Birds to the Front: A Conversation with Montreal's Birds of Prrrey

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Birds of Prrrey via Facebook (from left to right: Grace Spitzley, Noelle Inniss and Clarence Tremblay)

In a 8 x 8 music space in Verdun, Birds of Prrrey (yes, the 3 Rs are important) are getting ready to rehearse for the night’s show. It's small, hot, and stuffy, but time is money and they don’t have any to waste. Grace Spitzley, the band’s bassist, is dutifully looking over their schedule. Noelle Inniss, the drummer, is reminiscing on funny anecdotes. Clarence Tremblay, the guitarist, is setting up their gear, while explaining that this was the first room they've ever played in, and that the other rooms are much better.

There’s a direct contrast between the playful atmosphere of this rehearsal and the focused recording sessions that Birds of Prrrey had in the studio gearing up for their first EP release. Those days were characterised by missing equipment, sound malfunctions, and delays. “Personally, I almost cried,” says Noelle while explaining their initial difficulties. Old equipment required the band to adapt quickly and be flexible when unexpected things happened – things like having to record a song while not being able to hear yourself, or your fellow band members, at all. 

Though the Birds of Prrrey had a rough start, the band fondly recalls sharing a hug with their producer Ben Rowland during their last session. “Our last take, it was so easy,” says Clarence. Noelle chimes in: “[If you] think about it too hard, that’s when you fuck up.”

Released in early July, Yet, we’re still growing in place features only songs that have been performed live, so the band’s family, friends, and everyone who regularly hits up MTL’s thrift shops will finally be able to stream to their hearts’ desires!

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Graphic by Winie Coulanges

The creation of this EP served as a way for the band to let go of the past and look forward to the future – a time of transformation and new beginnings. It granted the band members an opportunity to embrace new memories and to escape negativity. As for how they feel now that the EP is out? Grace describes the feeling as cathartic. “Finally, we’re getting it out there for the world, and it’s our first big thing!’’ She hopes listeners will be able to recognize themselves in the songs.

Written over the course of 2023 while the band was going through growing pains, the EP touches on themes of love, power, self-reflection and independence. “Training Wheels”, the band’s favourite song, is an assemblage of all the qualities that make up Birds of Prrrey, such as humour, friendship and perseverance. Symbolic of the journey that brought them to this point, this track also serves as a reminder that their music is not a silly pastime or hobby but a real passion. “It’s such a beautiful song, we made something so beautiful and legit,” Noelle says.  “I have never felt more proud.”

Clarence recalls performing the song “Hatemail” at a show—a song they wrote about an unhappy relationship that was about to end—and locking eyes with an older man in the audience. “I was singing lyrics to a new song, and I saw an adult man who wasn’t there for us, he was there for the other band. Truly, listening to the lyrics and nodding his head like I was saying his truth. That gave me so much more confidence in what I was saying, like I wasn’t crazy.”

If Birds of Prrrey songs are intense and poignant, their social media presence is the opposite. Well-curated, it features many images of birds, memes and photos of the band. They don’t take themselves too seriously. Used to promote upcoming shows and document their evolution, the colourful images along with the funny captions invite everyone to feel welcome to dive into the universe that is Birds of Prrrey. Grace says, “I find that living in the city, performing at the same five venues, some bands take themselves way too seriously.” 

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Graphic by Winie Coulanges

Clarence describes it as a method to connect with their audience outside of live shows and to express themselves. Their openness and camaraderie not only makes the band unique and approachable, but it grabs the attention of potential collaborators. They’ve been able to work with artists of many different disciplines like animators, textile artists and graphic designers in their short career. Recently, they collaborated with an animator and artist named Sherry (also known as @Aecolyte) on the cover of their EP. “ They have a softness to their artwork but also deal with dark themes, it fits perfectly with our EP, ” explains Clarence. 

During a small break in their rehearsal, the band reminisces on a time someone compared them to The Beatles; the band, finding it hilarious, immediately jumped into an impromptu rendition of “Blackbird”. As for their actual musical inspirations, the band lists the Breeders, Hole, Mitski and Bikini Kill. At first glance, you might mistake them for riot grrrls. Despite their name and grunge aesthetic, complete with drawn-on Converse sneakers, Clarence clarifies: “We don’t think we are riot grrrls – to be a riot grrrl is to be political. We are just uplifting the movement.” They’re also not punk, Clarence explains: “ I would never say we’re punk – people call us punk, but I think they just use it as an umbrella term for those who make loud music.”

Debuting in the male-dominated Montreal music scene, it was a bit daunting for Birds of Prrrey to find their place. However, they quickly found an audience that was waiting for a band like theirs to come into the scene; young women and queer people taking up space and expressing themselves on their own terms, not wanting to confirm. While their initial demographic might’ve been fellow early 20-somethings, it’s clear that Birds of Prrrey can appeal to anyone. “There’s a part of our audience who we would've never thought would be interested in us, and it goes to show that it’s truly about the music,” Clarence shares. 

If you’ve never seen Birds of Prrrey live, a typical show might be prefaced with sentences murmured in the crowd like “This isn’t Birds of Prrrey” and “All the good bands are in Brooklyn.” Quick little quips as well as inside jokes serve as transitions between songs and each member shines in their own unique way. Noelle’s explosive drum solo at the end of “Noelle’s emo song” is captivating and full of emotion. Grace’s electric vocals over their fan-favourite cover of “These Boots Were Made for Walkin’” makes the crowd go wild. Clarence entertains the audience with their cool and charming personality. With a sea of moshing and bopping heads listening carefully to every song, Birds of Prrrey puts on a remarkable show. Towards the end of the night, you’ll usually find the members floating around the venue socializing and giving out handmade stickers to anyone who asks. 

Catch Birds of Prrrey at La Sotterenea on July 26th hosting and performing Bird Ball, their EP release show with a pop-up vendor market.

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Graphic by Winie Coulanges

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YET, WE’RE STILL GROWING IN PLACE

Released July 6th, 2024

1. A Man Invited Shoelaces

2. OMGCROWSEVERYWHERE.COM2003$

3. Hatemail

4. Noelle’s Emo Song

5. Training Wheels

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Birds of Prrrey

Instagram | Facebook | Spotify

Writing and graphics by Winie Coulanges

Winie Coulanges (she/her) is an emerging writer and artist living in Tiohtià:ke/Montreal. Her art is informed by her identity and her desire to dissect the environment she lives in with care, consideration and humour.

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From Bartender to Headliner: Montreal's Alix Fernz Turns Heads with Debut Album "Bizou" (Mothland)

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Alix Fernz by Antoine Giroux

Alix Fernz is the beloved enfant terrible lighting a match on Montreal’s music scene. Formerly performing as Blood Skin Atopic, Alix Fernz is the moniker of 24-year-old singer-songwriter Alexandre Fournier. Arriving April 19th via hometown label Mothland, Bizou is Fournier’s debut album under this new alias. 

On Bizou, Fernz leads us down a drainpipe into an unabashed, palpitating reverie of studded leather, troublemaking and lipstick-stained dive bar mirrors. Produced in the bedrooms of three different apartments, with vocals tracked on Fernz’s iPhone mic, Bizou fearlessly criss-crosses remnants of bratty 70s-punk with new wave romanticism in a blistering 32-minutes.

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Bizou album artwork, credit: Alix Fernz & Nora Mejdouli

Mixed by Emmanuel Éthier (Choses Sauvages, Corridor, P’tit Belliveau, Population II), Bizou is Fernz’s first studio effort. After parsing over Bizou for nearly three years, Fernz is anxious for its unveiling at his album listening party this Thursday at Montreal nightclub Le Système.

“I got signed to Mothland after the album was done, but it's been worth the wait to release it for real,” says Fernz. “Teasing things out single by single has worked well, I saw the [streaming] numbers and I was like ‘holy crap!’” he laughs. 

Beyond its subversive aesthetics, Bizou is a coming-of-age record for Fernz, expanding on his experiences and growing pains as a suburban outcast.  

“Bizou has helped me a lot, as a period of self-learning,” explains Fernz. “A lot of the songs are angry and bring up a lot of unsavoury old feelings. I don’t like writing from the first-person, so I’ve created other versions of myself—personas—to write about the tough stuff and disconnect from my teenage years—trying to figure things out, feeling out of place in private school, doing drugs and shit. When I’m onstage singing these songs, I feel like another person, like someone else.”

The characters of Bizou come to life in the album’s accompanying music videos, where Fernz takes cues from latex magazines and 80s fashion to shapeshift from a nightmarish, botox-injected fiend to a lace-clad pierrot clown. 

With the adoption of his new stage name, Fernz has already encountered significant milestones as he aims to take his musical career to the next level.

“I moved to Montreal when I was 17, and started making music shortly after as Blood Skin Atopic. Switching to this solo project has helped me evolve out of a little DIY guy, now that I actually have [a label] backing me up,” explains Fernz. 

Fernz's it-factor has been established by his electric live sets attracting festival audiences, despite previously only having one single online. Since sharing “Wax”—the inaugural single from Bizou—in late 2023, Fernz has played POP Montreal, M For Montreal, Le Phoque OFF and Taverne Tour. In between, he’s gripped show-goers across Montreal’s signature stages and recently toured outside of Quebec for the first time.

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Alix Fernz by Antoine Giroux

Along with his musical forays, Fernz is a tattoo artist by day and a bartender at Montreal venue L’Esco. 

“I tell my boss [at l’Esco] all the time that I owe him my career,” says Fernz. “Meeting all these artists night after night is one of the main reasons that I can say that I am where I am. It’s priceless. I recently stayed after my shift to see Model/Actriz from New York after hearing their soundcheck and my mouth was like, watering the entire time,” he laughs. 

With all the buzz surrounding Bizou’s arrival, Fernz has started to perceive a shift in his reputation from local bartender to micro-celebrity. “I still don’t know how to react when people recognize me from my shows at work,” he smiles. “Working at L’Esco is like the epitome of ‘Oh! I know you… but I don’t know from where?’”  he adds. “I’m finding more and more people recognize me on the street from music than tattooing—I see my clients at the bar all the time. It’s definitely weird, but I enjoy it.” 

Despite this, Fernz remains humble and committed to his creative growth. When talking about what’s next, he reveals he’s already got a new project in the works. Hinting at what the future holds, Fernz describes his new songs having more of a pop direction, but maintaining his signature oddball edge. “I have ten demos already. Bizou has been a huge learning opportunity for me in being able to work on music with other people and introduce [the project], but I can’t wait to work on something else!” he exclaims. 

Catch Alix Fernz on tour this spring and pre-save / pre-order Bizou before its release this Friday!

April 28th - Toronto @ The Baby G 

May 10th - Sainte-Thérèse @ Santa Teresa  

May 16th - Montreal @ POW POW (album release show)

May 23rd - Chicoutimi @ Bar à Pitons 

May 24th - Québec @ Le Pantoum 

May 25th - Rimouski @ Bains Publics  

Alix Fernz

Instagram | Bandcamp | Spotify | Youtube

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

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NO WAVES Revive Garage Rock at Bar L'Escogriffe (Jess X, Piss for Pumpkin, TVOD - Blue Skies Turn Black)

As we thaw out from our wintery pandemic slump, we're trying to remember how to have social lives while also asking ourselves, "Who the hell are all these people at the show who I've never seen before??" 

Pre-pandemic, it was easy to find "the scene" if you tried hard enough (and went to events consistently). But that natural flow of new faces was completely interrupted, and now many are left wondering where the scene is, and how to get invited. 

My FYP on Tiktok often features 19-year-olds asking how to get invited to Montreal's underground raves and DIY rock shows, and last summer NO WAVES answered that call. They threw a wildly successful outdoor show, which was heavily documented and shared all over social media. After that show, I heard from a younger neighbourhood friend that they would be the next cool band in town. Promoters supported the claim that they brought a crazy energetic crowd, so I knew I had to see them the next time they played.

NO WAVES played at Bar L'Escogriffe on Thursday, April 14th with Blue Skies Turn Black, and the lineup could easily have fit into any 2015 surfer punk garage rock-inspired playlist. Jess X embodies a punk Cherry Glazerr energy (the Haxel Princess era specifically), while Piss for Pumpkin was described to me as 'Bikini Kill but more metal.'

TVOD (Television Overdose) brought a pure punk energy, hanging from the ceiling, spraying water all over the crowd, and getting them hyped for the headliners. Everyone at the show (who looked like they had just stepped out of my queer alt TikTok algorithm) loved it, encouraging each other to mosh, eagerly looking around for their friends to join them in the pit.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

I was pleasantly surprised that NO WAVES began their set with a zero-tolerance for harassment speech, telling creeps to gtfo and anyone who felt unsafe to tell the band or someone nearby what was happening so that they could help. Their sound is easily comparable to Surf Curse's "Buds," Vundabar's "Gawk" era, The Garden's "The Life and Times of a Paperclip," and of course (perhaps the band's namesake) FIDLAR's "No Waves." It felt like the 2015 Burger Records universe of music that I grew up with but without the reputation of SA and harassment that the label and their artists attained. 

NO WAVES had charming stage banter, introducing one song as "a real song that we wrote when we were 15," another as "a song I always say I won't show my friends and then I do," and their cover of Surf Curse's "Freaks" as "that song you've probably heard on TikTok," which made me feel old but also warmed my heart.

After the show, the drummer Sam shared with me that he was so happy that people were having a great time and emphasized that it's essential for the bands on stage to make sure their audience is as safe as possible. 

I also caught a sweet moment of a girl interviewing one of the band member's dads about the show and other attendees. She said she was making a documentary about the band, even though they didn't know how she was yet.

Uma, a long-time friend of the band and local Montrealer, had this to say about the night, "I feel like I've grown up with NO WAVES, so watching them go from playing in their parent's basements to a show like this is wild. They get better and better each time. Being able to grow up with access to this scene is life-changing. It's really beautiful out here, the crowd, the people, the music, all of it."

If anything, the show gave me hope for the up-and-coming Montreal DIY scene. It's inspiring to see people excited to be at a show, especially in what seems to be a more accepting and safe environment. 

You can catch NO WAVES' tour kick-off at Turbo Haüs in Montreal with Bummer Camp and Last Waltzon on April 22nd.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

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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Visibly Choked Cut Their Teeth on 13-Minute Self-Titled Debut (Mothland)

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Visibly Choked album artwork by Cassidy Johnson

Montreal experimental punk outfit Visibly Choked left us on the edge of our seats after their set at FME this fall; inciting head-banging amongst a chair-bound basement crowd amid COVID-19 restrictions. Last week, the band cut all anticipation full-stop with the delivery of their self-titled debut via hometown label Mothland. In all its thrashing, pantyhose-splitting glory, the six-track EP is turning heads for all the right reasons. 

Recorded off-the-floor with Steven Gibb at Lite Downs Studio, Visibly Choked immerses the listener in the five-piece’s fever dream—managing to capture the sweltering erraticism of their sorely-missed live sets, without compromising the integrity of their sound and their commandment of a room. 

Seducing us from the gate with gritty twister “Mother Tongue,” Visibly Choked reminisce punk’s legacy practice of pairing a driving beat with existentialism. Along with a Lynchian music video, “Mother Tongue” ponders estrangement from one’s heritage and the scars of cultural assimilation. 

Next, “Too High” shoots an exasperated eye-roll at a bedframe-less hookup. Between surfy guitars and the haze of the night before, Visibly Choked recount the all-too-familiar frustrations of dodging someone you didn’t expect to see at a show. 

The spiralling “Uneven Keel” follows: epitomizing the band’s self-described "five people having a panic attack" sound. Heavy in sentiment and atmosphere, the barely two-minute melter dissents into a paranoid frenzy, anxiously dissecting themes of identity, existence and trust. 

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Visibly Choked courtesy of Mothland

Coming up for air on “A Snake Called Ean,” lead vocalist Gabby Domingue wraps listeners around her finger with each dragging sibilance. Building from the brooding bassline at its core, “A Snake Called Ean” waxes and wanes with Domingue’s repeated bitter lament: “It’s so much harder to love you than to need you.” 

The album’s final two tracks make sure to grab you by the collar on the way out. With “Third Time’s the Charm” and “Shit Lord,” the group return to gnarly hysterics to tie the bow on their first offering. 

In a scrumptious 13 minutes, Visibly Choked manage to indulge listeners without allowing us to get too comfortable. 

Visibly Choked

Instagram | Bandcamp | Spotify

Zoë Argiropulos-Hunter (she/her) is the co-founder and managing editor of Also Cool Mag. Aside from the mag, she is a music promoter & booker, and a radio host & DJ.

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Toronto's PACKS Share a Slice of Upcoming Debut "Take the Cake"

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Madeline Link of PACKS, photo courtesy of the artist

Toronto’s PACKS are filling an indie-rock void with their sound that is equal parts laid-back and jangly, while also sophisticatedly pensive and bright. Before the pandemic hit, they were stirring a buzz with a collection of charming lo-fi singles, of which caught the attention of hometown label Royal Mountain Records, as well as Brooklyn’s Fire Talk Records.

With the enlisted backup of close friends from the band Lovers Touch, lead songwriter Madeline Link has taken her solo songwriting project to the next level. The now four-piece have announced the release of their debut full-length, Take the Cake, out this coming Friday, May 21st, 2021.

On Take the Cake, Link comments:

“The album is a meeting of old and new. Old songs from a year ago where I'm having really horrifyingly awful days at work, getting doored while biking in Toronto and flying into the middle of the street, or going on dates with guys who I'm either instantly in love with, or who end up creeping me out a bit. Those songs are more packed with that feeling of hurtling-through-time-and-space-at-breakneck-speed, manic energy. The newer songs are infused with a foggier, slower-paced disillusionment, and deal with the strangeness of a reality morphing before my eyes every day. I still try to be optimistic obviously, but these songs are really glorified coping mechanisms.”

Read our interview with Link on how her debut was realized despite a long-distance relationship with her band, as well as her thoughts on unexpected musical comparisons and figuring out label-signing for the first time.

Zoë Argiropulos-Hunter for Also Cool: So, let’s start with some bigger obvious questions: How have you been doing and what has it been like working on an album throughout the ongoing uncertainty of the last year or so? What are your thoughts on creating during such a time?

Madeline Link: Well, other than working on the album at a distance with my band by sending them demos to build on, my music writing process hasn’t been disturbed by the pandemic much. The creation of [this album] was the least hard part, honestly. It was more so the conceptualizing of it that was tough because the whole process lacked so many physical experiences. I have never released an album of this scale before, so I feel like if it wasn’t a pandemic it would be a completely different experience. I would be having in-person meetings, maybe even going to New York to meet with one of my labels, planning shows and going on tour.

Also Cool: Absolutely, music-making right now is definitely unconventional to say the least. What it was like realizing these songs in a band format instead of working alone? From what I know, some of the tracks on Take the Cake are older than others and come from a more personal project, so I’d love to know more about how you reworked them on this release.

Madeline Link: I’d never bounced these songs off of anyone before, so it was interesting! I felt comfortable sharing them with these guys specifically because I trusted them a lot, as we were friends before we worked together on this album. They make up the band Lovers Touch, so I really trusted their musical ability and knew how talented they were. I really like the symbiosis we have going. With every song that I bring to them, they always send something back that totally surprises me.

AC: What else impacted your ability to be so open-minded with making PACKS into a more collaborative project?

ML: I’ve always used my songs as a way of exploring creatively and have never held them very close. Basically, my creative process is that I’ll record myself playing the song once I’ve figured out the guitar part and vocals and send it off to the band without really thinking twice about it. Since I never hold my songs near and dear, there are a lot of tracks currently in our shared folder that are just sitting there festering… ‘Cause you know, I like to have some shit songs and some good songs (laughs).

AC: I think that’s really cool. I guess there’s something to be said for being purposefully un-purposeful (laughs).

ML: Yeah, that’s exactly it! If I think a song isn’t going to get better, I’ll quit toying around with it. I pretty much spend an hour to two hours recording my parts in my free time and send them off to the band.

AC: I know you said that you’ve never held your work close, but has working with some of these songs in a new light changed the relationship you have with them? Or maybe the way you think about your songwriting at all?

ML: I really liked taking the songs and meshing them together; both old and new. I didn’t have any huge revelations about my songwriting, but I do feel as though I’ve really landed on a sound that lines-up with my identity. At the same time, I do think I’m keeping people guessing with what exactly a PACKS song sounds like. For example, when “Hangman” came out at first, I saw it on a Spotify “Americana” playlist, and I was getting labeled as “indie-folk” (laughs). But then “Silvertongue” came out and it was on all these punk playlists online.

AC: How do you feel about being segmented into these different genres? I’ve seen your stuff coming up on different publications where people have compared you everything from Sonic Youth to Sebadoh. Are there any particular influences that you draw from that people aren’t necessarily picking up on?

ML: Well, I remember thinking that Best Coast was a strange comparison that one writer made because I personally don’t hear it at all. I remember reading that and I thinking to myself, “Are you just saying this because I’m a lady?” (laughs). No offense to Best Coast or anything, but I really don’t hear any similarities.

 ML: In terms of influences… This is going to sound so obvious, but every Radiohead album has probably weaseled its way into a PACKS song. Hmm… do you know Autolux?

AC: No. I’ve never heard of them!

ML: They’re this band from the early 2000s that I’m really into. They have this one particular album, Future Perfect, that really grabbed me. They’ve got this really hard guitar sound contrasting with the singer’s quiet falsetto voice and I love that. What else? I do find I can be influenced by country as well. I grew up in Calgary and we always had so many different genres playing in the house. I find myself always going back to the basic chord structures that make up country and blues songs when I start writing. I want to follow certain tenants of that genre, you know?

AC: Definitely. So, it’s safe to say that these questions of who influences you have come from you signing to two well-known labels and stirring up some excitement around Take the Cake. How are you finding this transition in your career so far?  

ML: Deciding whether or not to sign to a label was one of the hardest decisions I’ve ever made; not even exaggerating! On one hand, you have a lot of people encouraging you take on a new opportunity, and on the other, people warning you of what might happen if things don’t turn out like you’d expected. That being said, when I did announce that I had signed to these labels, nobody was like, “You freaking sell-out!” (laughs) To be honest, I have really enjoyed having the support from these labels and all of their great ideas. But you know, I don’t give away my power very easily (laughs). This might sound cheesy, but thankfully both the labels I’m working with have the artist as their number one priority. I still have control over everything I post online, music videos… stuff like that.

AC: What kind of advice would you give to young musicians to help them navigate the process of working with a label for the first time? I feel like getting this kind of insider information is really important for people just starting out, and the kind of thing that can be gatekept, you know?

ML: Yeah, definitely. Well, I don’t really like giving advice (laughs) but okay. So, the fist label I ever worked with was, and still is to this day, the number one label in the entire world. They’re called Art of the Uncarved Block. They’re based in Toronto and run by twin brothers Robin and Pete. I didn’t sign a single contract while working with them, we just met up in a coffee shop after they asked [my other band Triples] if we wanted to release a tape with them. I also released a PACKS tape with them, and it was like, the dreamiest label experience you could have.

So, I’d say if you’re just starting out and doing a DIY thing, I would suggest not running into a contract straight away and working with a smaller label. If music is something you’re doing just for fun, don’t submit your stuff to huge labels. If you’re enjoying yourself and just trying to get your music out into your local scene or whatever, [labels] will notice that, and they will approach you. Treating it like a job application and not getting responses after making a bunch of submissions makes you feel like shit! (laughs)

AC: I think that’s good advice, personally. The Canadian music world seems so untouchable on the surface, when at the end of the day it’s like the same 10 people emailing each other back and forth.

ML: Exactly. You really just have to trust the process in a way. I ran into Pete from Uncarved Block when I was trying to decide about label stuff, and he encouraged me to go for it… It was kind of like a sign from the universe.

AC: To end things off, what are your plans to celebrate this release?

ML: When I was going to bed the other night, I had this idea for a wild Instagram video… I’m picturing a gigantic cake in front of me that’s full of candles. Like, 200 candles or something. And yeah… I want to do something that’s kind of unreal. Maybe I’ll post it? Maybe I’ll keep it for my personal archives? You’ll just have to wait and see.

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TAKE THE CAKE

Out May 21, 2021 via Royal Mountain Records and Fire Talk

1. Divine Giggling
2. Clingfilm
3. Two Hands
4. New TV
5. Hangman
6. My Dream
7. Hold My Hand
8. Holy Water
9. Silvertongue
10. Blown By The Wind
11. U Can Wish All U Want

All songs by Madeline Link
Mastered by Sarah Register

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PACKS

Website | Instagram | Bandcamp

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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Halifax Escape Artists Century Egg Talk Embracing Change on New EP "Little Piece of Hair"

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Halifax four-piece Century Egg are putting Atlantic Canada on the map with their beaming fusion of garage rock and mandopop. The band recently announced signing to hometown label Forward Music Group in anticipation of their EP Little Piece of Hair , out this coming Friday, May 7th, 2021. Just like their namesake, Little Piece of Hair is long-awaited, with the promise to delight and leave a lasting impression. Opening with blitzing pop-punk shaker “Do You Want To Dance?”, Little Piece of Hair reminisces shoulder-to-shoulder bopping at your favourite venue on a Saturday night.

Coming hot on the heels of their recent collaboration with Debaser's Mood Ring ("The world’s tiniest and most introspective music recommendation engine") and the We Can Play EP, Little Piece of Hair is the band’s loudest, clearest mission statement to date, marking another exciting addition to Forward Music's recent run of releases alongside Wolf Castle and Paper Beat Scissors. Boasting a new rhythm section of bassist, Matty Grace (she/they) and Meg Yoshida (she/her) on drums, Century Egg is a band reborn whilst still incorporating the dance-punk bliss of previous Egg outings, only bolder, brighter, and harder-hitting.

We got the chance to connect with Century Egg on the importance of creative outlets, managing band dynamics while writing songs over email, and their plans following the release of Little Piece of Hair. Read our full interview below!

Zoë Argiropulos-Hunter for Also Cool: Hey Century Egg! Thank you so much for chatting with Also Cool. To start, you've been described as escape artists: How do you achieve this way of being through your creative outlook and how did this come into play when producing Little Piece of Hair? 

Century Egg: We’re four individuals with full-time obligations, and the band is just one of our creative outlets. Our band gives us a chance to temporarily take a break from reality, but also reflect on it and bring something back to it. We are all artists in our own right, and the band is a way to collaborate and express our appreciation for each others’ art. 

Also Cool: In that vein, escaping isn't always about running away, right? It can also describe setting oneself free, or embracing change. On Little Piece of Hair, you've commented that the songs are about "finding yourself." What inspired that concept for this album, and how did it come together? 

Century Egg: When the songs arrived, they just spilled out. They can be coping mechanisms, they can be power fantasies, or else just about processing what’s going on right now.

AC: On that note of embracing change, you’ve introduced a new rhythm section in your latest lineup — during a pandemic no less! How have these additions impacted the project?  

CE: Different people bring different experiences to the band, and it is a much more collaborative process now. Each person brings something to the table that may not have previously been introduced due to our varied influences. Specifically our song “无路可退” (“Cornered”) was created over email. Matty (she/they) wrote the bassline first, before Megumi (she/her) added her drum parts, before Robert (he/him) and Shane (she/her) finalized the arrangement. This was done totally over email during the early days of the COVID-19 pandemic, and brought about a newer darker sound that may not have come forth if the circumstances were different.

Century Egg, photo courtesy of the band

AC: Something I’m always curious to ask about is how artists are influenced by their physical environment and surrounding community. Has Halifax and it's music scene had any particular impressions on this album specifically? 

CE: Maybe not necessarily Halifax, but the global landscape and the state of the world have definitely had an impact on Century Egg as a band, and it has come through in our writing. Ultimately the Halifax music scene has been predominantly white, cis and straight. We are not that. We embrace our diversities and look to encourage this growth within our scene.

AC: To end off, how are you planning to celebrate this release, and what can we expect from Century Egg in the coming months? 

CE: For starters, we have two upcoming music videos that will be released in the coming months for “Do You Want to Dance?” and “Little Piece of Hair.” Sadly, we had planned a bit of a record release show — as we were invited to play Flourish Festival in Fredericton, New Brunswick — but now will be attending remotely via a pre-recorded live set, as our corner of the world has collapsed on itself a little bit. We are looking forward to playing shows the moment we can, but for the time being, we have to embrace and navigate our restrictions and look to plan for the future. This includes trying to reach new audiences via the internet and working on a full length LP that will hopefully see the light of day in 2022. Change was going to come one way or another anyway.

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LITTLE PIECE OF HAIR

Out via Forward Music Group May 7, 2021

1. Do You Want To Dance?
2. I Will Make Up A Method
3. Ring A Bell
4. Little Piece of Hair
5. Riddle To Place
6. Cornered

Written by Century Egg:
Shane Keyu Song (she/her), Robert Drisdelle (he/him), Matty Grace (she/they) and Meg Yoshida (she/her)

Recorded by Franc Lopes at Ocean Floor
Mixed by Robert Drisdelle
Mastered by Dave Williams at Eight Floors Above

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Century Egg

Instagram | Facebook | Bandcamp

Preorder Little Piece of Hair here

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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