Population II Get to the Heart of their Sound with Latest Album “Électrons libres du québec” (Bonsound)

Population II photographed by Starly Lou Riggs

Playful and alluring, Population II’s Électrons libres du québec is an enigma wrapped in a fever dream. These new sounds by the Montréal-based band hang above Earth’s atmosphere like a twisted multicolour satellite. Sure, it’d be easy to call them “psych-rock”, but that would be an oversimplification. Instead, this powerful trio successfully brews a multi-era potion, seamlessly collecting jazz fills, funky basslines, and emphatic synth in their intergalactic cauldron. 

I had the honor of chatting with the band in their practice space—a treasure trove comprised of Tristan Lacombe’s synth and guitar pedal collection and Pierre-Luc Gratton’s drum set—complete with a rubber chicken in the kick drum (a gift from their tour, they tell me). The wall across from Sébastien Provençal’s bass gear is adorned with a cute Sesame Street-themed bedsheet. Ah, and don’t forget their iconic collection of troll dolls (my favourite is the one with earmuffs and a blue star belly button), as featured in the band’s L’Esco video interview, “L’Autel 4461”. Needless to say, it’s abundantly clear that this ragtag group have been friends for a long time. 

In fact, they’ve all known each other since high school. Tristan, Pierre-Luc, and Sébastien all grew up in the North Shore, just north of Montréal. “[Tristan’s] father is the reason we’re playing together,” Sébastien laughs. “He’s like the guru of the band, if I can say, definitely a guru.”

Incidentally, some of the band’s early independent tracks caught the eye of John Dwyer—of the prolific rock band Osees—and Population II signed on with the rocker’s label. The group’s premiere album, Á la Ô Terre, came out hot on Castle Face Records in 2020. After returning from tour with the aforementioned legends, Population II are back in Québec with Électrons libres du québec, released via Montreal-based label Bonsound.

“We were at Ursa for [someone’s] show and I was going home very late to go to sleep,” Pierre-Luc recounts how they landed on their current label. “And then I received a call [from] someone and she’s like, ‘Hey, come to the park, there’s that person who works for Bonsound.’ So I go to the park and I talk with Valérie [Bourdages]… We talked for, like, two or three hours.” Pierre smiles and adds, “And the next week, we were on Bonsound.” 

Population II photographed by Starly Lou Riggs

Pierre-Luc, Tristan, and Sébastien have a sweet and honest chemistry that comes through in their music. It’s truly as if they can read each other’s minds. That could explain how their music is so bold and intricate, yet seems to come naturally. “We’re really fortunate to have crossed paths and to have this sensibility for the same music and art. We’ve been playing since we were fourteen/fifteen, so sometimes we don’t even talk,” Sébastien speaks to their innate intuition together. 

While the three have known each other a long time, Pierre-Luc is the newest addition to the band. Tristan explains, “We had a different line-up of that band and it was instrumental music. It was basically just jams and we were making long songs with a different drummer. And then we wanted to play with Pepe [Pierre-Luc]. In the first months that we were playing together, he was playing and one time had a mic and started singing. And [it] completely changed the band.” 

“Not singing like a karaoke singer,” Sébastien adds with a big grin, “It’s more like face-melting. Like, ‘How in the world did that little guy do that?’”

“Our first band broke up and we had a show booked,” Tristan recounts. “It was at L’Esco, and when we were kids it was really big, so we couldn’t cancel. So we were just like, ‘Okay, we have to do this show,’… We had to play that show and then we added Pepe and he just added his personal background.”

Pierre-Luc’s lyrics are simple. His vocals act as an instrument all their own—impressive, as he is the drummer and lead singer. These belting vocals, akin to ‘60s garage-style, compliment the wall of sound in instrumental: Tristan’s alternating synth and guitar, and Sébastien’s booming bass. Pierre-Luc shares that his words are meant to “break the fourth wall”.

Électrons libres du québec is truly a powerhouse of an album. From the space-like sonics of “Orlando”, to ripping funky bass licks in “Beau baptême”, to the discorded cacophony of “Pourquoi qu’on dort pas”, the whole thing screams epic. 

Listening with a fine-tooth comb, their influences seem fairly visible to the naked eye: ‘60s and ‘70s psych rock, definitely some classic jazz, and the likes of Funkadelic. Admittedly, Population II are very open-minded when it comes to music. We chatted about Sébastien’s dad being a ‘70s disco DJ (very cool), Pierre-Luc’s use of 6/4 jazz timing, and Tristan's affinity for exploring all genres.

“Oh yeah, there’s a lot of jazz. You wanna talk about that jazz, all that jazz? We’re all about the jazz,” Sébastien says emphatically of the band’s rhythm. All that, before leaving me with a list of recommended bands to add to my roster: ‘60s German band CAN, Canterbury scene legend Robert Wyatt, and Canadian ‘70s rock bands Simply Saucer and Aut’Chose . 

“There’s something good in a lot of different genres,” Pierre-Luc says as the band reflects on their own “genre”. 

“I literally listen to everything and I don’t want to stop myself,” Tristan tells me. “When I was younger, I was trying to be this cool kid: ‘Pop music is not for me. Oh, I don’t like country.’ And one day, I had a narrative shift. I want to be able to love everything.”

Tristan Lacombe of Population II, photographed by Starly Lou Riggs

“Mainly on Électron, we were really listening to those Canterbury prog bands like Soft Machine,” Tristan explains. “Mixing that with like… Krautrock bands that we love, and just a more naïve and primal energy of early proto-punk. Basically, it was a dumb and really naïve way of playing those styles of music.” While Tristan says naïve, what I hear is “experimental”. Population II has this in abundance—a childlike wonder for music and a desire to just play. 

As it turns out, the band writes most of their songs in an improvisational way, jamming out ideas. They record their sessions and revisit from there. “We’re always, always recording,” Sébastien says. “Ideas are always flowing and it’s just because there’s this chemistry, this weird chemistry about the three of us being in a room.” Sometimes he’ll come in with some bass lines as a “foundation”, but the band seems to thrive on improvisational form.

All the music videos for Électrons libres du québec came to fruition in a similarly experimental fashion. Released both individually and as one full-album piece, Bonsound’s own Hugo Jeanson is the genius behind the strange colourful masterpiece. Tristan explains, “He wanted to have something that would work with the cover, just textures and stuff… We just had total confidence with him and we were just like, ‘Do your thing, have fun!’ And it looked good.”

“What was really cool,” Sébastien adds, “is that when we invited him [to] the rehearsal spot, he saw the whole vibe… He asked us to play every song on the records and he filmed us.”

Tristan was a fan of Hugo Jeanson’s visual art before they got the chance to work with him. “It was strange,” he mentions, “because since I was a teenager, I knew about his posters and stuff.” Hugo’s a bit of a music poster icon in Montréal, now operating as the Head of Label Marketing with Bonsound. “Yeah, we were just like, ‘Okay, this guy is the one who is making those crazy posters, he has good taste in music, he works there [Bonsound], we wanna work with this person.”

The band has had some luck, stumbling upon talented artists to join them on their journey. Pair this luck with musical skill, a charming demeanour, and a curiously open mind, it’s really no wonder the trio has come to put out such a killer record. “There’s a lot of layers to the band,” Sébastien tells me as we wrap up our conversation. “You just gotta witness us and hang out with us.”

The group laughs as Pierre-Luc sums it up this way: “In the end, we’re just normal guys shredding.”

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Électrons libres du qu​é​bec

released October 6, 2023 via Bonsound

1. Orlando

2. C't'au boute

3. C.T.Q.S.

4. Beau baptême

5. Tô Kébec

6. Lune Rouge

7. Réservoir

8. Rapaillé

9. Pourquoi qu'on dort pas

Pierre-Luc Gratton – percussion, vocals

Tristan Lacombe – guitar, organ, oscillator, piano, synthesizers

Sébastien Provençal – bass guitar, synthesizers

Emmanuel Éthier – violin on “Reservoir”

Colin Fisher – saxophone on “Pourquoi qu'on dort pas,” “Réservoir”

Emmanuel Éthier – production and mixing

Trevor Turple – sound engineer

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Population II

Instagram | Bandcamp | Spotify

Starly Lou Riggs is a queer agender visual artist from the United States, currently based in Montreal.

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Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

The Ottawa music community holds its own close, so it should come as no surprise that Pony Girl’s album release party at Club SAW was a dazzling affair. Marking ten years since their debut record, Pony Girl has stepped into a complex new chapter with their latest album Laff It Off.

The night began with a charming set from Luella, the musical project of Kingston’s Liv Whitfield. Although her debut album Luna was released just one year ago, Whitfield carried a seasoned air of confidence throughout her performance. Whether she was behind the keys or crooning into a telephone, her dreamy indie-pop melodies wafted through the air, matched with playful lyrics on love (or a lack thereof). 

Leading up to Pony Girl’s set, attendees shuffled in the glow of a custom Laff It Off neon sign, feet surrounded by smiley-face balloons – an inviting scene, complementary to the album’s disposition. The room began to swell with anticipation.

Laff It Off sign for Pony Girl’s album release tour

Pony Girl emerged on-stage to a sea of applause, with band member Yolande Laroche sporting a Luna T-shirt. Within minutes, the audience was swept up in Laff It Off’s lucid narrative, swaying and screaming the words we all know to be true: “I don’t want to be working every day, I don’t want to be working every day.”

The art-pop group has garnered acclaim for their layered approach to experimentation, and even further acclaim for the way that translates so harmoniously into their live performances. The arresting vocoder yelps of Laroche and bandmate Pascal Huot, the mesmerizing proficiency of Mili Hong on the drums – it’s a thrilling experience to watch all the pieces of their puzzle fall into place.

But for a band that has seen so much recent success, including a record-high of five nominations at last year’s Capital Music Awards, Pony Girl has not compromised what it means to be vulnerable. Huot meandered through the crowd during “Wannabe,” illuminating his visage while mutedly pondering his—and our—roles as entertainment. “Age of Anxious,” the standout track from Pony Girl’s previous release Enny One Wil Love You, reverberated with conviction as its distressed musings on the grip of technology rang true.

As Pony Girl continues to find their place in these convoluted times, one thing is certain: Ottawa will be listening.

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Pony Girl

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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What's Cool at M For Montreal 2023

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What better way to curb the effects of daylight savings than a weekend of music? The wide-ranging curation of the M For Montreal music festival returns from November 15th-18th, 2023. Offering exceptional programming from two distinctive lineups, the shows from the festival’s Official Selection are available exclusively to festival delegates and pro pass holders, while the Marathon bills are open to music fans alike. Discover Also Cool’s M For Montreal top picks in the highlight below, featuring never-before-seen artists for the mag to keep on your listening radar. Also Cool’s official M For Montreal playlist will be updated with more must-see acts in the week leading up to the festival.

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Cartel Madras via Bandcamp

Marathon

Calgary-raised, Chennai-born Cartel Madras promises to stir a fervent atmosphere. The Desi experimental hip hop duo, composed of sisters Eboshi and Contra, commands audiences with their explosive blend of trap, punk, house and South Indian aesthetics - a genre they’ve coined as “Goonda rap.” For bold flows and anthems of resistance, hit Sala Rossa for the Consequence showcase on Saturday, November 18th.

Cartel Madras at M For Montreal

Alix Fernz via Instagram

Marathon

Sainte-Thérèse expat Alix Fernz (AKA Blood Skin Atopic) is the latest mistfit darling of Montreal indie label Mothland. Thriving in the allure of mischievous freak-pop, Fernz’s debut single “Wax” intrigues with its tightroping of post-punk and synthwave. Fernz plays alongside Hippie Hourah, presented by Simone Records, at Ausgang Plaza on Saturday, November 18th.

Alix Fernz at M For Montreal

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Blesse by Gaëlle Leroyer

Official Selection

blesse is the sonic renaissance of former Zen Bamboo members Léo Leblanc, Charles-Antoine Olivier, and Xavier Touikan. Hot off the arrival of their debut album normal (Simone Records), the Montreal trio recently rocked Festival De Musique Émergente and Le Phoque Off with their distinctive garage-meets-hyperpop flare. See what all the fuss is about on Thursday, November 16th at Quai des Brumes.

blesse at M For Montreal

Heaven For Real by Beatrice Scharf-Pierzchala

Marathon* (available to pro and festival pass holders)

Quaint Toronto-via-Halifax art rock outfit Heaven For Real is the brain child of twins Mark and J. Scott Grundy. Between jangly rhythms and playful musings on every day life, the group has endeared audiences with their breezy, yet contemplative, songwriting for over a decade. Embrace the warm and fuzzies at their M gig, presented by The Current, at Café Cléopâtre on Saturday, November 18th.

Heaven For Real at M For Montreal

Poolblood by Kate Killet

Marathon* (available to pro and festival pass holders)

Polaris long-lister poolblood—the nom-de-plum of Toronto singer-songwriter Maryam Said—has made a splash with their full-length debut mole (Next Door records). Recorded entirely analog, poolblood’s mole is a tender, lush collection of bedroom-folk introspections. For a moment of poignant stillness, catch them alongside Heaven For Real at Café Cléopâtre on Saturday, November 18th.

poolblood at M For Montreal

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M For Montreal

Website | Instagram

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Dizzy's Katie Munshaw on Growing Up and Getting Vulnerable Behind a Mask in New Self-Titled Album

Katie Munshaw of Dizzy by Boy Wonder

“They come into my head and rattle around in my brain until they become something bigger,” says Katie Munshaw, vocalist of Dizzy, of the lyrics she writes for the band. “I’ve always been like that. I'm really lucky [that,] growing up, I went to an elementary school with a songwriting program, so I’ve been writing songs since grade 5 or 6,” she adds. “It’s always been a big part of my life and how I express my emotions.”

Hailing from Oshawa, the indie pop band includes Munshaw as the lead vocalist and main songwriter, and three brothers, Alex Spencer (guitar), Mackenzie Spencer (bass, vocals) and Charlie Spencer (drums, synthesizer, guitar, vocals), who’ve been playing together since high school. Their first album Baby Teeth was released to JUNO acclaim, including nominations for Breakthrough Group of the Year and Alternative Album of the Year. They are back with their third album, the self-titled Dizzy, released this summer.

Soft, sparkling, and devastating, Dizzy is a retrospective album reflecting on the heartbreaks of the past and gnawing on fears for the future. Their music blends dreamy melodies and soft vocals with some 90s influence, a sound reminiscent of bands like Soccer Mommy, fittingly referenced in the opening track, “Birthmark”.

Katie first started writing the album in 2021 (“What else was there to do then?”, she jokes), following the band’s sophomore release (The Sun and Her Scorch) a year before. Katie’s own life— her trials, tribulations, and collaborations with her band—influence her writing. Each song is a burst of stories and memories: the only thing tying them together is that they’re hers. 

“So much of our second record was about getting old and dying—something weighing on my mind a lot at that time. I’d just turned 23 or 24 and was thinking ‘Oh god, my life is over.’ When it was time for this record, I thought I couldn't keep writing about getting older and death,” Katie says. The resulting Dizzy mostly reflects on the past and the present – heartbreak, disappointment, nostalgia, self-reflection, moving on, and ultimately acceptance. “It's about being in my late twenties and finally getting to know myself a little more,” she adds.

Part of this involves recognizing external pressures and how they impact her. “I turned 25 and people started asking me about getting married and having a baby,” Katie says. “Jaws” is a faster-paced change in the middle of the record, and the one song where Katie allows herself to “get that anxiety out.” To an upbeat, Lorde-esque cadence, Katie sings, “I don’t remember getting older, but somehow I’m here / falling for the same tropes as my mother dear.” 

While its name was inspired by a night out with her “movie geek friend” talking about the 1975 film, the lyrics to “Jaws” explore societal expectations and grappling with the choices that come with it. “Are these things we actually want or tropes we feel pressure to take part in?” Katie muses. 

While the band’s first two albums were self-produced, this one involved collaboration with famed writer and producer David Pramik, known for his work with artists including Selena Gomez, Oliver Tree, and Chloe Moriondo, whose recent album Katie was a fan of. 

“We wanted to be very precise about every decision made. That clean production was what we were looking for,” Katie says on working with David for this record. “We made a big list of people we wanted to work with, whittled it down, and reached out to him, emailing him “Barking Dog” and maybe “Starlings” and saying we loved his work.” 

Katie notes how his sound is very different from their own, which is what they liked about him, despite initial hesitations about bringing in a producer for the first time. “It’s always hard to let someone in and have someone critique your baby,” she says, “...but he’s the perfect person because we’re all so introverted and he's this extroverted ray of light when we can be downers.”

It wasn’t until the end of the recording process that the band collectively decided to self-title the album, though it’s an idea Katie liked from the beginning. She references an interview fellow Canadian musician Haley Blais did with Coup De Main Magazine, where she says of her own album, “If I could erase everything I’ve done before and have this represent me wholly, I’d be okay with that,” highlighting how, in many ways, she considers this her first album. “That’s how I feel about this record,” Katie says. 

While the album lays bare parts of her life and anxieties, physically, she does the opposite. Katie dons a painted mask on the cover of the album, shielding her face from the cover and any of its visual material. “The mask came in pretty late,” Katie says. “I was working with my friend Ryan on visual stuff and being a baby about having my photo taken. After a few years of isolation, I did not want to be on camera.”

She recalls that he joked “Well, if it's so hard Katie, why don't you wear a mask?” And that’s what they did. “It was hard to convince everyone,” she said, but they fought for it, and then spent weeks trying to find the right mask for the job. “We went down a rabbit hole,” Katie says. “We ended up narrowing in on this one vintage brass mask we loved, [but we] didn’t look at the dimensions, so it showed up the size of my palm,” she laughs. “And we were shooting videos a week later so we panicked. Ordered a paper mache mask and begged my friend to help paint a mask.” 

The resulting mask, with green-painted lips, black-rimmed eyes and swirls of pink, blue and purple makes an appearance across the band’s music videos and promotional material for the record. In a world that scrutinizes how people look, her choice to shield her face challenges expectations and brings the focus squarely on the music, its message and the people who relate to it. “I think it’s interesting for a person, particularly a woman, to make the decision for herself to take her physical appearance out of the question,” Katie says. 

In the video for “Knock the Wind”, you see a masked Katie looking wistfully out the car window, as the song’s lyrics ruminate on making choices and taking action. It’s a song she has said is about “...how you can live somewhere your whole life and never really feel at home,” demonstrating one of the biggest appeals of this record. Dizzy’s vulnerable, melancholic and hopeful; a masked voice anyone could find themselves behind. 

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Dizzy

released August 15, 2023 via Royal Mountain Records

1. Birthmark

2. Close

3. Open Up Wide

4. Starlings

5. Knock The Wind

6. My Girl

7. Jaws

8. Salmon Season

9. Barking Dog

10. Cell Division

11. Stupid 4 U

12. Are You Sick Of Me Yet?

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Dizzy

Instagram | Spotify | Bandcamp

Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.

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D.Blavatsky’s New Single “FUK” Provides a Jaw-Clenching and Purifying Experience

D.Blavatsky by Feng Ish

Raw, tormenting, and cathartic – just some of the terms one might use when describing Montreal-based DJ, producer, and artist D.Blavatsky’s newest release “FUK.” This single emerges as part of their forthcoming album YOUR CHOICE, which will be released on November 11. Its inception stems from the symbiosis of D’s experience with the Calgary punk scene in their teen years, their active role in the Montreal electronic music scene, and the acute solitary reality of the pandemic years spent in their parents’ basement recording music.

From the fragmentary nature of the music video to the album’s themes of longing and desire, my conversation with D last week provides a glimpse of their complex artistic identity. 

From a Calgary goth-punk band vocalist-drum-machinist to an established Montreal DJ

D’s musical origins are rooted in the Calgary noise-punk scene, which they became part of during their teenage years. They explained that the “...big shifts [happened] when [they] started hosting a show at CJSW,” a local college radio station. From there, their musical interest intensified, and began shifting away from punk, noise, and instrumental productions to more electronic ones.

Another memorable moment stems from when they were 19 and formed a band, Torture Team, with three of their best friends. Torture Team was a goth-punk band, and D played the drum machine and served as the vocalist. They released one self-titled tape. As they spoke about it, D’s eyes were twinkling: “I really, really recommend that everyone is in a band at least once in their life,” they explained. “That was a really special time in my life. I look back on it with a lot of love and gratitude.”

A year later, they would arrive in Montreal with two of their bandmates, a move that would mark a turning point in their artistic and musical career.

D.Blavatsky by Feng Ish

“It was once I created the single “FUK” that I realized everything I had created previously was completely beside the point of what I was trying to do. And I scrapped that entire album.”

D began writing and creating the single “FUK” about three years ago. At that point, they had completed a draft of the whole album, composed of 15 pieces, which they discarded when they finalized the single that changed their vision of the album as a whole. The song, which was “mostly just a mistake,” as they explained, led to profound revelations.  “[I realized] that this is what I’m trying to communicate…I just felt very close to the language I [was] trying to create.”

“But this track really changed everything for me, because so much of this album was a learning curve of me just learning how to use digital production tools.”

This track was a turning point in D’s creative process in making the album. “I just felt inspired in a different way,” they explained. Throughout the album creation process, they began to move away from hardware production to digital, Ableton production. Their intentions also shifted: in the first version of the album, they said they felt that they were catering to some kind of audience or in a way they “had to,” so that it might appear more palatable.

But in creating “FUK,” they ruptured these mental standards. “[It] was a very pivotal moment, because it really showed me that it’s like, ‘okay, you can communicate.’” Going further, they explained that, as an artist, it is generally expected that you are “...reflecting on what perspective [you are] trying to communicate," or asking yourself why you are unique. Yet this kind of thinking doesn’t fit with their artistic process or experience. “This idea of creating a timeless work of art… I never cared about that. If my work doesn't necessarily age well within the broader cultural landscape, that's beside the point for me. I'm just trying to communicate something somehow.”

“Yeah, and “FUK” really just was like, holy shit. ‘I can do it.’ I think it was just really reaffirming…this track just embodies everything…I have something that I want to say and express.”

The creation is representative of a particular time – much of it was developed during the pandemic. The single–and, more broadly speaking, the album–seek to illustrate the complexity of desire, longing, and vulnerability within capitalist structures. On a more personal level, the works represented an exploration of a certain vulnerability they previously struggled to express.

Over a period of two years, D barely saw anyone – they said it was about eight months after they had burrowed themselves in their parents’ basement that they saw someone outside for the first time. And yet, this period of solitude was also a transformative moment for them: “The pandemic and this album was very much a metamorphosis for me, who I was when I made it.”

“[YOUR CHOICE is] about longing,  it's about desires in the most primal sense, like sexual desire, physical desire […] I'm getting my head nailed into the wall.”

D.Blavatsky by Feng Ish

Vocals, digital music, and a stream of consciousness

When listening to “FUK,” one element that grasps the listener are the vocals. Blending into the digital components of the song, one feels drawn into the destabilizing and intimately vulnerable mood that the vocals embellish. When I was preparing my interview questions, one of the things I was curious about was the intentions behind incorporating vocals, something which, unlike other genres, is not so common in experimental electronic music.

To begin, there is the process of creating the very content of the vocals. “FUK,” along with other songs on the album, often involves deciphering gibberish – quite literally. D explained to me that what they often do, including for this single, is “...create scratch vocals where [they] play around with cadence and syllables and tempo” of a digital production. “[I] just say random gibberish. And then I record that and then try to decipher the gibberish itself.”

When creating the song in their parents’ basement, they could never sing the vocals as loudly as would be featured in the final version. The final recording ended up happening in the studio of their good friend Keïta Saint, a producer and voice engineer, living in NDG. In a single, last-minute take before the curfew of noise complaints, the vocals were recorded: describing the moment of the recording, they explained that “...you could feel the static in the room.” D offered to do another take, but “...Keïta was just like ‘no, this is fucking it, you will never get a better take.’”

The music video accompanying “FUK” has its own story. D’s vision of the video was first situated in a cave: running through a cave, feeling claustrophobic, with a light constantly out of reach. Yet as they needed to adapt to the environment they were in, director Axel Zavala helped create a video that translated D’s vision with the single.

The creation itself went by fast. Axel, who had been working on other projects, connected with D right before they headed back to Montreal. In just two days, they went into the woods in the night, armed with a GoPro and camcorder. With ten hours of footage, they were able to create a visual embodiment of the disorienting and stimulating nature of the piece.

Montreal, the rave scene, and moving forward

Throughout our conversation, it was clear that the Montreal electronic music scene continues to significantly influence D’s art – both as a producer and DJ. Being a raver has been a consistent and essential part of who they are. “[Raving] has pretty much been my life for the last five years… it is the primary way that I develop social relationships with people, and that I maintain the social relationships I have… [it’s] a sense of connection and expression.”

Once D arrived in Montreal and became involved with the collective Cyberia, something of a community became evident to them. Whereas a mix of social anxiety and dysphoria had made their teen years unstable and difficult, the engagement they have found in Montreal’s rave scene has been a way to come to appreciate and validate themself. “I learned how to celebrate my body. And I learned all of the beautiful things that my body could do for me and how to express [myself] and be present. I think that was [about] being present in my body in a positive way, in a way of celebration.”

YOUR CHOICE by D.Blavatsky

Moving forward, they look forward to continuing as a DJ, producer, and organizer in the Montreal electronic music scene. After living through the metamorphosis of the pandemic as well as visiting some Europe’s techno hotspots, D explained that they came to understand that Montreal has something special that they hadn’t seen elsewhere. “I think one of the biggest faults of our creative realms here is just how much people take it for granted.”

This upcoming album release is far from being their only project in the works. In just one week, they are hosting RIP VAULT for Halloween weekend, which will feature a myriad of local DJs. After releasing YOUR CHOICE on November 11, they hope to get working on the next one right away, which would ideally be released by next summer. 

Although the Montreal electronic music scene was deeply rocked by the pandemic, it is coming out of it in new and unpredictable ways – and D.Blavatsky is sure to have a role in the way it will transform itself. Whether in terms of the music they release or the infamous raves they organize, their impact on the community is here to stay.

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D.BLAVATSKY

Instagram | Bandcamp | Spotify | SoundCloud

Soline Van de Moortele is a tenant rights advocate, insatiable raver, and full-time griever.

A Grieving Girl Blog

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PREMIERE: Kaspien Marks a Dazzling Return with "Cinder" (Video)

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Ottawa-based indie wunderkind Karim Rostom, AKA Kaspien, has broken a three-year musical hiatus with the release of “Cinder”—a sparkling recollection of an unforgettable first date. Today, the 27-year-old singer-songwriter brings the experience to life with the anticipated debut of the single’s music video.

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On “Cinder”, Kaspien details: “‘Cinder’ is about the most chaotic first date I’ve ever been on,” Back when I lived in Toronto, Cinder (not her real name) and I went on a date to a New Orleans-themed restaurant in Trinity-Bellwoods called Southern Accent. The owner waited on us; he was very sweet and talked to us for a long time. Cinder and I invented a backstory that we’d been engaged for three years, among other things,” he shares.

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Made possible by a tight, talented group of Kaspien’s close friends, the homage to a formative evening at Southern Accent is a pearlescent daydream. Pinned coloured sheets and stringed beads transformed director Chantalyne Beausoleil’s childhood bedroom into a kaleidoscopic runway for Kaspien’s promising comeback. 

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To Kaspien, the level of trust surrounding the production made for an effortless rendering of his lived experiences into a dream-like standalone concept for the music video. This is evidenced by the palatable on-screen chemistry between Kaspien and Zara King—his best friend who stars as the fictional Cinder. “[Zara created her own version of the person I wrote about. It’s hard to listen to the song without picturing [her] as Cinder now!” he says. 

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“I’m blown away by the talent my friends dedicated to this video, and I’m eternally grateful to them,” beams Kaspien. “When directing, Chantalyne’s background in theater was incredibly valuable. Zekios Habtom, our cameraman, captured Chantalyne’s vision wonderfully. Jessy Lindsay took time out of her busy life as an incredible singer-songwriter to help us out in any way she could, and I’m forever thankful to her for that. Mack Brander, our editor, brings a creativity to video editing that is unmatched.” 

“Our video perfectly [captures] the hopeful, and maybe naïve, feeling that you might have just met your soulmate for the first time. When you feel that way, everything seems beautiful. Even throwing up,” humours Kaspien in reference to the lyric, “Cinder, I threw up my dinner / But still feel like a winner.” 

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Watch the Also Cool Mag exclusive premiere of “Cinder” below!

Kaspien

Website | Instagram | 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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Ten Seasons of Pique – Ottawa's Finest Multidisciplinary Festival (Debaser)

Pique at Arts Court in downtown Ottawa

Last Saturday night, Pique returned to Ottawa’s Arts Court for a triumphant fall edition.

Produced by the renowned arts organization Debaser, Pique has built something of a cult following across the National Capital Region. Each chapter of the underground music and arts festival has seemingly hypnotized audiences, showcasing dynamic rosters of programming across seven stages while maintaining a humble, community-oriented atmosphere. With this most recent iteration of Pique, which marked its milestone tenth edition, this appears to have still rung true.

Dorothea Paas performing on the Terrace stage

The first standout set of the evening was Dorothea Paas, who performed an intimate outdoor set on the Terrace stage. Her chilling vocals and ruminative lyrics, reminiscent of artists like Weyes Blood and Phil Elverum, brought the crowd to a standstill. It was a pleasure to see her return to the Terrace as part of the Marker Starling ensemble, fronted by acclaimed musician Chris A. Cummings. Known for his signature funk and ample Wurlitzer backings, Cummings delivered a soft rock summer sendoff to a delighted audience.

Syana performing in the Alma Duncan Salon

The Alma Duncan Salon hosted luscious techno treats, emerging as the other top stage of the evening. DJ Don’t Trust Ryan drew in an incredible crowd with his magnetic blends of Y2K pop and frenzied electronica. Multidisciplinary artist Syana kept up the momentum, commanding the room with tracks from her album 19 Years of Rage alongside surprise guest Mossy Mugler. Illuminated by Dayglo patterns of all shapes and sizes, the dance floor remained packed with festival-goers for most of the night.

The Ottawa arts scene—the Canadian arts scene!—awaits this festival with bated breath, and for good reason. As Pique continues to outdo its promising reputation, it is difficult not to dream of the next one before fully savouring the last. Its inclusive atmosphere and curatorial boundlessness will be beloved for seasons to come.

Pique event poster by Ajeeb Sir

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Pique

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Debaser

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What's Cool at POP Montreal 2023

It’s the time of year where we get on our BIXIs and bike as fast as possible, to as many shows as possible, in the Mile End and Plateau. POP Montreal has begun! As we rip around the festival once again, we thought we’d share our list of must-see acts with the general public, accompanied by a curated playlist, of course. 

Check out our top POP Montreal 2023 top picks, and grab your tickets to the festival below.

Wednesday, September 27th 

POP Montreal Opening Party

Starting off strong, AWAL is presenting POP Montreal’s FREE opening party this year. Emma Beko will be DJing, alongside sets from Planet Giza and Jesse Futerman from 5PM-8PM. 

Dresser will be opening for Islands, alongside Blurry at La Sotterenea. Expect lyrically-locused art-rock and a caring crowd vibe. 

Contending for the craziest combination of band names on one bill, Hot Garbage are expected to get grungy with Frankie and the Witch Fingers, and Iguana Death Cult. There will be no iguanas, but there will be dark post-punk and motorik krautrock tunes shining through the evening for you to mosh to.

Possibly Montreal’s greatest popstars, Fireball Kid and Ura Star, will be sharing the Diving Bell Stage with Crushhh, Sahati, and Stepahnie Frances Lawrence. They’re the best friends you’ve always dreamed of, and they’ll be sure to get you grooving with their starry-eyed pop.

Thursday, September 28th 

Recent guests of the Also Cool Sounds Like podcast, OMBIIGIZI plays La Sotterenea, alongside Pony Girl, blackwinterwells and MAGELLA. Listen to our interview with OMBIIGIZI (hosted by Tash of Love Language, who is also playing POP), here! 

Sasha Cay celebrates the launch of her album Spin, with Sunforger, SAMWOY, and Alphonse Bisaillon at l’Escogriffe Bar Spectacle. “Spin took form in two stilted and warped years, heavy with this profound seasickness of being both empty and full,” says Cay. Listen to Also Cool’s interview with Cay on our podcast, Also Cool Sounds Like.

If you’re looking for your indie pop fix, Men I Trust will be playing the first of several shows with Twin Shadow at MTELUS. Easy to love, and perfect to bring a cute date to, doors open at 8:30PM. 

Friday, September 29th 

Montreal’s TikTok sweetheart Emilie Kahn will be singing her heartfelt songs at Le Quai des Brumes, with POSTDATA, Yawn, and Isaac Vallentin. For fans of  Olivia Rodrigo, Lana Del Rey, and the act of transforming your heartbreak into something beautiful. 

The love child of Lily Allen and Ashnikko, and a TikTok star in her own right, Madelline is hitting the stage this Friday at Le Ministère. She’ll be playing with a few friends of Also Cool, including Lola 1:2 and Pretty Privilege, as well as Benja and 8485.

Karma Glider will be headlining an incredibly stacked show at l’Escogriffe Bar Spectacle, rocking with Mother Tongues, Nyssa, and Alix Fernz (FKA BloodSkin). We were lucky to catch Karma Glider play at FME, backlit by a beautiful sunset, and look forward to watching them rock again.

Closing out Saturday night, Sled Island takes over Piccolo Rialto with a rambunctious lineup. Headlining is New York’s brazen alt-rap princess, Junglepussy, along with Montreal’s own daring lyricist Fraud Perry. Twirling humour and truth between their hard-hitting flows, these two commanding forces in contemporary hip-hop guarantee a fiery performance that’s not to be missed.   

Saturday, September 30th 

Is it any surprise that we’re excited for La Sécurité’s set yet again? They’ll be playing an early show at L’Entrepôt77 with Pypy, Barber for the Queen, Love Language, Worry, Thunder Queens, and Doctor Mother Father.

Saturday evening, Hand Habits graces the Rialto Hall with their delicate devotional-folk. The project is the brainchild of Los Angeles-based Meg Duffy, who’s latest album, Sugar the Bruise, saw the musician’s Americana-leaning songwriting emboldened to new frontiers. 

Saturday night promises an all-star lineup. Get ready to rally and hit Espace Sans Luxe for an energetic blend of hyper and glitch pop from Montreal dancefloor royalty Sarah Feldman and Sam Blake, joined by Los Angeles’ Ravenna Golden, with deck takeovers from local DJs Digital Polyglot and Destiny. Grab a yerba mate and you’re set, doors are at 10:30PM.  

Sunday, October 1st 
Midday gig at L’Entrepôt77? Count us in. Hometown hero Gayance will get the blood flowing with her jazz-infused house, joined by Ukranian electro-pop trio Balaklava Blues. Listen to the Also Cool Sounds Like episode featuring Gayance here.

Montreal singer-songwriter Vanille illuminates La Sala Rossa Monday evening with her sunny pairing of 60s folk and French chanson. Her most recent album, La clairière (arriving this past February via Bonbonbon), invites a dreamlike atmosphere, “decorated with lush arrangements and timeless melodies.” 

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POP Montreal

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Nora Kelly Talks Touring, Overcoming People-Pleasing and the Punk-Country Influences in “Rodeo Clown"

Nora Kelly by Gabie Che

“I think one of the reasons people are kind of creeped out by clowns is because they’re always presenting the emotion of their painted face, [so] you don’t really know what’s going on underneath,” says Nora Kelly, lead of Montreal’s Nora Kelly Band. “Maybe they’re feeling something completely different.”

This idea is at the core of the band’s newly released record Rodeo Clown, an album that blends folk, punk and country influences and delves into themes like breaking out of people pleasing. “A lot of Rodeo Clown’s material is leaning into tongue-in-cheek absurdist role-playing,” Nora says, with herself as the clown.

The ten-track album is the band’s first full-length release, with songs blending punk elements with folk and country-inspired storytelling.

“When COVID-19 hit, I think we all went through introspective times in our lives, and that was an area of growth for me. To start being more honest to people around me,” she says.

“I would be in a lot of uncomfortable situations and go along with it, feeling a lot of pressure to be nice all the time and not really set boundaries. Then I would get overwhelmed.”

Songs like “Lay Down Girl” and the accompanying video embody this theme, with Nora walking around as a “manically energetic, people-pleaser” clown, running into a vampire (the energy-sucker who always asks things of you) and other characters you’re likely to recognize (in more ways than one).

“It’s a song about not being the life of the party for everyone else,” she says. “If you’re going to do it, do it for yourself.” A clown, an “evil hoarder obsessed with material possessions”, and a “horse girl-city slicker” are among the characters she possesses throughout this album (Roswell aliens even make an appearance) as she explores this path of self-discovery.  

The Nora Kelly Band was created in 2020, amid COVID shutdowns that forced Nora’s post-punk band with drummer Ethan Soil called DISHPIT to take a break. During that time, they would frequent an outdoor area near a skate park and train tracks in Montreal’s Mile End, where local musicians would meet and play country covers. It’s there the two bonded with Rachel Silverstein, Vader Ryderwood, Dylan Keating, and Ellie MacPhee, with the six of them going on to form the band. 

“The friendship dynamic was strong, so we naturally moved into that,” Nora says. “Now we’ve been playing together for two years, and we’re working on our next album. It’s cool to see it grow up this way… and now we’re on tour together, doing laundry together.”

They started recording their first EP Perfect Pig at their apartment and finished the album at the Autoland Audio recording studio in Montreal, owned by Richard Reed Parry of Arcade Fire.

Beyond the music, Nora is also a painter who leans into that art form to unwind. “The two practices are really opposite for me,” she says. “Music is a really collaborative thing. When I write songs, I write them alone, but I write them quickly. Then there’s a lot of workshopping with the group. With art, it’s completely independent, and I'm in control and I can start and stop when I want. I do it late at night and get in touch with myself, then I do music during the day with the band on the weekend, and it’s my little social tasty treat.”

“Horse Girl” single art

While music provides Nora with an opportunity to “really get something out,” painting is an opportunity to step back. “As much as I'm a social person, I need to recharge… like a lot,” Nora says, mentioning how she leans into painting and drawing to decompress. “Music is this chaos energy, a vessel for me to channel my intense energy as a person in a healthy way.”

When it came to creating Rodeo Clown, Nora went in an entirely new direction: “Musically, I wanted to move away from the stripped-down punk band thing, recording live off the floor with three instruments.” Rodeo Clown features a diverse catalogue of instruments, including the banjo, fiddle and pedal steel. 

Nora cites artists that are “musically diverse with different voices coming in and out” as inspiration for their record, including The Band, Neil Young, Big Thief and Songs: Ohia's The Magnolia Electric Co.

Country influences also make their way throughout Rodeo Clown. Although Nora started out playing in punk bands, she was all the while writing “folky songs that didn’t fit with that band”, only bringing them out every once in a while on camping trips. “Deja Vu”, appearing halfway through Rodeo Clown, is one of these songs, and the first one Nora wrote at 16. 

“I really love country music,” Nora says, ”but when I was a teenager, I would say I liked every genre except it. My parents love country music. They’re both from the US and played it a lot. My brother and I would scream when they put on Hank Williams III,” she laughs. “But as I got older, I really came to appreciate a lot of the humour in the lyrics. It does have this outlaw sensibility if you’re listening to the right people.”

Songs like “Horse Girl”, “Roswell” and “Purgatory Motel”—which pleads “Though I’ve been good please don’t send me to Heaven /  All of my friends are down in Hell”—lean most heavily into the folk and country influences. They poke fun at classic country tropes (“boys like trucks”) while adding in earnest musings and the aforementioned mix of instruments. 

“‘Horse Girl’ is a funny and kind-of meta song about being a city slicker who is pretending to be a cowboy…which really is our band,” Nora says. “Elie is from South Carolina and plays fiddle, and Dylan is from Alberta and plays pedal steel, so they are pretty legit, but the rest of us are from Vancouver or Toronto and grew up in the city. We like country music a lot, but we don’t have a lot of the classic childhood stories that a real ‘country-living’ person would have.” She laughs. “The song is us calling ourselves out a little.”

Discussing the unlikely similarities between punk and country, Nora says they’re both simple.  “Country is just a few chords, and punk is just a few chords,” she says, “and they both have a fuck you attitude. A lot of badass heroes to look up to, who were living differently for other people. But there are also a lot of people who give each genre a bad rap,” she adds.

Songs like “Tonka”—which closes out the record—feature raw vocals, leaning into many of the band members’ punk roots while blending other influences. 

“The nice thing about country music is it's a genre a lot of people can connect to, like little kids and older people. While punk is one of my favourite things to walk around and listen to on my headphones—it stirs me up like no other genre—country has a wider demographic that comes out to the shows.”

Nora Kelly Band by Gabie Che

The band recently wrapped up their first tour, making their way through the US’ East Coast – Nora was reporting from Brooklyn at the time of this interview. “It’s my first time seeing DC and Philadelphia (a city I’ve always wanted to visit), and we were in Buffalo and played a cute queer house show venue and people danced a lot.” 

“We were having a lot of touching moments,” she mentions, citing “playing at a place that used to be a mausoleum where dead bodies were kept in Philly” and “drinking a PBR at night at the feet of Abraham Lincoln’s statue (and subsequently getting kicked out by security)” among highlights. “We're just running around having a good time,” she says. 

“The shows are really fun, but being on tour for the first time is really socially demanding. I really respect everyone who stays on the road for months and months. It really is a grind.” she adds.

Fittingly, Rodeo Clown’s recent launch was celebrated with a Montreal show featuring Nora wearing the album’s signature makeup on stage for the first time. The band is currently halfway through writing their next record. This next album will not feature the clown motif, but listeners can expect new themes. “I feel like I should have been a theater kid, but I wasn't,” she laughs. “I love the performative aspect of music.”

Rodeo Clown is out now. Listen to the new record here.

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Rodeo Clown

released August 25, 2023 via Mint Records

1. Mmm-Delicious

2. Lay Down Girl

3. Catch a Bone

4. Horse Girl

5. Heartbroken Over a Man

6. Deja Vu

7. Purgatory Motel

8. Rodeo Clown

9. Roswell

10. Tonka

Nora Kelly – lead vocals, guitar, banjo (10), dick flute (8)

Rachel Silverstein – keyboards, harmonies

Vader Ryderwood – bass guitar, backup vocals (2, 4, 5, 7)

Ethan Soil – drums, percussion, guitar (4,7)

Dylan Keating – pedal steel

Ellie McPhee - violin (1, 8, 9, 10)

Gabie Allain – violin (3)

Michael Feurstack – pedal steel (5)

Eric “Creature” Campbell – banjo (2)

All songs written and performed by Nora Kelly Band

Produced by Nora Kelly and Ethan Soil

Mixed by Pietro Amato

Engineered by Pietro Amato, Matt Rogers & Ethan Soil

Recorded at Skybarn, Autoland & Croc Studios

Mastered by Harris Newman

Album art photography by Gabie Allain

Album art make-up by Neve Kerry

Album art design by Owen Ostrowski

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Nora Kelly Band

Instagram | Spotify | Bandcamp

Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.

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FME Take 3: The Also Cools' Return to Rouyn-Noranda

The Festival de musique émergente celebrated its 21st birthday this past weekend, returning to the northern city of Rouyn-Noranda. Surrounded by lush greenery and vibrant murals, the Also Cools unpacked our suitcases and jumped straight into four outstanding days of live performance.

Featuring over 350 artists from across Quebec and beyond, FME sprawled across every sidewalk, and we are pleased to report that it shone as bright as the end-of-summer sun. As we bounced between venues, chilled Sapporos in hand, it became progressively more obvious that identifying our favourites would be no small feat – that every memory of this edition deserved to live forever. 

Our adventures included secret shows with sunset backdrops, car parking lots, chalk drawing late into the night, the Bonsound pool-side BBQ, making toast out of a Darth Vader toaster with Truckviolence, and enjoying some of the best music that the indie scene has to offer. Here are just some of the sets that made the séjour a success.

La Sécurité

Although La Sécurité marked our seventh show of the day on Friday, the art-punk quintet packed a rejuvenating punch. Rocking a pair of gas station visor shades, band member Éliane Viens-Synnott exuded carefree cool from the moment she took the stage. Her eccentric delivery and free-flowing choreography commanded the Diable Rond – as did bandmate and drummer Kenny Smith, whose technical precision was impossible to ignore.

Les Louanges

Emotive yet unserious, mellow and multidimensional – Les Louanges held Rouyn-Noranda in the palm of his hand. The Lévis native has garnered praise at lightning speed for his soulful stylings, and his appearance on the main stage certainly justified the hype. Backed by groovy basslines, howling flutes, and a slew of rapturous Queb teens, the artist floated to and fro with a captivating sense of swagger. Catching Les Louanges at this dynamic moment in his career was nothing short of a privilege.

TUKAN

Without question, TUKAN is the name on every festival-goer’s lips. The Belgian group delivered three palpitating performances over the course of the weekend, taking FME by storm with vivid post-rock arrangements. While their jam-packed set at Le Petit Theatre was a strobey-sweet affair, the magic of TUKAN’s final show will be something to remember. Lining 7ème rue with an air of bittersweet anticipation, a sea of glistening bodies gathered to transcend one last time, folding into each rhythm with the desire to make it last forever. And TUKAN? They did too.

AMMAR 808

We met AMMAR 808 on one of the many volunteer-run shuttles we took from our hotel to the main festival grounds. He told us about his long journey from Amsterdam, and mentioned he would be playing a set “somewhere, sometime soon”. Little did we know, our humble new friend is the acclaimed Tunisian producer Sofyann Ben Youssef. We caught his show at the electronic night at Le Petit Theatre, and were absolutely blown away by his masterful blend of traditional African beats and hardcore techno.

Milk TV 

Another post-punk favourite of the festival was Milk TV, a trio hailing from Brussels. Initially not knowing where they were from, we thought they must have emerged from either the Canadian West Coast post-punk scene (think NOV3L, Pottery, and Crack Cloud), or somewhere from the world of Omni, Deeper, or Parquet Courts. Their no-wave energy was electrifying and had the whole crowd moshing by the end of the set.

Myst Milano

Absolutely slayful, and a new discovery for Also Cool, is Myst Milano. The DJ and multi-instrumentalist captivated their audience with their 90s-inspired beats and hard-hitting lyrics, not to mention killer dance moves. Their album Shapeshyfter, which made the Polaris Prize longlist in 2022, now has a permanent spot on the Also Cool daily Spotify rotation.

We once again had a beautiful time in Rouyn-Noranda, surrounded by good music, new friends, and the most incredible end-of-summer vibes we could ask for.

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FME
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What's Also Cool at FME 2023

FME’s full schedule

As August comes to a close, we’re counting down the sleeps until the most glorious festival of the year… FME. The Festival de Musique Émergente returns to Abitibi-Témiscamingue this weekend! 

Featuring 81 artists, this four-day frenzy offers entrancing programming for music lovers from every pocket of the country. We couldn’t be happier to take part in the 21st edition of the festival. Whether you need some help planning your itinerary or you’re looking to shake up your playlists, we’ve got you covered with our top picks!

THURSDAY

N NAO by Naomie de Lorimier and Charles Marsolais-Ricard

N NAO

We had the pleasure of witnessing N NAO opening for P'tit Belliveau a few months back, and it was nothing short of the most ethereal goblin mode music we’ve heard in a while. Generally leaning more towards shoegaze fairy-pop, N NAO brings her dreamy world to life through her strange and wonderful compositions.

Pressure Pin via Taverne Tour

Pressure Pin

High-strung and minimally angular, art-punk group Pressure Pin are sure to hit the grounds of FME with a bang. Originally a pandemic-born solo project of multi-instrumentalist Kenny Smith, the project has since expanded to a full band operation. For fans of Devo, NOV3L, and Eastern Canadian post-punk.

Yocto via Bandcamp

Yocto

Yocto is one of Montreal’s supergroups, and legendary bands emerging from the Esco-Quai Des Brumes-Rockette Bermuda triangle. Inspired by the underground rock of the mid-70s (think Television and the Talking Heads), they credit their creativity to the sci-fi soap operas of the same era.

FRIDAY

Elisapie by Leeor Wild

Elisapie

The ethereal Inuk singer-songwriter Elisapie is set to take the stage in Rouyn-Noranda. Elisapie’s performance comes just weeks away from her release of Inuktitut, a cover album featuring selections from artists like Blondie and Queen that will pay homage to her youth in Nunavik.

Fraud Perry by Alex Apostolidis

Fraud Perry

With an exceptional knack for melding genres, rapper-singer-songwriter Fraud Perry has set her sights on Rouyn-Noranda. Prepare to be charmed by the Montreal artist’s fiery delivery and dance-ready beats.

La Sécurité by Aabid Youssef

La Sécurité

As steadfast fans of Montreal art-punkers La Sécurité, there was no question in our minds about proclaiming them a top pick. Their frenetic arrangements and provocative lyrics make for captivating live performances that are guaranteed to please.

Nora Kelly by Gabie Che

Nora Kelly Band

Previously known for her success at the helm of Montreal punk trio DISHPIT, Nora Kelly has hit a compelling stride with her shift to alt-country. With sickly-sweet vocals and atmospheric instrumentation, Nora Kelly Band offers the perfect complement to fading summer skies.

SATURDAY

Les Louanges by Sacha Cohen

Les Louanges

The poignant lyricism and signature funk of singer-songwriter Les Louanges (also known as Vincent Roberge) are not to be missed. Known for his charming melange of R&B and jazz, the artist has transfixed audiences from Quebec and back again.

Night Lunch via Bandcamp

Night Lunch

Night Lunch are bringing the 80s to Abitibi for their 5 à 7 performance at Les Mooses. Known as light-and-dark pop rockers, Night Lunch sing of the vices of the big city, big romance, and anarchist fantasy. We saw them open for LUCY (Cooper B. Handy), and can confirm that their show is not to be missed.

Truckviolence and Jodie Jodie Roger via FME

Truckviolence and Jodie Jodie Roger

If you’re in the mood for something loud and rowdy, the fin de soirée show at Cabaret de la Dernière Chance will give you the fix you need. Jodie Jodie Roger will kick off the show with her metal-infused punk energy, followed by Truckviolence’s gloomy hardcore sound. Bring your earplugs and get ready to get sweaty.

SUNDAY

Knitting by Alex Apostolidis

Knitting

Bounce around the last day of the festival with Knitting, an indie bedroom pop/rock group from Montreal. By choosing knitting as a metaphor, the band aims to enhance the relaxed, artisanal side of the business. Sit back, relax, but also maybe get up and dance.

SAMWOY via sam-woy.com

SAMWOY

Closing out the festival, SAMWOY comes to rock the cabin with dark hues, on assaults of guitar, sharp synths and cavernous voices, as it should be. Inspired by Division, Bauhaus and Iggy Pop, it’ll be a perfect show to end the weekend.

We can’t wait to run from show to show at FME! Keep an eye on our socials to catch our daily live coverage of our favourite small-town festival.

Get your tickets below if you haven’t already, and as always, we’ll see you in the pit.

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FME

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Half Moon Run’s Salt and the Beauty of Everyday Miseries (BMG)

Half Moon Run by Jennifer McCord

Tackling heartbreak, longing, and climate change, Half Moon Run crafts a universe bursting with melancholy and familiar, commonplace despair, navigating through it with an unexpectedly fitting groove. The Canadian indie rock band’s fourth studio album Salt, released on June 2, is gentle and introspective in its lyricism without lacking alluring instrumentation.

Although the pieces on the album have been in the works for many years, they don’t sound out-of-place or irrelevant to a world that changed in such a significant manner. Time treated Salt kindly, and instead of being overcooked, the album seems only uplifted by the efforts taken to craft it. Every element of the album is carefully chosen and revised to be its best version of itself.

The opening track of the LP, “You Can Let Go”, is a definite highlight of the album, combining layered instrumentals with candid lyrics to capture the everyday anxieties that come with personhood, quietly reminding the listeners that “the only way out is through”. The track is a perfect mix of slightly abstract imagery and painfully real and relatable lines, with the rhythmically-enunciated “Self-medicate, self deprecate / Self-help books on the shelf, help meditate” at the beginning of the song mimicking the fast-paced rhythm of contemporary life. “You Can Let Go” instantly captivates the listener with its hypnotizing drum line and bewitching vocals, making it an obvious choice to put on repeat on just about any occasion. This alluring introduction to the world of Salt is immediately followed by “Alco”, a groovy and fun yet musing piece – a perfect track to blast while driving with your windows down on a warm summer evening.

The signature use of string sections throughout the album adds a feeling of nostalgia and an ethereal sense to a work that’s otherwise so grounded in reality by its piercingly honest contemplations. A great example of that is “Everyone’s Moving Out East”, an incredible combination of layered vocals, subtle drums, magnetic strings and illusive lyrics, all of which come together in a wonderful ballad about growing up and dealing with loss.

Salt doesn’t shy away from talking about destruction, both that which is present around us and that of the self. “Gigafire”, an initially soft track with transcendent instrumentals and vocals, quickly reveals itself to be about climate anxiety, with the singer reminiscing of the times “…before the change in the weather”. Similarly, “Goodbye Cali” doesn’t shy away from candid recollections of the singer’s experiences with travelling across America, bringing up the panic attacks and burnout that came with life on the road.

Salt tastes and feels bittersweet, brilliantly capturing the experience of dealing with adulthood, love and loss. Despite its grounded, contemporary subject matter, the LP still manages to have an enchanting, whimsical vibe to it, taking all the good elements from folk and indie rock and turning them into an intimate, rewarding listening experience and an essential summer listen.

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Salt

Out June 2, 2023 via BMG

1. You Can Let Go

2. Alco

3. Hotel in Memphis

4. Everyone Is Moving Out East

5. 9beat

6. Dodge the Rubble

7. Heartbeat

8. Gigafire

9. Goodbye Cali

10. Salt

11. Crawl Back In

All songs written by Half Moon Run

Produced and engineered by Connor Seidel

Mixed by Chris Shaw and Connor Seidel

Mastered by Ryan Morey

Recorded at Treehouse Studio and Hammerjam

Tracks 2, 3, 5, 6, 7, and 8 feature the Esca String Quartet

Tracks 4 and 11 feature Camille Roy-Paquette on cello

String arrangements by Antoine Gratton and Dylan Phillips

Album photography by Jennifer McCord

Layout by Alex Tomlinson

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Half Moon Run

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Magdalena Styś is a jack of all trades and a master of putting them all into their schedule. You can check out their work here or follow them on Instagram.

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What's Also Cool at OSHEAGA 2023

Wanna know what’s Also Cool at Osheaga this year? We’ve put together our list of top picks so that you can hit all the best shows at the festival. We’ve got something for everyone, whether you’re into cyber synth pop or Turkish psych-folk, you’ll be dancing all day long.

Listen along on Spotify to get a taste of what’s to come this weekend! 

FRIDAY

Magdalena Bay via Osheaga

Magdalena Bay

A little mystical and a little surreal, Magdalena Bay is an American synth-pop and electronic duo from Miami, Florida, based in Los Angeles who make synth-pop straight from the simulation. The band’s spacey, cyber-inspired visuals bring the world of Magdalena Bay to life, drawing on inspiration from early-Internet aesthetics, while their sound draws from Grimes, Charli XCX, and Chairlift. 

Altin Gün via Osheaga

Altin Gün

The Turkish psych-folk Altin Gün mesmerizes audiences with their effortless blend of traditional Anatolian folk and modern psych and funk. Their latest album Aşk continues the irresistible and infectious sound they have been building for years – a solid classic good time that we will not be missing at this year’s fest!

L’Impératrice via Osheafa

L’Impératrice

If you’re in the mood for Parisian nu-disco, L’Impératrice has got you covered. You can check out our 2021 interview with the band where they chat about their album Tako Tsubo, and explore the cause and cure for heartbreak.

Rina Sawayama via Osheaga

Rina Sawayama 

Japanese-British singer-songwriter and certified pop virtuoso Rina Sawayama is a must-see on this year’s Osheaga lineup. The 32-year-old singer’s sophomore album Hold the Girl—released September 16th, 2022 via Dirty Hit—caught our attention for its ambitious fusion of electrifying ballads, pop-punk, nu-metal and more. We anticipate the eclectic iconoclast to deliver a high-energy set that invites both headbanging and swaying in the name of introspective queer rebellion. 

Cults via Osheaga

SATURDAY

Cults

The indie pop dream-makers from our teen years, Cults released their latest album Offering last year – a modern twist reminiscent of the moody nostalgia we cried / danced with them in the early 2010s. We are definitely excited to see what they bring to the stage!

Peach Pit via Osheaga

Peach Pit

Vancouver indie rock princes Peach Pit bring their heartfelt tunes to the stage this weekend. Their tracks have been on our sad girl playlists since 2018, with lyrics that feel like a close friend telling you a story, and a sound that has influenced Canada’s DIY scene for years. 

Lil Yachty via Osheaga

Lil Yachty

In 2023, Lil Yachty’s latest album Let’s Start Here is giving more psychedelic rock journey than his typical trap affairs – with the top hit “drive ME crazy!” and a personal fav “pRETTy”. You will absolutely catch us out there bopping along.

Milk & Bone via Osheaga

SUNDAY

Milk & Bone

Montreal electropop duo Milk & Bone are set to play a dazzling homecoming show on Sunday. Their music highlights their vibrant inner world, weaving entracing vocal harmonies and heartbreaking lyrics. 

beabadoobee via Osheaga

beabadoobee

If you were on TikTok at all during the pandemic, you’ve probably heard “death bed (coffee for your head)” by beabadoobee. Born in the Phillippines and raised in London, Bea Kristi has successfully ridden the TikTok-viral wave, claiming her place in the indie-pop space. Her sound has a ‘90s alt-rock cinematic sheen, mixed with gentle and confessional lyrics. 

Japanese Breakfast

Led by undeniable talent Michelle Zauner, Japanese Breakfast has been a staple of indie rock for years. Their recent album Jubilee is a “celebration of the passage of time – a festival to usher in the hope of a new era in brilliant technicolor”. The hit “Be Sweet” is a promising and colourful bop and is one of the many we will be in the crowd singing along to!

Kim Petras

Treat me like a slut! Kim Petras, an absolute queer trans pop icon, takes the stage this year after releasing her album Feed the Beast. Her collab with Sam Smith for “Unholy” had us shaking in our booties and we are more than ready to experience this goddess IRL.

Plan your weekend & grab your tickets for Osheaga below. See you in the pit.

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Le Tigre & cumgirl8 Captivate Montreal With Feminist Punk Power

cumgirl8 by Malaika Astorga

The collective Also Cool teenage dream was fulfilled last week at Le Tigre and cumgirl8's show at Olympia in Montreal. We've been longtime fans of Kathleen Hanna's projects and couldn't wait to see cumgirl8 live after including them in a recent Playlist Refresh.

The line to get into the show represented every aspect of Montreal's feminist punk community, ranging from cool-looking parents and their children wearing Bikini Kill shirts to excited 19-year-olds sporting local bands' merch. Across the board, everyone shared a collective glow, looking forward finally to seeing the legendary trio onstage.

The merch was also in line with the feminist spirit of the show. A printed sign reminded attendees that "the best way to support your favourite artist is to buy merch at their show - get off the Internet." We at Also Cool agree - the best way to support artists is to show up for your local scene IRL and support your friends' creative projects. 

For those new to the world of cumgirl8, the NYC-based group met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums), and Avishag Rodrigues (guitar), the band started as an art collective in 2019. As reflected in their name, cumgirl8's work pushes against the status quo by satirizing themes in popular culture surrounding femme objectification, social media sensationalism, and capitalism. 

Onstage, cumgirl8 embodied the coolest punk girl energy, with all the members decked out in incredible outfits featuring mesh, corsets, glitter and ripped tights. Chase (the drummer) also seemed to play the entire set in heels, which is incredibly admirable. Their sound was hot and heavy, exuding it-girl confidence. 

Le Tigre was up next with incredible visuals and included lyrics for all their songs at the top of the screen, a sweet touch that made the show-going experience more accessible for everyone. They opened with "The the Empty" and followed with tracks spanning their entire discography. 

Their performance also highlighted intersectional feminist discourse, sharing the backstories of many tracks and starting meaningful conversations around topics like reproductive rights, trans politics, PTSD recovery, and more. The show concluded with playful choreography that ramped up into "Deceptacon," which was received by a joyful and cheering crowd. 

Keep an eye out for cumgirl8's upcoming EP phantasea pharm, which is set to be released on August 18th via 4AD. 

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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Vanessa Tha Finessa Talks Her Talk on EP "CURRENT" (Foundation Media)

Vanessa Tha Finessa by Matthew Cowen

Propelled by the winning combination of bad-bitch charisma and savvy lyrical chops, Vanessa Tha Finessa can’t lose. The Los Angeles-based rapper recently gifted her EP CURRENT to the world – an artful appetizer that leaves no choice but to indulge.

While CURRENT marks Vanessa’s first release, it stands on the shoulders of an expansive sonic rolodex. The Ghanaian-born talent grew up surrounded by hiplife and dancehall alongside American pop music, and immersed herself in artists like Mac Miller and Nicki Minaj when she came Stateside. She was then scouted by casting director Sarah Benjamin after college, courting the fashion world by modelling for campaigns with Nike and Milk Makeup and posing for the covers of 10 Magazine and WWD.

All of these influences are front-and-centre on CURRENT, manifesting themselves as commanding Afro-fusion drum loops and an air of self-assuredness. “I birth these bitches like a doula / Head game crazy, can’t stay out his medulla”, Vanessa snarls mere seconds into opener “Talk Tha Talk”. The bouncy “Top Notch” layers punctuated claps over an echoing chorus: “Yeah, come rock my boat / ‘cuz it’s Murder She Wrote.” Vanessa knows what it’s like to be in-demand: her style toes the line between slapping you with both hands and being too chic to care.

Her decision to change lanes and emerge as a musician first came after a chance encounter with Smiles Davis at an LA party. The DJ and producer picked up on Vanessa’s wit, helping her to record the carnal “Run It” in 2019 (which went on to be featured on Showtime’s Flatbush Misdemeanors). The track is infused with a vaguely-industrial sensibility, peppered with steady claves and distorted vocal layers. Its inclusion in the middle of CURRENT seems to serve as a cleansing vignette of the artist’s first steps. Though a touch less tuned-up than the duo’s other collaborations, “Run It” succeeds at archiving an undeniable spark.

Spanning five tracks altogether, the fluidity with which CURRENT unfolds offers an intriguing testament to Vanessa Tha Finessa’s fast-paced life. An individual of many accomplishments who seems to tower above them all – reaching beyond artistic discipline to capture the weightlessness of poise.

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CURRENT

Out May 25, 2023 via Foundation Media

1. Talk Tha Talk

2. It's You

3. Run It

4. Counterfeit

5. Top Notch

Produced by Falcons, Karats, Smiles Davis, and Royal Bait

Album photography by Matthew Cowan

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Vanessa Tha Finessa

Instagram | Spotify | YouTube | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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Featured Articles

Blonde Redhead, Lucy's Delirium, Veranda Liv and More: Also Cool's Playlist Refresh

Blonde Redhead by Charles Billot  

It's summertime, you need new music, and we have lots, so we put together an exceptionally long Playlist Refresh. Whether it's for sunny park hangs or for when you're walking home from the show, thinking about how sweet life can be, we've got you covered. Let's get into it.

Listen along to our Playlist Refresh series on Spotify.

Veranda Liv by Seren Pritchard-Bland

First up, we're throwing it back to 2018-era Montreal, when post-punk bands reigned supreme in the DIY scene. Our lovely friends from across the pond, Veranda Liv, have finally released their first single "Your Life In the City", which will soon be followed by a few more releases.

Veranda Liv's Tristan Petsola and Miguel Nyberg began playing music together in Helsinki before relocating to Montreal in 2014. Having met up with Tom Gould (previously of Pottery and Bodywash), they entered the Montreal live scene for a couple of years with a revolving cast of band members until Visa issues forced them apart and out of Canada.

Now reunited and reformed in London, Veranda Liv make up for lost time with their first single, "Your Life In The City”. The track explores atomization and shielding yourself from the surroundings of the modern world by constructing veneers. Melodic drums wed mooring bass lines to form the foundation on which discordant guitars build a sonic world, often holding a return to home ransom in favour of basking in consternation, like holding off texting someone back when it's been too long.

Veranda Liv

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Blonde Redhead have gifted us with "Snowman”, their first release in nine years. The lead single is lush and melodic, introducing us to their forthcoming album Sit Down for Dinner. The title refers to a passage Kazu Makino read in Joan Didion's The Year Of Magical Thinking, regarding Didion watching her husband die at the dinner table. The album is set to be released via Section1 on September 29th.

"'Snowman' is about how it can be a blessing or a curse to be invisible and undetectable, and how it's something we all feel and desire at times," Amadeo Pace writes. "I got inspired to write a song that only had two chords and a melody that would live and float between them."

Blonde Redhead

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Returning to Montreal's music scene, Helena Deland welcomes the warm season with "Spring Bug". A gentle offering, ushering us into a season of bug bites, burnt skin, and shy feelings.

In Helena's own words,

"Spring sun and spring rain make past selves sprout out of the ground. The question of whether or not to leave this town becomes the background on which they wreak havoc. But it's like Joan Didion says, ‘we are well-advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4am on a bad night and demand to know who deserted them, who betrayed them, who is going to make amends.' 'Spring Bug' is the wave of a hand trying to shoo off a noisy flying creature, and the creature is me! Thank you for listening."

Helena Deland

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Lucy’s Delirium by Malaika Astorga

After playing almost every cool Montreal show this winter/spring, Lucy's Delirium have finally released their debut single, "Mr Tv”.

"Mr Tv" came about during a basement practice when Franky started free-styling on a bass line with the words "Ruin me like I ruined you." The phrase set the tone for the track, encapsulating the hypnotizing and obsessive feeling of the relationship between people and technology. The lyrics personify a television through the perspective of someone dependent and craving distraction. Despite the instant gratification, it remains an escape from their reality, leaving them with a false sense of fulfillment. 

"We see this behaviour a lot in ourselves and the world around us, and we were inspired to convey this experience as we believe it is a shared one." - Lucy's Delirium

Lucy's Delirium is a four-piece femme/non-binary band that began in a Montreal basement in 2022. Lila, Hanako, Franky and Addie merge their creativity to create a sound that expresses their friendship and connection. Constantly stepping out of their comfort zone, the band has evolved through the growing pains of being DIY musicians, like learning to work with small garage spaces and angry neighbours. For fans of Alex G, early Frankie Cosmos, Fog Lake, and Cryogeyser, "Mr Tv" will easily find a place on your playlists. 

Lucy's Delirium

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Switching over to evening tunes for a moment, Seraphine Noir has shared their jazzy new release, "Eclipse". It's the perfect soundtrack for a late-night walk to contemplate your thoughts while stopping to say hi to the alley cats and collecting flowers along the way. Alternatively, if you're not so into late-night walks, it serves as a great base for Tiktok anime edits.

Seraphine Noir is a modern experimental alternative jazz fusion artist hailing from Lebanon, now based in Montreal. They draw inspiration from esteemed artists such as Robert Glasper, Nujabes, Uyama Hiroto, Chick Corea, Coltrane and Sungazer. Stay tuned for future releases from the artist, including experimentations with jazz breakcore and more. 

Seraphine Noir

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Alice Phoebe Lou by Lexi Hide

Next up is Alice Phoebe Lou's "Lose My Head", a funky and tender tune, perfect for dancing around your kitchen while wondering what your crush is doing tonight. Alice Phoebe Lou is an independent artist from Cape Town, and is currently living in Berlin where she began her music career as a busker in 2013. 

"It's about loving and wanting, as well as the push and pull of passion," Alice shares. "I continually strive to show people the beauty of being vulnerable and feeling all their feelings..."

Alice Phoebe Lou
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Although not a new release, we absolutely love koleżanka's latest album, "Alone with the Sound the Mind Makes", which is out via Bar/None. Read our interview with the artist here, where she shared stories of the many places she's called home, her favourite memories and dreams, and more. 

"Alone with the Sound the Mind Makes" expands her koleżanka's world, leading us with tracks like "Cheers!" and "City Summer Sweat". The album is whimsical, slightly psychedelic, and draws on her polka-inspired musical history. 

koleżanka

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Sorry Girls have danced out of the darkness into the light with the release of their second album, Bravo! (out via Arbutus Records). The sparkling new album explores self-acceptance, self-affirmation, personal freedom and letting go. 

Also Cool favourites include "Prettier Things", a breakup track that's "about honesty, not lying to yourself, and hiding behind prettier things," says Heather Kirkpatrick. "You can allow yourself to move on to better things, if that's what you need."

Sorry Girls

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La Sécurité Ignites the Boulevard with Debut Album "Stay Safe!" (Mothland)

La Sécurité by Aabid Youssef

With their highly-anticipated debut album waiting in the wings, La Sécurité is ready to cause some commotion. The Montreal art-punk group shares Stay Safe! tomorrow via Mothland – a record consisting of ten electrifying tunes united in their skittish asymmetry.

The musicians that form La Sécurité are no strangers to the scene, having charmed countless audiences through other projects like Choses Sauvages and Silver Dapple, but operating within this collective keeps each member on their toes. From the arresting synths of debut track “Suspens” to the domineering bassline of “Serpent”, the band has set a standard of heightened sonic volatility, and the remainder of the record continues that thrill. Stay Safe! provokes the senses with its bilingual musings and jagged new-wave arrangements, traversing between subjects like flirtation and bodily autonomy with the same crafty cool. Expect to strut to zigzagging guitars, commanding rhythms, and a sprinkle of woodblocks.

A few weeks before the release of Stay Safe!, vocalist Éliane Viens-Synnott connected with Also Cool to reflect on the final touches and tease the summer adventures ahead.

La Sécurité by Aabid Youssef

Rebecca Judd for Also Cool Mag: This new single “Serpent” is peppy with a punch. I love the effortlessness of its undercut, how it captures the messiness of catty gossip with such breezy disco flair. This is a broader balance you strike within your forthcoming album as well: this determination to be both lyrically and instrumentally bold, scratching many different surfaces and thriving in the madness. How did the development of “Serpents” fit into Stay Safe!’s creative process?

Éliane Viens-Synnott of La Sécurité: It came about in a pretty organic way. [Drummer] Kenny [Smith] started doing that funky beat, just joking around during a practice, and [bassist and producer] Félix [Bélisle] kinda whipped out that super groovy bassline! We noodled around with the rest, keeping in mind the more dancey side of our art-punk influences (Maximum Joy and ESG, to name a few) without wanting to rip anyone off, of course. I thought it was fitting for some lyrics I had already written. I didn't want the song to be emo or dramatic or anything – just a friendly little jab!

Also Cool: The video for “Serpent” is frenzied and lighthearted, capturing everything from Sonic to South by Southwest. Your videos notoriously stay true to your sound, feeling lo-fi yet descriptive. Does the band have a particular approach to concocting music videos, or was this one just as simple as a glitch?

La Sécurité: Pretty simple, yeah! Since we kinda established that DIY/VHS approach with our first videos, we thought it was a nice direction to continue in. It's a way to keep a natural, sort-of intimate-feeling approach, highlighting good times that we have spent together as friends and bandmates.

AC: As the video shows, La Sécurité recently played SXSW, which feels like a significant milestone given your first show at DISTORSION was six months ago. Can you share more about your experience in Texas and what you took from it?

LS: Yeah, what a ride that was. Even having our first show at DISTORSION was kind of unreal! We were pretty curious to see if there would be any buzz at all outside of the comfort of our MTL scene, and I guess the short answer to that question is yes! We met many awesome people and our shows felt pretty electric. Playing six shows in a week definitely helped us weld our dynamic on- and off-stage together.

AC: Stay Safe! comes out on June 16, and you’ve teased that your debut will be “quite pleasing, even to unsuspecting eardrums”. Without giving too much away, what kinds of experimentation made the final cut?

LS: Well, there is one unexpected surprise I'm excited to share. I guess the one hint I'm willing to share is: 90s prom night vibes, haha. Once you hear it, you'll get it. Besides that, expect more songs along the same lines as what you've been hearing so far. They each have their unique touch, but somehow all belong together.

AC: Festival season is afoot… surely there are some plans up your sleeve. What does this summer look like for La Sécurité?

LS: Looking good! In June, we are hitting up FLOURISH Festival in New Brunswick, followed by a show in Québec City with our friends Jesuslesfilles (which [guitarist] Melissa [Di Menna] also plays in)! Then we head to Calgary for Sled Island, and in July we are doing La Noce in Saguenay as well as Le Festif in Baie-Saint-Paul. There are a few more dates that aren't announced yet, so it's a secret for now. Last but not least, we will be doing a record release show in Montreal at l'Esco! The date will be announced the day our record comes out.

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Stay Safe!

Out June 16, 2023 via Mothland

1. Le Kick

2. Dis-Moi

3. Anyway

4. Waiting For Kenny

5. Suspens

6. K9

7. Serpent

8. Try Again

9. Hot Topic

10. Sleepy Rebellion

All songs written & performed by La Sécurité

Produced, recorded, and mixed by Samuel Gemme & Félix Bélisle

Mastered by Francis Ledoux

Artwork & layout by Melissa Di Menna

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La Sécurité

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Rebecca Judd is the features editor of Also Cool Mag.

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Trevor Sloan Creates A Nostalgic Blend of ‘70s Psych-Folk, City Living and Everyday Imagery in New Album "Dusk Among the Plum Trees"

Trevor Sloan. All photos courtesy of Trevor Sloan

During a cold and dark winter in Toronto, Trevor Sloan—a songwriter, multi-instrumentalist and mixed media artist based in the city—found himself in a cozy room filled with loved ones. His friend started talking about his family’s plum trees and their process of making homemade brandy, and there came the inspiration for his latest album, Dusk Among the Plum Trees, released this spring. 

“I had this picture in my mind of a dusky sky above plum trees,” Sloan says. He went on to write a song by that name, and while it was never finished, the title stuck. “It conjures up images of dusk and night, and I think most of the songs on the album fit with that. I had also been reading a lot of Japanese poetry, which often references plum trees, so that was part of the inspiration too.”

The 11-track record, mixed and mastered by Andy Magoffin at the House of Miracles in Cambridge, Ontario, intertwines simple imagery and everyday themes. With a nostalgic psych-folk sound, the album conjures up images of faded pastel Polaroids, transporting listeners to another time and place.

Sloan explains most of the songs began with simple observations, like how “green grass is after the rain” and evolved from there. He weaves characters and objects into his songs, creating soft, colourful scenes filled with references to “…trashy magazines, singing robins, green steeples, the rubble of a burned-down hotel, coyotes walking on train tracks, and the light under a pigeon wing in flight.”

Many of these observations come from Sloan’s wandering in Toronto’s Junction neighbourhood, where he lives. “The song ‘Panther in a Cage’ is about a guy I see walking around my neighbourhood. ‘Sunset Glow’ refers to people and things from around here as well: ‘Old man and his cane… landlords and panthers, women from the shelter, loners and lovers, parrots and flowers.’”

The latter song closes out the album, paying tribute to its title and portraying the “city folk on their way” as the sun sets. Sloan explains, “It paints a picture of my neighbourhood, skillfully weaving together characters and references from other songs into one final closing piece.”

Sloan's sound draws inspiration from artists of the 60s and 70s, such as Donovan, Nick Drake, Labi Siffre, and Cat Stevens. ”There is something natural and genuine about the music from that time,” Sloan says, also highlighting his recent discovery of the music of British folk duo Chad & Jeremy. Songs like “Willow Weep for Me” and “Before and After” have left a lasting impression on him with their "mellow nature, gentle vocals, nice harmonies, and lush arrangements."

He also draws inspiration from new artists like Sylvie, Evan Cheadle (Fault Line Serenade), Dan Edmonds (Good Fortune Assembly), and Jon McKiel (Bobby Joe Hope), among others. “I am constantly trying to discover new music,” Sloan adds. 

These influences are clear in the album’s open track, “Ottawa 1977”, an upbeat homage to his family. While Sloan never lived in the city, he has strong ties with his parents having grown up in the city. 

“I was inspired to write the song after looking at photos from my parents’ collection. I love the warmth of 70s photography. Many of those pictures had the place name and date handwritten on the back,” he says. That idea of the back of a photo is where the song got its name. “I was thinking about my grandmother’s apartment in Ottawa. In the courtyard, there was a clothesline to hang laundry. If you were in the kitchen, the radio was usually on. In the family room, there were often tabloid magazines on the coffee table. For me, it was a golden place full of good family memories. I would say that side of my family is quite spiritual and believes in magic; that is why I used the line, “My family tree is full of mystical minds.”

Accompanying the album is a zine consisting of ten collages and ten poems, a fitting complement to the imagery presented in the record. “I liked the idea of there being something physical that people could have in their hands while they listened to the music (as it is a digital release),” Sloan says.

Sloan started experimenting with collages around five years ago, finding a supportive community on Instagram. “There is this feeling that anyone can give it a try, even if you don't have a background in visual arts. I feel a great sense of freedom in collaging, as I can try different styles. I love working with scissors, paper, and glue. I love the immediacy of collage, being able to make a collage and share it with the world in one night.”

This immediacy contrasts with the longer creative process involved in making a record. “The process of writing, recording, having the music mixed and mastered by someone, and then planning an album release can take over a year. Collage and poetry provide instant gratification while I work on music projects over a more extended period of time. I believe collaging has helped me be more open-minded with music, more willing to experiment, to have fun, and just focus on making the music that sounds good to my own ears.”

While the album creation process takes some time, the recording process itself is more spontaneous. “When I write a song, I record it right away,” Sloan says, who recorded the album at his home studio. “So, I’m writing and recording continually throughout the year. I recorded about 30 songs and then picked what I thought were the best 11. Generally, I write songs on an acoustic guitar. I start with the music and then write the lyrics. I record each instrument, track by track.” 

From there, using an acoustic guitar, some vintage synths and keyboards, bass and a midi software program called SampleTank, Sloan records and layers each instrument track by track, creating his breezy, mystical sound.

“My Roland Juno-106 keyboard was slightly defective during the recording process, which added some interesting warbly drone sounds to some of the songs. That keyboard would get unbearably staticky after a minute of being turned on, so I would have to record those particular parts within one minute or wait until the next night (I've since had the keyboard repaired).”

The resulting album has a mellow, mystical sound, with each song taking the listener to a different moment in time as a true observer. 

Sloan references Francoise Hardy’s Ma jeunesse fout le camp…, as what he says might be “the perfect album to listen to while making dinner,” hoping listeners find a similar kind of quiet comfort and timeless appeal in this album. “I hope Dusk Among the Plum Trees is the kind of album that people would like to listen to while making dinner,” he says. “I hope they find warmth in the songs and the arrangements and it leaves them with a mellow feeling.”

Trevor Sloan. Photo courtesy of Trevor Sloan

Trevor Sloan

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Valerie Boucher is a writer based in Ottawa, Canada. You can follow her on Instagram and learn more at valerieboucher.ca.

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Interview: The Return of Montreal's Suoni Per Il Popolo is an Intergenerational Celebration of Musical Escape

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Suoni Per Il Popolo 2023 poster

Montreal’s world-renowned experimental music and art festival, Suoni Per Il Popolo, returns from June 1st to 23rd, 2023. The 23rd edition of the festival plans to animate the city’s beloved venues as a homecoming for music-makers, composers and the sonically curious. From the festival’s Plateau-bound nebulous and beyond, festival goers can expect a profusion of over fifty intimate concerts from local, national and international artists, and genre-defying programming spanning free jazz, avant-rock, noise/post-punk, avant-folk, afro-futurism and more. Along with concerts, the festival features sonic meditations, exhibitions, screenings, comedy shows, parties and a street fair. 

In anticipation of this year’s festival launch, we caught up with Kiva Stimac, Suoni Per Il Popolo’s co-founder and co-owner of Casa del Popolo and Sala Rossa. 

On this year’s edition, Stimac reiterates the significance of Suoni’s avant-garde programming as a means of community restoration: 

“With regards to anything in arts presentation right now, we have to consider the power and importance of music and creativity in healing from the turmoil of this global pandemic. What I’ve always looked for in experimentation and play is the questioning and liberation that you get from not only being a musician, but an audience member as well.”

Along with fellow festival co-founder and business partner Mauro Pezzente (Godspeed You! Black Emperor), Stimac established Casa del Popolo and Sala Rossa, two pillar venues in Montreal’s music scene. Acting as the festival’s homebase since its foundation, Stimac says their atmosphere brings Suoni’s values to life.

“As venues and as places, it has always been really important that we serve food and drink that is delicious and that when artists come, we provide them with a good stage and good lighting…and somewhere to stay in a really familial way! [Pezzente] is a musician and I’m a chef and a visual artist, so our model is based on both of us being artists and wanting to invite artists that we love to our home to celebrate and create with us.” 

While Suoni has expanded since its humble beginnings of “beer sales and selling sandwiches,” its DIY ‘til death mentality remains, with all of the festival operations continuing to happen behind the scenes at Casa and Sala on St Laurent boulevard. Likewise, the project continues to be funded by grants and unique collaborations, which Stimac feels fuels, rather than limits, Suoni’s spirit year after year.

“Though we have a limited budget, it forces us to look for money in other ways for special projects to do with artists. Like grants to fund local and international artists coming together to create a project,” identifies Stimac. “For example, this year we’re doing a deep listening sound walk with Pauline Oliveros’ life partner, IONE. It’ll be led by Ayelet Gottlieb, an Israeli-Canadian deep listening practitioner and vocalist,” she adds. “This makes it so there’s a multitude of ways you can experience the festival: You could go to a free meditation, a film screening, or a deep listening mountain walk, and then come to a performance.”

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Suoni Per Il Popolo 2023 poster

Of course, Suoni’s “by artists, for artists” grit has also willed its vibrant and off-beat curation. This has set the festival apart since day one, making it the premiere event for testing boundaries through music. At the same time, Stimac and her team’s willingness to take creative risks with their programming set an interesting precedent for Montreal, which hasn’t always been the hub for out-of-town acts we know today. 

“When Casa del Popolo opened in 2000, a lot of artists were actually skipping Montreal on their tour routes,” she articulates. “So, people would play Toronto… and they would play Boston… And eventually, [my partner] Pezzente reached out to his agent, who was managing a bunch of cool artists at the time, and was like, ‘Why aren’t these bands coming to Montreal? Why don’t we try having them come to Montreal?’”  

From this phone call, Stimac and Pezzente went on to put together their first show with Scottish indie rock group Arab Strap at the newly opened Casa del Popolo. To their surprise, it sold out in 10 minutes.

“From that show and eventually starting to program at Sala Rossa across the street, we realized there was a demand for international touring artists here. Another major incentive [to book these acts], especially in the experimental and avant-garde worlds, was to invite them to Montreal in the first place.”

This effort has remained integral to Suoni’s raison d’être, and a way for communities, both local and international, to work together and “transgress the physical space” through creative innovation, according to Stimac. 

While the definitions of experimental and avant-garde have evolved throughout the years, Stimac maintains that Suoni attendees can still anticipate generations coming together to appreciate underground and outsider art.

“The size of our rooms limit you to new and up-and-coming artists, or unheralded elders at the end of their careers. This year, we have three different groups performing who are in their eighties—and on the other end of the spectrum—local groups in their twenties performing and a piano recital for young kids who are just starting out. Inviting all ages has always been important to me because you can see the trajectory of their career, and that is impactful to so many.”

Likewise, the intergenerational aspect of the festival remains integral for Stimac, due to the universally transformative power of music. 

“The release of listening to or making music can really heal trauma, and that’s the music I’m drawn towards. Whether it be the free jazz of my dad’s generation or the punk rock music of my generation… Music is made for liberation,” she explains. “My vision for the festival has always been challenging revolutionary good times.” 

Expand your listening palette and attend this year’s edition of Suoni Per Il Popolo. The festival kicks off June 1st at Casa del Popolo. Tickets are available online below. Follow Also Cool on socials for more festival updates and coverage in the coming weeks. 

Festival Information

Artists | Schedule | Tickets

Suoni Per Il Popolo

Website | Instagram | Facebook | Twitter

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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Public Appeal

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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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