So you needed a sparkling new party girl anthem to lose yourself on the dancefloor? We did too. 

Montreal-based artist, DJ, and producer, Regularfantasy (Olivia Meek), has cooked up just the jam - topped with dog barks for claps. An expert in finding the perfect balance between fun and sentimental, Liv's productions and DJ sets are sprinkled with funky pop, dance, breakbeat, and UK garage influences. This duality is equally reflected in the vibe Liv creates; she brings the party to life, but beware - her impeccable curation never fails to stir up some deep-down emotions! She’s also playing this year’s Igloo Fest, check it out here.

With releases on Canadian labels Mood Hut, Heart to Heart, and Total Stasis, the lover of all things analog (and gluten-free!) has been in the game for a while, and she's got more magic up her sleeve. Regularfantasy's latest release on Irish label Pear, titled Anyways…, is a selection of three timeless jams that will make you groove, reminisce, and fall in love with the power of dance music all over again. As she says herself, "How could you not?"

Also Cool's Maya Hassa got the chance to catch up with the dazzling, (not so) Regularfantasy, to talk about her musical journey, her inspirations, and her thoughts on music for healing.  

Maya Hassa for Also Cool: Before you began producing electronic music, you were playing in live bands. How would you compare your experiences in rock bands to DJing? 

Regularfantasy:  Before Regularfantasy, I had a project called Cover Girl, where I made weird covers, had a loop pedal/guitar, and sometimes performed live - which is still essentially true. That budded my interest in remixes, covers, and edits. I really love the format of a band because it's so loose, creative and fun, and I feel like my ideas flow better when I have someone to bounce them off of. However, as jam spaces in Vancouver became condos, more and more people started to make music at home. I mostly just jammed for fun, even got kicked out of a band once. Ciao is an active project with Void Mirror, where we work in the studio and record live jams. For my solo production, I used to make music only with an MPC and analog synths. I've recently transitioned to using a combination of Ableton, synths, and samples. I collaborate with many different artists, but I've also been making solo music for a long time. I think it was just a way of dealing with being alone. Electronic music allows you to do that. 

I strongly believe in the power of dance music and dance parties as a healing experience, which explains why it inevitably became part of my life. People need it. The scene where I grew up in Victoria, BC, was really playful and dancey, regardless of the musical style. I always loved groovy music and dancing - how could you not? When I moved to Vancouver, I was still looking for that fun vibe and ended up discovering it in the dance scene there. 

Even though I digitize everything, and play using CDJs, I love digging for vinyl. I like choosing music based on the object as a whole, not just the sound. I like the history that the object holds. When I was in my early teens, I inherited a record collection from a family friend. I really enjoy the album art, the physicality of it, record players, everything about it. I only really got into collecting dance music when I was 18. At that point, I became obsessed and never really got over it. Even now, as I make my way through different dance genres, I feel the same way I did then. 

Also Cool: You have a very recognizable aesthetic - your productions unwaveringly reflect the "plush" theme you have going on. Can you describe the story behind "plush" and the cozy aesthetic that you embody so well?

Regularfantasy: One of my longest collaborators is D.Tiffany. We have a project together called Plush Managements Inc., and we both share a love for the plush sound. Plush describes a synthetic version of luxury as well as what "plush" usually means in the context of consumer products. It could be something to do with Vancouver, which can be a depressing place on a budget, like most major cities. I think the sound is an escape, a desire for luxury, comfort, meaning, and safety. 

I think I am drawn to a certain lightheartedness of music because I have a deep darkness in my soul, which is fueled by PTSD and dissociation. I'm constantly using music to recreate a reality for myself that is not my creepy brain. I have an interest in comfort and in creating comfortable spaces (imaginary, audible, or physical) - and the plush sound and aesthetics help to create these places for me. I also think my visual art background plays into my sound, as well as inspiration from all different kinds of music. I like to keep it varied, you know. As Ursula K. Le Guin said, "Variables are the spice of life." 🤔

AC: What is your gear setup like? Do you prefer using hardware or digital synths (and use a DAW such as Ableton, etc...)?

Regularfantasy: I recently moved, so I don't have a huge setup right now. I've been taking this opportunity to get to know Ableton better and work on finding new workflows. Usually, it's a mix of some synths and drum machines that I sample into the MPC or Ableton. 

For the heads, my previous bedroom setup when I was in Vancouver was (JP-8080, MPC 1000, Shruthi, Juno-106, Micro Korg, SH-101, 707) and recording into Ableton.

AC: Your latest album, featuring collaborations with D. Futers and D. Tiffany (Plush Managements Inc.), is a brilliant mix of moody, cozy, and euphoric. What was your inspiration for Anyways…?

Regularfantasy: Anyways... earned its name because it was kind of a random mix of songs that had no home, but were special in their own right. The song MSN with D. Futers, for example, was UKG-inspired with a throwback vibe, whereas Plushied is a bit of a flowy, pop-inspired jammer. It evokes a memory of someone talking; a stream of consciousness: overheard talking; dream talking; drunk talking; what you wish you said, and what you want to say. Finally, Party Girl Theme was made strictly for dancing purposes.  

AC: Who are your musical influences?

Regularfantasy: A lot of my musical idols are 90s house producers, including Todd Edwards, Ian Pooley, Danny Tenaglia, Masters at Work, Daft Punk, Don Carlos... anything Italian. I also love 90s Canadian house. My favourite genres include all the styles of house, techno, tech-house, Eurodance, Italodance, Eurohouse, UKG... The list is endless.

I mostly listen to friends' mixes at the moment: Melbourne Deepcast, Libramix, Trushmix, Lobster Theremin mixes and HNYPOT, to name a few. Otherwise, I am actively looking for music or listening to the podcast Lexicon Valley, which is about language. It's my favourite thing ever, and I've listened to every episode. 

AC: You've been throwing DIY parties in Vancouver for quite some time. What's the significance of afterhours spaces to you - what meaning do these places have for underground culture and the local art community? 

Regularfantasy: Regardless of how late they go, DIY spaces are essential for building scenes and communities. They allow people of all levels, whether it's artists, DJs, promoters, or bands, to get experience. People can get a hands-on feel for what it's like to do events and learn to understand the responsibilities of working in non-DIY/afterhours venues. I also just like a grungy DIY vibe. It makes me feel comfortable, not sure why.

I think afterhours spaces are vital for the community. They stay open later, which allows people to experience the music and get into dancing. These parties are also usually invite-only and harder to find, which can help different people feel more comfortable to go to them. Sometimes I like a late event just because I can actually finish all the crap I need to do that day. When I can't possibly do anything else, I go out dancing. 

Going late also allows more people from different scenes to come dance together, and staff are also an important extension of the lineup and overall vibe. DIY spaces are like nothing else; people don't all get yelled at and herded out at 3am, pouring onto the street. I mean, they do eventually, but it's not like full chaos, main club-strip style. Something about dancing late into the night is just special. 

AC: You make the freshest breaky remixes of pop classics. What do you look for when choosing a sample? Are there specific sounds you tend to gravitate towards?

Regularfantasy: I haven't really been into singing much lately. It takes a lot of extroverted energy, which I hadn't been feeling when working solo. Still, I'm looking forward to experimenting again. I've been making lots of pop edits because they're fun to work on - and I still get to play with (other people's) vocals. 

When I choose a sample, I usually like a vintage sound mixed with a clubby/techy vibe. I sometimes choose things that I'm repulsed by, just for fun. I'm still figuring it out. It's all about working to that edge. 

AC: Are you working on any new projects? Where can friends and fans find you next? IGLOOFEST, DUH.

Regularfantasy: I've been travelling a lot, and so I've been working with different people. I have some edits and tracks circulating and coming out, officially and unofficially, with D.Tiffany, Flørist, DJ Chrysalis, Priori, Ciao (Void Mirror and I), Fio Fa, R. Kitt, Kristian North, and more!

Upcoming gigs: 

Montreal: Igloofest, Jan 18 (20h00-21h30)

Montreal: Brasserie Beaubien, Jan 31

Montreal: Poubelle Magnifique, Feb 7

Glasgow: Le Cheetah, Feb 13

London: MOT, Feb 14

Berlin: about:blank, Feb 23

Dublin: Izakaya, Feb 29

Regularfantasy

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Photo, Hair, and Art Direction by Ariana Molly

Ariana Molly has been striving to capture the feelings with no name in her short films, 35mm photographs, and music since she could identify her pulse. 

Visual I Sonic

Maya Hassa

Maya is a music journalist from Chicago who fell head-over-heels in love with Montreal’s unique DIY culture. She works to promote underrepresented and underground artists through her writing.

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