royal Mountain Records)

PACKS featured in Also Cool’s 2022 POP Montreal Top Picks

“Accompanied by an acoustic guitar, WOAH has Link returning to her solo, unbrushed songwriting roots with a refined lyrical palette and imaginative composition (and an ode to Ottawa commercial radio on the track ‘fm’).”

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Shallowhalo - No Fun

“Yesterday’s Toy” on Also Cool’s Playlist Refresh (June 24th, 2022)

“Shallowhalo, NYC’s resident sparkly synth royalty, recently released their no-skip album No Fun—and ‘Yesterday’s Toy’ has been on repeat since the drop. For fans of Strawberry Switchblade, Kate Bush, and Cleaners from Venus, the track is a shimmering cascade of sound perfect for your summer playlist.”

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SZA - SOS (Top Dawg / RCA)

“SZA has mastered the art of the inner monologue, transforming deeply personal observations into gilded songs that feel intimate, relatable, and untouchable, all at once.” — Julianne Escobedo Shepherd, Pitchfork

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Wombo - Fairy Rust

Released in the summer of 2022, Wombo's Fairy Rust has stayed on our daily playlists ever since. "Regular Demon" was an instant favourite, combining spooky sounds, slightly cryptic lyrics, and an elevated postpunk sound. Other Also Cool favourites from the album include "Sour Sun," "Below the House," and "RVW."

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Listen to our year in review below!

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In Conversation: Cosmic-Pop Enigma Elizabete Balčus on Artistic Freedom, Vegetable Synthesizers and "Hotel Universe" (Mothland)

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Elizabete Balčus by Zane Zelmene

Hailing from Rīga, Latvia, extraterrestrial-pop maestro Elizabete Balčus performed one of the most memorable sets of the year, and possibly ever, this past fall. Since making a stop in Rouyn-Noranda for the 2022 edition of FME, touring her avant-garde opus Hotel Universe, we’ve been enthralled by Balčus’ raison d'être. With an entrancing, collaged-sound that spans from a Lynchian merry-go-round to what you might hear twinkling in the alcoves of a celestial ice fortress, Balčus’ enigmatic production is a realm-bending portal that combines operatic vocals, classical flute, 80s-tinged rhythms and electronic vegetable-synth pulses.

Following the buzz of her album release, we had the chance to connect with Balčus on the importance of harnessing her independent spirit as a creative, and the inner-workings of her multifaceted artistry.

Zoë Argiropulos-Hunter for Also Cool: You recently completed a touring stint in Canada promoting your new album Hotel Universe and met your Montreal-based label, Mothland. What was it like realizing this work alongside new audiences? How did the creative circles in Canada compare to that of your hometown? 

Elizabete Balčus: It was great to meet my label in person after some months spent collaborating with them remotely. They take a lot of care in curating lineups for tours, and I felt like I was sharing the stage with artists that were a good fit for me.

It’s been nice adding in new material and tapping into the mood of my new album. But, I always balance that with music made in the moment; improvisation. Meaning, the songs I have on the album can be stretched and changed a lot, compared to the originals. Each show on my tour was quite different because those improvised parts would change depending on my mood. What’s most important to me is to have a true catharsis and expressing my emotions to their fullest. If I’m showing what I’m feeling without holding anything back, that’s when I get the strongest response from a crowd.  Being in Canada and being in front of a new audience was exhilarating – it made it easy for me to relay my emotions.

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Elizabete Balčus at FME in Rouyn-Noranda, Quebec - September 2022, photo by Malaika Astorga

Also Cool: You wear many hats as a musician, composer, performance artist and actor. How did you balance and tap into these intertwined passions when realizing Hotel Universe?

Elizabete Balčus: In general I am a fan of one solo artist’s perspective. I like to feel that one person is responsible for everything. When I put a release together, I like to feel like it’s all of me, and not just one part of me. And I feel that I can express myself with visual art and performance in a way that emphasizes my musicality, so it is very important in what I do. Having multiple hats is a consequence of me having a project that is homage to a lot of my inspirations: I love theatre, I love dancing—I like music that is immensely theatrical and surreal. So, it’s natural for me to apply these things to create what I consider a solo show worth attending.

AC: What pushed you to expand from your traditional artistic background to an experimental solo endeavour? Has this transition made an impression on how you approach, or feel about, your craft? 

EB: The thing that pushed me was that I wanted to do something that came naturally to me. That natural thing was, and still is, being creative with something that I can call entirely my own. It’s artistic freedom, I suppose.

There’s an axis between my classical upbringing and my solo show. All of my arrangements are quite classically-based, and this comes through in playing classical flute in my sets. I use the thing I learned in the Latvian Academy of Music, but I changed it to fit my world. 

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Elizabete Balčus performing at Club SAW in Ottawa, Ontario - September 2022, photo by the author

AC: Branching off of that, when did you start incorporating eco-synthesizers into your music? What is your favourite fruit or vegetable to play?

EB: I wanted to make the performance art aspect as important as the music. I discovered these inventions, and felt they were right. Way back in 2016, I got a device that allowed me to play real fruit and vegetables., and I incorporated it into my live show. I still sometimes play broccoli and pineapple—I guess they’re my favourites because of their psychedelic shape! I am always interested in adding different tools to my live show. Sometimes I play with a prosthetic leg, other people’s skin or my own biorhythms to create electronic sounds.

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Elizabete Balčus’ musical set-up at FME in Rouyn-Noranda, Quebec - September 2022, photo by the author

AC: Alongside your sound, your live show has so many intriguing elements. Touching on your costumes and makeup: what inspires your aesthetic and where do you source your performance wardrobe? 

EB: I take a lot of influence from avant-garde fashion, Dadaism, retro-futurism, sci-fi films and Greek mythology and theatre. Sometimes a certain painting, a film character, a plant or even an animal can inspire me to make a costume. For example, once some green insect flew in my room and danced on the wall while I was listening to my demos and sketching costume ideas. It inspired me to make a hat with antennas and paint my pointed boots light green.

I place a lot of importance on wearing and making headpieces because they are, for me, a mark of spirituality. I think of it as a way of broadcasting my energy to the cosmos. It’s like how saints are pictured wearing halos. As for makeup, it usually comes after the clothes and headpieces as a final touch. Most of the time I just take a brush and experiment, see where it goes.

For clothes: I like vintage shops. I’ve picked up a lot of stuff that I remix. I reshape or cut and glue things together, to make them more my own. I also take some costumes from the theatre my family runs, and from time-to-time, I collaborate with fashion designers that lend me some of their creations. I was lucky to find the artist Anna Gulbe who lent me the hat and boots for my Canadian tour.

AC: What has been the most rewarding aspect of unveiling Hotel Universe thus far? What impact has the experience had on your artistic outlook?

EB: The rewarding thing for me about releasing music is it’s a format that I feel I can most fluently express myself. Even more than talking. So, it’s nice to have that communication with others who feel my music and respond to—what is a very accurate—portrayal of who I am, deep down.

Releasing music doesn’t directly change my artistic outlook, but it definitely spurs me on and gives me energy to move forward.

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Elizabete Balčus by Zane Zelmene

Elizabete Balčus

Instagram | Facebook | Twitter | 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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PREMIERE: Montreal's Love Language Melts the Winter Blues with "Little Gardens"

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“Little Gardens” artwork by Heather Lynn

When in eastern Canada, daring to embrace the cold is part of one’s seasonal lifestyle. Here to warm us up from the inside, Montreal’s indie rock outfit Love Language premieres a double-feature single and video for “Little Gardens.”

Following the release of their lush 2021 EP Trying To Reach You, “Little Gardens” boasts a heavier and edgier sound for the band—bringing to life a jam-packed tour and bouncing from stage to stage in less than a year from their first show under an overpass in their hometown. Clad with fuzzy tones and a casual, yet spunky, delivery, “Little Gardens” aligns with Love Language being described as “the band that’s playing in the bar—that all the high school kids are somehow allowed into—in your favourite 90s teen movie.”

Recorded this past spring with Rene Wilson of Faith Healer, “Little Gardens” is one of the first songs written by the band after the release of their debut album. A charming outlier for being “peppery, alive and [not] taking itself too seriously,” the live setlist favourite teases a to-be-released EP, set to arrive in early 2023.

Love Language by Connory Ballantyne

On “Little Gardens”, Love Language shares: “It's a song about two people navigating the world at different paces, desperately wanting a connection only to realize that the other person may as well be floating somewhere out in the solar system.”

Accompanying “Little Gardens” is a rosy music video, shot by the band on Super8, charting their voyage to Sled Island and New York City this past summer.

So, consider “Little Gardens” an ear-worm for your winter funk survival. Give it a spin (over and over) and watch the video below for an endless source of sunshine!

Pre-save “Little Gardens” before its official release on December 16th here!

Love Language
Instagram | Bandcamp | Spotify

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NO WAVES, Sweet Flood, Büntsa, and Lucy's Delirium Play La Sotterenea for the Mile End Mission

What's better than an all-ages show? An all-ages show for the Mile End Mission! Join Also Cool for our last show of the year at La Sotterenea this Friday, December 16th, with NO WAVES, Sweet Flood, Büntsa, and Lucy's Delirium. Tickets are $10 at the door, or $5 with two or more food donations, with all sales and donations going to the Mission.

Now to tell you a bit more about the bands...

NO WAVES are our favourite surfy punk rock Gen Zs, who recently appeared on our N10.as radio show. They played the most chaotic combination of tracks, ranging from blink-182 to Ellie Goulding, in preparation for this week's set.

Sweet Flood began by organizing DIY shows and events in Montreal's punk scene. The name Sweet was inspired by combining two songs that heavily influenced the band's sound. The heavy sludge-sounding tones of "Sweet Leaf" by Black Sabbath and the melodically atmospheric composition of "Floods" by Pantera. You can find the band at Traxide, an underground punk venue, with an energetic crowd smiling and moshing at the same time.

Büntsa is a three-piece progressive alt-metal band from Montreal. In 2020 during the "red zone" of COVID, Chris and Matthew began meeting up in a backyard shed, composing a hybrid of progressive metal and noisy grooves with a punk rock sensibility. They soon recruited the "old guy," Eric (Chris's dad), to flesh out the sound with heavy beats and rhythmic flourishes. They then moved into Eric's recording studio, practicing their unique blend of fast, heavy grooves and tight, gritty riffs.

With high-energy riffs and their instrumental prowess, Büntsa will make you want to jump, mosh, and slip into a barnyard square-dance adrenaline-fueled ecstasy.

Lucy's Delirium is an alternative rock band from Montreal. Made up of members Addie, Franky, Lila and Hanako, the band is hitting the scene with bratty songs and an energetic attitude. They want to dance, jump, cry and yell with the audience while keeping the scene open and inclusive. They'll be releasing music in the next year, as well as playing more local shows, so keep an eye out!

All Ages Dec 16TH 8PM $10 at the door/$5 with a donation of 2 or more food items.

See you in the pit.

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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Blue Hawaii Doubles Down with "I Felt Love (Salzbauer Rave Edit)" (Arbutus Records)

Blue Hawaii by Peter Zietner

Two years after the release of their electric mixtape Under 1 House, Montreal’s beloved electronic duo Blue Hawaii have revived the magic with the release of “I Felt Love (Salzbauer Rave Edit)” — out December 6th via Arbutus Records.

What was first discovered on Bandcamp as a bootleg rework of their standout track eventually became canon. With this interpretation, Berlin producer Salzbauer sends the BPM soaring and delivers an intoxicating force that’s ready for the rave. 

“I Felt Love (Salzbauer Rave Edit)” breathes life into Blue Hawaii’s already-expansive catalogue, continuing their evolution towards a commanding dance-floor sound. The buoyant vocals of singer Raphaelle “Ra” Standell-Preston and transfixing production of Agor “DJ Kirby” intensify with a flailing techno torment, reaching a thrilling climax before mutely conceding to the waves of emotion. From Durocher to the moon, no one is ready.

Listen to “I Felt Love {Salzbauer Rave Edit)” below!

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Blue Hawaii

Instagram | Facebook | YouTube | Spotify

Soundcloud | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Tiny Fest Highlights Montreal's Music Scene at Sala Rossa (Presented by Worst Dad Ever, KickDrum, & Jade Armstrong)

Are you looking for a tiny & wonderful curation of all-ages shows to attend this weekend in Montreal? Look no further than Tiny Fest (presented by Worst Dad Ever, KickDrum Promotions, & Jade Armstrong), which runs at La Sala Rossa and La Sotterenea from Dec 2nd-3rd.

Tiny Fest is a DIY music festival that began in 2019, produced by Worst Dad Ever, taking place at La Sotterenea. The first rendition of Tiny Fest brought a number of bands from across Canada and the United States together.

Bringing together a mixture of unique and talented artists and reaching Montreal's community, Tiny Fest highlights scene favourites as well as up-and-coming bands. After its initial success, a second edition was put together for 2020, but due to COVID-19, it was postponed.

2022 sees the festival's revival and has grown out of the basement, expanding to La Sala Rossa, the entire venue will be an all-ages experience of the best music Montreal, and more has to offer.

Also Cool faves like NO WAVES, Eliza Niemi, and Fanclubwallet are just some of the many bands playing at the festival.

Buy tickets here!

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Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

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