To understand the world of Hildegard is to immerse yourself in the deep waters of Helena Deland and Ouri's soul connection and friendship. Their debut record has been described as the result of merging their identities, coupled with a complete loss of ego. The result is a beautiful and experimental eight-track experience, documenting the creative bond they share.

The duo are both accomplished musicians in their own right, both having toured the world with their individual projects. They've also been longtime Montreal friends, and over the years, the three of us have gotten to know each other through many shows, nights out, and mutual friends.

I caught up with Ouri and Helena earlier last week to talk about the album, their friendship, dreams, and their label section1. I explained right off the bat that I wanted to skip the typical PR questions and get into the more esoteric, conceptual energy and of the record. They happily agreed and took me by the hand into the world of Hildegard.

Malaika Astorga for Also Cool: I first heard the album three years ago, and it's so exciting to have watched it come to fruition so beautifully, but I guess we should start at the beginning. How did you two become friends?

Ouri: We had been gravitating around each other for a while. We initially met through a friend group when we were around 20 years old. We properly became friends when our manager suggested that we do a few studio sessions together. It was so immediately effortless, and there were no expectations. We just completely connected.

Helena Deland: The friend group where we met unintentionally revolved around a couple guys. The whole group gravitated towards certain people, and everyone acted in response to those individuals instead of each other. This became obvious when we hung out one-on-one and became friends. It was crazy that we didn't sense that before.

O: If we had never experienced that, it would've been such a loss. It was such a fundamental part of my life experience.

Also Cool: It is very Montreal to exist around people until you finally connect individually one way or another after seeing each other around for so long.

What have you learned about friendship and your creative connection with each other throughout this process?

I've seen you both out in the world together so much, and it seems like you have a really happy friendship. I specifically remember you two drawing outside of Pumpui together, and it seems so beautiful to have a friend with whom you can be your inner child.

H: It's interesting because I do feel like the way that I exist with Ouri is so unique. [She] brings out things in me that my other friends don't, which is also true about the music.

This collaboration is more than the sum of its parts; it depends on its alchemy. We've also spent so much time one-on-one for this project that people always tell us we act like siblings.

O: I never feel like I have to be a highly individual part of this group, I just want to blend, and I want this energy to circulate all the time. I think that this is an essential part of our friendship. I feel like since we experienced this together, we've been researching flexibility and ego, and we're trying to get back to that every time. When we're on video shoots, and we're not crossing paths all day, it feels very wrong. We need the excitement and comfort that we share together.

AC: It sounds like a really nice soulmate connection.

Both: Yeaaaaaa (blush)

AC: Your record sounds like when Durocher (an after-hours in Montreal) was at its peak: Where you could walk through all the walkways, to all the different parties alone; knowing you would find your friends or make new ones along the way. At the same time, the album also feels very vulnerable and without ego.

Going into it making the album, did you intend to make it a dance record, or did you want to just try and see what happened?

H: It was very unintentional. We usually resume it by describing the first day in the studio, where we were super excited and eased into the atmosphere. We had a drink in the evening, and it was kind of a party atmosphere. So the tone kind of has to do with how we broke the ice.

AC: If the record is a late night out with a friend, what would your morning routine look like? Would you make breakfast? Would you not talk? Would you lie down in the park to try and get over the hangover?

O: I think we would do a yoga session in the morning and then let each other choose what we wanted to eat, and then we would stare at a fire.

H: Haha yeah, we would make a fire and take our time with that. We also love discussing and unpacking the night before.

We would definitely have a time without each other too, maybe on separate walks, and then we would come back to each other. We know this by experience, really. (laughs)

O: We were together for two weeks the last time. We would party and then try to come back to life.

AC: The tone for Jour 1 has been described as "Processing by partying." Both of you have travelled all over the place. You have experienced all kinds of different things, so I'm wondering what your most transformative party experience has been.

H: There are so many, but there's this feeling that I sometimes get that's interesting. It feels like a "life drive," but at the same time, it comes when you're out, not sleeping, drinking and so on, so there's also this death drive to it, too.

It's the feeling of time passing, and I just want it to stop, and every time I look at the clock, it's scandalizing that it's gotten so late. I just love those nights where it feels like if you could stop time or if you could exchange a little of the future for more of this, you'd do it. It's a very present moment feeling.

O: The beginning of summer in Montreal, maybe Durocher, maybe Moonshine. It's 5am, the sun is starting to maybe come out a bit. I would stop time to always live in this. We've also experienced this feeling together after doing the album. This was just a crazy night.

H: The one where we ended up on the soccer pitch?

O: No, the one with the mic at Durocher. (laughs)

H: There was also the one where we played Piknic.

O: Oh yes! We had lost Helena in the crowd, and she reappeared at the most epic moment of the set. There were hundreds of people everywhere. But also that experience of losing your friend at a party and then finding them again is very special.

AC: Well, I was going to ask, what would a perfect Montreal summer night be for you?

H: I think the unexpectedness of nights in Montreal is one of its best qualities. It's small geographically, and you don't know where you'll run into someone. Everyone lives a 30-minute walk away from each other, and so you can end up on anybody's roof. Like that night, you played Piknic, and we walked home.

O: We played games and explored all the different metro stations and all the parks.

H: It's nice to think that this is almost possible again for the first time in a year now.

AC: Hildegard seems very much like a world. Can you describe this world as if it were a dream?

O: It's a castle.

H: An H-shaped castle.

O: We can run between towers and different rooms.

H: There's beautiful nature, but there's also something a little eerie. We wrote a really cool story to go with a playlist, and every step was following Hildegard's day. It was very community-oriented, but there were lonesome moments, but also sensuality and self-care.

O: That's also a mystical experience, to share with a community.

H: But the dream, it would be a pretty lucid dream.

AC: Do you have a favourite dream?

O: Since I was a kid, whenever I feel trapped, I think about flying before going to sleep. In my dream, I just run and fly, and I go everywhere. I feel free. This is something that I love to do.

H: Wow, so you're a good lucid dreamer!

AC: I do the same! I always knew I could fly in my dreams, and I knew that I just had to remember how to do it. It's amazing

H: It's the closest we'll come to flying in this life.

AC: Helena, your most recent album profiles the emotional fallout of when two people put their lives in each others' hands. Hildegard feels like the healed, higher-self from this experience. How does it feel different to put your life in Ouri's hands?

H: Aww, it's amazing, honestly. It is a big part of what's so joyful on the record; there's this intense fusional energy and abandonment of others and gradual attunement to how to make the other feel good. The reward is the music we make together, and the company, and the moments we share.

It feels so liberating and like we understand each other in ways that are not always given in heterosexual relationships, even though we're just friends. I personally haven't really experienced this kind of closeness with a collaborator and friend. Having those things meshed together, it's eye-opening to all of what's possible in terms of proximity. But it's also this whole learning process; we're constantly adjusting and growing together.

AC: You've worked with a lot of different people for the visuals of the project. Can you tell me more about your collaborators and that process?

O: We started working with Melissa Matos, who built the conceptual visual world of Hildegard. She had a whole team of people doing graphic design, 3d work, photos, etc.

AC: Yeah, your website feels like a portal into that world you're describing.

H: Every element of the website is from our texts, our conversations, our emails, our sounds… But it's also designed to really include the interaction, and whoever wants to use it can explore with it, which is true of the music.

It acts more as a space to project things onto and into. Melissa has been so helpful in designing an intentional world.

AC: How's it been working with section1? You're their first release and their introduction to the world of what section1 is. You've also been involved in the music industry for quite a while, and I'm wondering what this experience has been like?

H: It's been super exciting. I sent our songs to Brontë because I wanted her to help place it in this industry. I trust her and her taste, and I thought she would be a good person to understand what we were trying to do. So when she responded by telling us that she wanted to release it, we were elated.

It's been so nice to develop the world of Hildegard as they develop the world of section1 and be proud of one another's projects.

O: Being introduced to their network has been really amazing. It feels like it's alive and not a stiff uni-dimensional thing. It's one of the first times I feel like the team received our work, and we're so excited about it.

H: I remember when Brontë told me she was going to start a label. She told me she had a secret, and I thought it was about who she was dating. Instead, she told me she was going to launch a record label, and I started crying.

I think part of the label works into the mythology of Hildegard at this point because it was so organic and unsought after, which is also the case with section1.

AC: What does the future of the project hold?

O: We have dreams, we want to travel together to places we've never been before

H: This is working so well for me so far, where Hildegard is this project that I can put in all my attention for very focused amounts of time. I want to keep doing that; it nourishes everything else in a really lovely way. We have the backbone of the next record ready as well, which is exciting.

We want to make music elsewhere and keep exploring how environments influence the creative flow. The last two times we were together for a long time were in March, and that seems to have a specific vibe.

It's kind of like the third character, the place that we make music in. The studio we made this record in was so important to us, and it no longer exists, so it's a very nostalgic mind space.

Listen to Hildegard below

Hildegard

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

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