Debaser's Pique Continues to Shine with Summer 2024 Edition

Alice Longyu Gao by Rebecca Judd

In the three years since its inception, the artist-driven event series known as Pique has evolved with spectacular speed. As you can tell by the AC archives, we (and many others) have come to celebrate Debaser’s creative ingenuity and their collaborative spirit, anticipating this quarterly function with all that we have. Although the summer 2024 edition was threatened by gloomy weather, the collective joy of this season’s creators and attendees proved enough to temper the storm.

Approaching the Arts Court at around 6:00 PM, I first encountered a swarm of art and food vendors sprawling the side of Daly Avenue. The smells of BBQ wafted through the air as people strolled along the sidewalk, browsing a plethora of handcrafted wares ranging from screen printed tees to custom press-ons. The Art Market brought Pique’s magnetic aura to the streets, appetizing event-goers and delighting passerbys.

Moving through the Courtyard entrance, I was greeted by the beginning of the Montreal Steppers’ buoyant performance. Enlisted as part of guest curator Chukwubuikem Nnebe’s musical programming for The Seeds We Carry, the Montreal Steppers use movement to communicate stories of Black history and futurity, ultimately promoting a vision of interconnectedness and justice for all. Performers Kayin Queeley and Shaina Thornhill showcased the magic of step while guiding the audience through several exercises, with Queeley reminding the audience that “...it’s a gift every time we make music with our bodies.”

The Seeds We Carry by Kosisochukwu Nnebe, photo by Rebecca Judd

In the SAW Gallery, conceptual artist Kosisochukwu Nnebe’s exhibition for The Seeds We Carry celebrated its grand opening, and Pique attendees flowed through the gallery with awe and appreciation. As noted by curator Joséphine Denis, the video works and installations that comprise this collection serve as a testament to “the methodologies of enslaved Black women.” Drawing inspiration from her sister Nnedimma’s thesis on the presence of cyanide in cassava, as well as her Igbo ancestry and the displacement of Igbo communities, Kosisochukwu’s work depicts manifestations of anti-colonial resistance and ancestral interlinkage. This exhibition—along with the dynamic musical programming by Chukwubuikem, her brother—stood out as a compelling element of the festival.

Cynthia Pitsiulak and Charlotte Qamaniq of Silla, photo by Rebecca Judd

Back in Club SAW, Inuit throat singers Silla delivered a vibrant and intimate set to a delighted crowd. The duo of Charlotte Qamaniq and Cynthia Pitsiulak exuded warmth as they performed songs such as “Imigluktaq (the Button Song)” and “Kitturiaq (Mosquito).” It was a privilege to learn from Silla about the background of this practice, and to celebrate their cultures through an interactive sing-along.

Tangerine by Rebecca Judd

Upstairs in the Alma Duncan Salon, PURE PULP kept the party going with hours of crowd-pleasing jams. This new dance party series, led by Mars Souleil (DJ Trinidaddy) and CONTRA, uplifts the creativity of South Asian communities by facilitating the sonic expression of artists from across the diaspora. I particularly enjoyed DJ Tangerine’s set, which featured throwbacks from the likes of Kid Cudi and Soul II Soul.

But standing out as the evening’s show-stopper was none other than Alice Longyu Gao. From the moment the NYC-based multidisciplinary artist took to the stage, xe enchanted the masses with xyr command of the harp and relentless enthusiasm. Gao shrieked in sweaty faces and flailed xyr limbs about, performing songs like the electric “Come 2 Brazil” and xyr new release “Lesbians ˂3.” What made the night even more memorable was Gao’s last-minute DJ set, having stepped up to replace Pelada. Many had mourned the missed opportunity earlier on in the night, but something truly shifted when Gao returned. Xe oscillated between remixes of Camila Cabello and Rihanna with ease, searching for a cigarette while maintaining razor-sharp concentration. Switching gears to the enduring power of SOPHIE’s “Immaterial,” Gao held all of the Arts Court in the palm of xyr hand.

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Pique

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Debaser

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Rebecca Judd is the features editor of Also Cool Mag.

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“We’re on the Come Up”: What the Capital Music Awards Mean for Ottawa’s Vibrant Music Industry

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The Angelique Francis Band performing at the Capital Music Awards, photo by Laura Collins

"This city has talent," JUNO Award-winning Ottawa singer Angelique Francis declared as she kicked off the 5th annual Capital Music Awards. The awards ceremony, recently held at the Bronson Centre Music Theatre, recognized a diverse range of Ottawa artists, bands, venues, and music industry players across 13 categories. Winners were selected through international juries and public voting, showcasing the city’s global appeal as an establishing music capital. The room was full of musicians and industry champions nominated for categories including Newcomer of the Year, Best Production and Arrangements of the Year, Video of the Year and Music Educator of the Year. Organized by the Ottawa Music Industry Coalition (OMIC), the awards highlighted the excitement around music coming out of the city. 

The Awards indicate growing opportunities for Ottawa artists to make a name for themselves and propel their careers while staying true to their hometown. Francis, for example, hosted the Capital Music Awards as a proud member of the local scene just weeks after walking the Grammys’ red carpet in Los Angeles.

Angelique Francis hosting the 2024 Capital Music Awards, photo by Laura Collins

Indie rock band Pony Girl—nominated in five categories—energized the crowd with the first performance of the night, and later took home Single of the Year for “Laff It Off.” Their returning presence at the Capital Music Awards speaks to the success of their recently-released albums on Paper Bag Records, playing shows across the country and continuing to tour internationally this year. 

Reflecting on the band’s experience as an Ottawa-based group, Pascal Huot of Pony Girl shares: “We are part of a community here. We’ve found support and other folks to work with. Working on this project in Ottawa over the last ten years has helped us expand our network in town. Lately, we’ve been meeting more people we don’t know at shows — and that’s exciting!” He acknowledges the many pockets of creative people throughout the city and events like Pique and the Capital Music Awards for helping further a sense of culture in Ottawa.

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Pony Girl posing with their Single of the Year trophy, photo by Thai Duy Cuong Nguyen

“The Awards are more than an event,” Huot emphasizes. “There are many moving parts to putting on events and bringing together the community. Especially in an industry context, it’s not particularly easy or fun to bring resources into the arts.” Huot stresses the importance of these events and organizations that create profitable opportunities for artists working in Ottawa. He also highlighted the need to advocate for higher standards, professionalism, and accountability in the music industry. However, he believes one of the biggest things people can do to show their support is to simply show up: “Go to shows. Buy merch. Reach out to your network and see if you can find opportunities [to support] your favourite local artists.”

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Pony Girl performing at the Capital Music Awards, photo by Laura Collins

N'nerjie, an emerging R&B-soul artist and winner of the Songwriter of the Year award for her smooth, heartfelt storytelling on "Tug of War," expressed her love for Ottawa's music scene: “Honestly, I love being an artist in Ottawa. I think the music scene here is incredible. The community is beautiful, and there’s so much talent in this city." As someone who didn’t grow up in Ottawa, N’nerjie says she’s grateful to have found her way in the city and expresses the significance of celebrating all facets of the city’s music ecosystem. 

“Events like the Capital Music Awards show not only artists, but other people in the city, that we are being recognized and our work matters, our talents matter, and it’s not going unnoticed. People can think that nothing really happens in Ottawa and it’s this small little city, but honestly, there’s a lot of great stuff happening here,” they add. 

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N’nerjie winning Songwriter of the Year at the Capital Music Awards, photo by Laura Collins

Arts and culture are at the heart of any city. It’s how stories get told, communities are strengthened and opportunities are created. Erin Benjamin, President and CEO of the Canadian Live Music Association (CLMA) (and this year’s recipient of the Community Impact award), highlights the broader implications of supporting Ottawa’s music industry. “A thriving music scene adds exponentially to the quality of life in Ottawa, creating a place where people want to live and visit. Ottawa’s live music community is a major part of the solution as we work together across all sectors to overcome challenges, seize opportunities, and build a world-class city.” 

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Erin Benjamin winning the Community Impact award at the Capital Music Awards, photo by Laura Collins

Benjamin emphasizes how bolstering the industry benefits not only those within it, but also citizens and visitors alike. “Music doesn’t just impact us emotionally, but also economically, socially, and culturally. By understanding our local music ecology and finding ways to nurture and foster it through collaboration and effective policy, we can leverage all that being a true music city means.”

With performances throughout the night and wins from artists including Hannah Vig, Grey Brisson, LeFLOFRANCO, School House, Joly and The Commotions, the 2024 Capital Music Awards proved the talent is here to make Ottawa a music city, with an audience poised to support its growth every step of the way. 

As Scott Ruffo, co-owner of The Brass Monkey, said in his acceptance speech for the Live Music Venue of the Year award, “Ottawa needs to be put back on the map, and that’s what we are trying to do.”

See the full list of winners here.

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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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

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

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

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

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

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Pony Girl

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

Instagram | Bandcamp | Spotify

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Fraud Perry

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

Instagram | Bandcamp | Spotify | SoundCloud

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Treus Jones

Instagram | Spotify | SoundCloud

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Crasher

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

Bandcamp

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Lesser Evil

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

Instagram | Bandcamp | Spotify

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maxime.

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

Instagram | Spotify | SoundCloud

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DJ TRINIDADDY

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

Instagram | Mixcloud

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Dimitri Georgaras

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

Instagram | Website | Bandcamp

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DJ Russ Plus

Instagram | SoundCloud

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Palingenesis Floor Plan

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Joey Valence & Brae, Fox Academy, Alex G, U.S. Girls & More - Also Cool's Playlist Refresh

Joey Valence & Brae by Connorpnw

The seemingly endless stream of summer releases continues and we’ve got another round of tracks hitting our Playlist Refresh mix. This week’s additions highlight the latest from Joey Vaence & Brae, Fox Academy, Alex G and more to keep your listening selections varied and up-to-speed with what we think is Also Cool.

Follow our accompanying playlist on Spotify - refreshed every other week!

via Joey Valence and Brae Lugue

It's been a while since we've heard anyone emulate The Beastie Boys successfully, but 22-year-old Joey Valence and Braedan Lugue give the genre a new life with a punk-inspired twist.

Gaining popularity through their single, "Punk Tactics," which blew up on TikTok earlier this year, they have continued to grow, even securing their own world tour.

Their latest track, "Watch Yo Step," continues to draw from their old-school hip-hop and video game influences. Accompanied by a 90s-inspired music video, the track draws on drum & bass, punk, and Tony Hawk's Pro Skater soundtrack for sonic inspiration. Keep an eye our for these two punks coming to a city near you.

Our favourite Seattle-based synthy duo Chinese American Bear have returned with their self-titled debut album (out via Modern Sky in China). The album features some Also Cool favs like "Hao Ma," and some newfound treasures like "Boba Tea."

Chinese American Bear's quirky mandopop is lighthearted, endearing, and the perfect soundtrack for a summer day. Listen to the album below and check out our last interview with them in 2021.

via Fox Academy

Our favourite lo-fi indie group Fox Academy has released yet another sadboy banger, "laughing screaming." With simple yet cryptic lyrics layered over a simple beat, Fox Academy once again achieves a perfect balance of simple yet pleasantly confusing. "Foam on your mouth; Angel number check-in; Look to the left; Hundred dollars on the nightstand."

Based in Portland, Oregon, Fox Academy has quietly become a cult classic in many corners of the Internet. Fans of Alex G, Fog Lake, and the Orchid Tapes group will find comfort in Fox Academy's wonderfully disjointed and melancholic discography. Other projects of note from the group include the 2015 EP Elsie and side project, Richie Woods.

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Last week, we covered Eliza Niemi’s brand new LP Staying Mellow Blows. In conversation with Also Cool, Niemi shared how her songs were passed through the hands of 19 collaborators to realize her poignant, contemplative album. Out now on Vain Mina and Tin Angel Records, Staying Mellow Blows gracefully tills heavy emotions with a playful tinge. Niemi’s songs extend company on a long August night—inviting a moment of stillness when the need to ground ourselves is too loud to ignore.

This album is adored top-to-bottom by us here at Also Cool HQ, but the essence of Niemi’s fusion of candour and quirk is ever-present on the track “Trust Me”.

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In the year 2022, we are excited to report that a new Alex G record is on the rise. The Philadelphia-based indie singer-songwriter and producer announced that his ninth studio album, God Save the Animals, will be out September 23rd, 2022 via Domino. Whenever G gets crafting, it brings us back to our early days of DIY warehouse shows and endlessly replaying tracks from our favourite artists to and from after school jobs. While G remains faithful to his imaginative, alternative soundscapes, teaser singles like “Blessing” have us eager to hear an edgier attack from the beloved lo-fi artist.

Watch the aesthetic-bending video for “Blessing” below!

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Meg Remy of U.S. Girls by Emma McIntyre

Rounding off July, U.S. Girls shared their new single “So Typically Now”. Out on 4D, the punchy dance track oozes a cross of the pop electricity found on Lady Gaga’s The Fame Monster with the rhythmic hypnosis of Ladytron’s Light & Magic—making for a signature sound-system buster. “So Typically Now” features backup vocals from Kyle Kidd, and marks a promising venture for the group since their 2020 Polaris Prize-nominated LP Heavy Light.

Our Playlist Refresh series is available in full on Spotify, refreshed every other week.

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Medicine Singers, distraction4ever, Dawn to Dawn, PACKS & More - Also Cool's Playlist Refresh

Summertime is in full swing, and we’ve got music for almost every occasion. This edition includes friends like Paul Jacobs, distraction4ever, and new finds like Medicine Singers and Dawn to Dawn.

Whether you’re lounging at the park with a picnic and wine, camping in a nearby forest, or headed out to the club, our Playlist Refresh has something for you.

Listen to our accompanying playlist below

Paul Jacobs returns with his latest EP 185 On The Corner via Bonsound, delivering a mellowed out iteration of neo-psych sound he’s known for. A visual artist through and through, Paul’s lyrics illustrate his world, painting vivid imagery that captures his feelings during a period of instability, reflecting on his emotional growth.

In line with his DIY ethos, Paul wrote, recorded and produced the four songs by himself. Two of the tracks, After Dark and The Tree Outside My House, were previously released as singles earlier this year. You can watch the music video for “Hold On” below.

Whether you’ve been to one of their rowdy loft parties, or have seen them running Shift Radio, you’ve probably come across the Mile End’s latest post-punk duo distraction4ever. After releasing three singles this year, Beau Geste and Splitshift have joined forces once again to create their upcoming album Please Don’t Think About Tomorrow.

Inspired by Russian new-wave vocals (think Molchat Doma), analog synths, fast drums, and distorted vocals, distraction4ever feels like you’re running around the city on a Montreal summer night. The album will explore themes of addiction, escaping reality, anxious downward spirals, nihilism and pessimism while maintaining a connection to an overall 'joie de vivre.’

distraction4ever will celebrate the release of their debut album with a show at the Brasserie Beaubien on August 5th, 2022 at 9:00pm. Event on RA here.

One of our favourite artists at Also Cool, PACKS (Madeline Link), returns with her latest EP WOAH (Firetalk). Although her latest album was dubbed "reluctantly anthemic slacker rock" by The FADER, PACKS retreats to a more stripped down sound with this EP, through thoughtful lyrics that process grief, joy, and confusion.

"These songs began when I got back in November from our small US tour with Wombo," Link says of the EP. "I had lost my voice completely and it had a nice scratchiness to it as it was coming back. Someone suggested I record a whole album of songs while my voice was like that. father’s truck was first. It came from a fever dream I had in a dander-steeped basement in Boston. Sure enough, my voice recovered and I spent the rest of the winter recording. All of the songs were recorded in Ottawa and Montreal as I dealt with the repetitive, gory horrors of desire and simultaneously dreamt some beautiful dreams."

Watch the album film for WOAH below.

Mothland welcome another excellent band to their roster with the self-titled debut album of Medicine Singers (Stones Tapes, Joyful Noise Recording).

Medicine Singers bridge multiple dimensions of sound, while expanding on years of collaboration following a spontaneous 2017 performance by Eastern Algonquin powwow group Eastern Medicine Singers and Monotonix guitarist Yonatan Gat. Rounded out by contributions from Ryan Olson of Gayngs, rising jazz trumpet star Jaimie Branch, Thor Harris and Christopher Pravdica of Swans, no wave icon Ikue Mori of DNA, and ambient music pioneer Laraaji. Medicine Singers’ debut album creates a genre-smashing kaleidoscope of sound firmly rooted in the intense physical power of the powwow drum.

Through their connection to their ancestral music, Medicine Singers created a daring and ambitious record that celebrates tradition, while boldly breaking away from its restrictions, or in the words of Medicine Singers’ leader Daryl Black Eagle Jamieson: “These two cultures can work together, and blend together. We created something that needs to be out there in the world, to show people how we can work together and make something beautiful.”

Dawn to Dawn emerges with a new release, and debut album announcement. Their music sits halfway between spectral dream-pop and abstract dance-oriented soundscapes. Consisting of Tess Roby, Adam Ohr & Patrick Lee, the Montreal trio formed in 2018, and made their debut with singles “Meridian” “A Colour Named By You” and “Care.”

Dawn to Dawn says of “Stereo”: “This song captures the sound of summer: sweltering nights, afterparties and playful romance. It was written deep in the 2020 winter lockdown, as we imagined the parties of summer's past. A breaky, forward moving 909 beat carries airy synths that glide beneath Tess’ airy vocals. Weightless and captivating, Stereo is an anthem for years to come.”

Stay tuned for their debut album Postcards From The Sun To The Moon, out on October 6th on Tess Roby’s recently launched SSURROUNDSS label. 

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Das Beat via Bandcamp

Berlin duo Das Beat pair sweet and salty on their latest offering “Intensity.” Out on Arbutus Records, the single is an anticipated follow-up to their 2021 EP Identïat and familiarly romances with their signature melancholy pulse.

The glassy embellishments and motored rhythms hoist singer Eddie Rabenberger’s seducing vocals, making for an arresting performance from Das Beat. You can see it for yourself in Montreal on August 20th when they take the stage at Système on their first North American tour. 

Toronto garage rock outfit Bitch Stick are stirring up excitement with the release of their second single “I Want More.” With classic danciness and a laid-back delivery, Bitch Stick bring forward refreshing sincerity and are a group to watch out for.

Encapsulating sweaty dive gig energy, “I Want More” sums up the excitement of live music’s resurgence this summer. Whether or not you missed their set at Ottawa’s Side By Side Weekend, you too will be wanting more. 

Up and coming Montreal electro-pop pair Mayfly tease their first full-length with their new single “Passenger Seat.” Comprised of singer-songwriters Charlie and Emma, the self-produced world of Mayfly fully embodies their independent artistic direction.

As two young women in the music industry, Mayfly aim to inspire others like them to “own their place.” Such is evident with “Passenger Seat,” which boasts glittery escapism and the promise of looking out for one another. 

Our Playlist Refresh series is available in full on Spotify, refreshed every other week.

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Side By Side Weekend Returns to Club SAW July 29th-31st

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Side By Side Weekend logo by Anna Rickenbacher

Side By Side Weekend is putting the notion that Ottawa is a sleepy city to bed! Returning in-person this weekend at Club SAW from July 29th-31st, Side By Side Weekend is the 613’s hottest independent music festival. Championing a DIY ethos while granting artists of all experience levels and styles centre-stage, the three-day festival features co-presentations from fellow all-star local programmers: Cinqhole, Debaser, First Crush, Sitting On The Outside, and Ottawa Showbox.

The stacked, genre diverse lineup features shoegaze, alternative folk, hardcore, bedroom pop and post-gig dance parties! Whether you’re gearing up to watch your friend’s band or eager to find your new favourite artist, Side By Side Weekend always has something for everyone. We’re excited for the weekend all-around and some of our top picks include Boyhood, Jasmine Trails, fanclubwallet and Bitch Stick!

We’ll see you in between sets on both Club SAW’s indoor and outdoor stages all weekend long!

Side By Side Weekend

Website | Tickets | Instagram

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Side By Side festival poster by Anna Rickenbacher

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Isabella Lovestory, Dry Cleaning, Dune Rats and Pony Girl - Also Cool's Playlist Refresh

Pony Girl via Bandcamp

The first official weekend of summer is here, and Also Cool HQ’s Playlist Refresh will help you celebrate. Soak up our latest selection of the finest tunes on the block.

In need of some fiery new tunes to pump you up for a night out? Montreal sweetheart and pop star Isabella Lovestory has released her latest track “Cherry Bomb.” It’s a song for city girlies to hype each other up with, and perfect to get nasty to on the dance floor. Produced by Chicken, the swanky reggaeton single flaunts Lovestory’s prowess with a sugar-coated rush. Lovestory’s glossy self-directed music video complements the new single – watch it below.

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

With their second LP Stumpwork slated for October via 4AD, UK post-punkers Dry Cleaning give us a taste of the wonderful malaise to come with their latest release “Don’t Press Me.” Against the apathetic strut of vocalist Florence Shaw, the minimal and disjointed melody illustrates the pleasure of gaming and the enjoyment of intense and short-lived guilt-free experiences.

Shaw elaborates, “The words in the chorus came about because I was trying to write a song to sing to my own brain: ‘You are always fighting me / You are always stressing me out.'”

Watch the accompanying music video, animated by Peter Millard, below.

Hailing from Australia’s indie scene, the garage-punk vibrations of Dune Rats will pluck your heartstrings well into the weekend. Their latest single “Melted Into Two” sets a sunny scene for upcoming album Real Rare Whale, out next month via Ratbag Records / BMG. “Melted Into Two” was penned by Dune Rats along with DZ Deathrays’ Shane Parsons, and showcases some new thematic waters within a healthy dose of infectious melody. When asked about “Melted Into Two”, the rockers shared: 

"This song is the closest thing to a love song we've written. It grew from meeting a young couple at a bar who talked about a time when they were on acid and believed if they tried hard enough, they could melt into each other, creating one person. We reckon you can meet people throughout life, whether it be romantic or not, that you become so close too and in tune with, that you become one.”

To make you swoon a little harder, the music video beautifully interpolates the romance of Kelly Jansch—sister to bassist Brett Jansch—and her partner Ellie. Fall in love with “Melted Into Two” below!

NYC’s cumgirl8 have whipped up a fresh batch of angular electroclash, and it fits perfectly with that Saturday night stomp you’re bound to take. Enlisted as part of Suicide Squeeze Records’ Pinks and Purples series, the dance-punk group have responded with “dumb bitch.”

Emerging from a sinister bass underbelly, the track launches into an anthemic rebellion that pulsates with purpose. Bassist Lida Fox explains that “dumb bitch” was written to “...[explore] the space between romance, masochism, pleasure, narcissism, and the balance of how much we give and take in our relationships”. Its biting commentary skates across the gothic beat with ease, hooking listeners until the last drop. Stream the single below.

On National Indigenous Peoples’ Day, Toronto-based experimental shoegaze act Zoon (Daniel Monkman) shared their new EP Big Pharma. The album marks Monkman’s first release since their 2020 debut as Zoon, and features a star-studded list of collaborators that includes the likes of Leanne Betasamosake-Simpson, Cadence Weapon, and up-and-coming Ottawa-based artist Jasmine Trails. Leaning heavily into Zoon’s masterful musical world-building, Big Pharma also makes room for vulnerability from the artist between atmospherics. 

On Big Pharma, Zoon shares: 

“‘Big Pharma’ is about me trying to bring awareness about the pharmaceutical industry and their lies,” Monkman explains. “I talk about how they destroyed my community of Selkirk, Manitoba and many more small towns and cities. A whole generation completely changed in just a matter of five years, Families torn apart and loved ones lost to addiction and overdoses. Our treaty card ensures that our medical insurance is covered but a lot of the time the only medication that’s available for free is the stuff that’s most addictive. I found this alarming and made me connect the dots linked to an underlying form on genocide happening right under our noses.”

Stream “OopeeUm (feat. Jasmine Trails)” below.

Hull-based pop outfit Pony Girl kicked off the month with their new single “Age of Anxious”,  teasing their to-be-released album Enny One Will Love You out on Paper Bag Records October 14th, 2022. “Age of Anxious” is a glossy trip-hop lament to the woes of young adult life, laden with catchy hooks and Easter eggs throughout (including a saxophone solo!). Watch the music video below.

Central Frontenac’s Caylie Runciman—AKA Boyhood— has recently shared “Stroke It”, the second single from her upcoming album My Dread. Complete with Runciman’s signature contemplative instrumentation and frank delivery, “Stroke It” indicates a deepened confidence in her artistic stride. Runciman will be playing on the Saturday lineup of Ottawa’s DIY music festival Side By Side Weekend on July 30th at Club SAW. My Dread releases November 2022 and is available for pre-order here. Watch the official music video below.

Our Playlist Refresh series is available in full on Spotify – click below to stream the catalogue!

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PREMIERE: Nick Schofield Unveils Blissful Music Video for "Light and Space" (Forward Music Group)

Nick Schofield, shot by Christopher Honeywell

To celebrate the one-year anniversary of his sophomore LP Glass Gallery, Hull-based electroacoustic composer Nick Schofield aptly unveils the music video for his new track “Light and Space.” Composed entirely on a vintage Prophet-600 synthesizer, “Light and Space” is a meditative soundscape inspired by the dance between its namesake within the National Gallery of Canada, located in Ottawa.

On “Light and Space,” Schofield shares:

“This composition conveys a core sentiment that inspired the making of Glass Gallery - the sublime light that flows through the serene space of the National Gallery in Ottawa. I researched the Light and Space artistic movement and noticed that ideology of perceptual phenomena applied to the architecture of the gallery, especially how the glass structure frames the ever-changing natural light and environment. In a way, experiencing the light and space of the National Gallery showed me that the world can be framed as a work of art.”

Out today, the song’s accompanying music video captures Schofield’s notion of the everyday creative sanctuary. Shot on a ferry in British Columbia using a beloved point-and-shoot camera, the glimmering footage deconstructs Schofield’s surroundings, the ocean air, wind, waves and sparkling sunlight, into ethereal abstractions. On the video’s conceptualization, Schofield remarks: “In the song, crescendos of vintage synth chords and glistening arpeggios perfectly align with the fuzzy footage of water and waves, so it felt natural to pair them together.”

Watch the video for “Light and Space” below!

Nick Schofield
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, radio host & DJ, and a musician.

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Tinkertoy Fog Machine Harnesses Their Twin Flame Connection on Indie-Pop Debut "Fingers Crossed"

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Tinkertoy Fog Machine, shot by Zoé Jacole

A commonality of best friendships is that you often never see one friend without the other. This is the case for Montreal’s weird indie-pop duo Tinkertoy Fog Machine, who have remained nearly inseparable as roommates, coworkers and bandmates upon relocating to La Belle Province from their hometown of Ottawa, Ontario. 

Tinkertoy Fog Machine, Tyrin Kelly (left) and Kai Thorpe (right), shot by Zoé Jacole

Since meeting in high school and finding their footing in Ottawa’s DIY music scene, the pair have played a game of musical chairs in their artistic pursuits with a rotation of personnel and collaborators over the years. Today, Tinkertoy Fog Machine shares the fruits of revisiting the bond at the foundation of their sound with the release of their EP Fingers Crossed. 

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Tinkertoy Fog Machine, shot by Zoé Jacole

Despite their coming-of-age catalog, core members Tyrin Kelly and Kai Thorpe have appointed this double-A-side as their debut; symbolizing a mutual growth in both friendship and imagination. 

Written, produced and recorded in their cozy Rosemont studio, Kelly and Thorpe crafted Fingers Crossed on their homemade compressors and cherished 8 track reel to reel after working by day for a toy company (yes, really). The result is two twinkling tributes to the special experience of embarking on a new adventure with an old friend. 

When Tinkertoy Fog Machine aren’t at work in their studio, they run a screen-printing collective called Trap Door Printing, printing merch for local bands.

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Tinkertoy Fog Machine, shot by Zoé Jacole

On their two new tracks, the band shares: 

“Fingers Crossed” touches upon the personal rituals people rely on in an attempt to control the world around them, and how these overlooked behaviours can be destructive. Misty synths and mushy guitar melodies form an aquatic ecosystem of sound, kept afloat by the DNA of a pop song. Similar to its predecessor, the B-side track “Someone Else” puts a sensual spin on the spacey atmosphere with silky vocals and romping instrumentation. 

Listen to Fingers Crossed

Tinkertoy Fog Machine

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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"Shell(e) Pt III" is the Cherry On Top – and Marie-Clo is Taking a Bite

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Marie-Clo. Photo credit: Alex Brault

Not to get all existential on a Friday morning, but what are you looking for? Who are you showing to the world? What more is there to see? Ottawa’s creative chameleon Marie-Clo toys with these questions on Shell(e) Pt III - and we’re hooked.

Shell(e) Pt III is the latest notch in Marie-Clo’s belt, standing as the final chapter of her Shell(e) trilogy – out now for all to stream. This EP boasts indie-pop at its best, enhanced by the magic of Polaris-shortlisted producer Olivier Fairfield (Fet Nat, Timber Timbre). As a whole, the project captivates with its playful curiosity and feminist narrative. Retro groove “At Ease” shines with a punchy attitude, while “Lève tes voiles'' wraps the listener in a sensual, seaside metaphor. 

Marie-Clo · Shell(e) Pt III

But the standout track among the three is “Play Nice” – a sunny indie tune guaranteed to make your toes tap. With “Play Nice,” Marie-Clo provokes the listener to explore their soul and leaves no stone unturned. Her vocals strut with authority as she contemplates: “What are you looking for? / Are you looking for praise? / What are you hiding from? / Sentiments ablaze?” Introspection has never sounded so fun!

Shell(e) Pt III embodies the essence of Marie-Clo – an eclectic and colourful performer who does not shy away from a statement. Throughout this collection, Marie-Clo emerges as a phoenix from the ashes, and a performer is reborn.

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Marie-Clo. Photo credit: Alex Brault

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SHELL(E) PT III

Released on February 12, 2021

1. Play Nice

2. At Ease

3. Lève tes voiles

All songs written and performed by Marie-Clo

Produced by Olivier Fairfield
Mixed by Charles Fairfield
Mastered by Sage Kim
Drums, percussion & pads by Olivier Fairfield
Bass, synth & organ by Greggory Clark
Guitars by Julien Dussault

Photography by Alex Brault

The full Shell(e) trilogy is now available as an LP – complete with one additional bonus track, “Tides of Fools”. Stream and purchase the full album here!

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Marie-Clo

Instagram | Facebook | Bandcamp | Soundcloud

Spotify | Apple Music | YouTube

Rebecca Judd is the features editor of Also Cool Mag.

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Premiere: Queer Cowgirl Crooner Fliss Makes Her Debut With "Comfrey and Calendula"

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“Comfrey And Calendula” cover art by Emily McPhee

“‘Comfrey and Calendula’ is the most vulnerable song I have written to date. The process of writing it and performing it for the first time was extremely cathartic and healing for me. Now it’s time to put it out into the world.” - Fliss

Meet Fliss, a self-described queer cowgirl crooner from Ottawa, Canada. Today, Fliss makes her debut with “Comfrey and Calendula,” a song written straight from the heart, and her most vulnerable work to date. The single teases at her to-be-released EP (out sometime in the early new year), which marks an exciting new direction for the singer-songwriter as a solo artist after finding her creative footing as the lead vocalist, guitarist and songwriter for dream-pop band Sparklesaurus. We had the chance to meet Fliss and chat about growing up in an artistic family, what influences her approach to making music, and her incredible group of friends behind her upcoming music video for “Comfrey and Calendula.” Read our full discussion below!

Zoë Argiropulos-Hunter for Also Cool: Hi Fliss! Thank you so much for chatting with us at Also Cool. To start, can you tell our readers about yourself and your artistic upbringing? 

Fliss: Thanks for having me! Well, I grew up in a pretty musical family. My grandparents on my mom’s side were folk singers in the 60s and 70s, my mom plays some piano, my dad played guitar, and I have many aunts and uncles who play music. I was always interested in music, but I really got into it when I got my first bass guitar around age 11. I fell in love with bass, but then I started writing songs and the guitar lent itself to writing more, so I picked up my dad’s guitar and started teaching myself chords. I had an uncle who gave me some pointers on bass and guitar, but my main way of learning was just getting tabs off the internet and printing out binders of covers. I pretty much always played in my room alone until I was 16 or 17, when I finally gained some confidence — with the help of my high school music teacher — to sing in front of people. I hadn’t even really sung much in front of my family before then. Only my mom, if she promised not to look at me! 

Also Cool: You're now branching into a solo act while also being a member of the Ottawa band Sparklesaurus: What has embarking on this project been like so far? How has your approach to songwriting changed, or perhaps adapted, now that you're working alone? 

Fliss: Sparklesaurus has sadly disbanded for the foreseeable future, so I’ve really been focusing on this new project. I had quite a few songs in the vault already that didn’t really work for the Sparklesaurus sound and style, so some of the songs on the upcoming EP are ones I wrote a couple years ago. Others are more recent. I guess my songwriting approach has changed a bit in the way that I don’t really need to think about if the song will be a good fit or not for the band’s sound or whatever. I don’t know if I did that too much anyway when writing, but a lot of the time with Sparklesaurus, I would bring a song, and together we would kind of experiment and decide on what the vibe and arrangement would sound like… If we should add a bridge here, or a solo here, or things like that. Some songs worked for the band, and others didn’t. I definitely miss the aspect of bouncing ideas off of each other and the camaraderie. On the flip side, maybe there’s a bit more freedom to just follow whatever creative direction that is inspiring me.

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Fliss, photo courtesy the artist

AC: On that note, you describe your music writing style as "introspective and untethered": What inspired this approach to music-making? 

Fliss: I am a quite introspective, sensitive, and very emotional person. So I am always writing straight from the heart. It’s not really a conscious choice, it just happens that way. It’s very scary and vulnerable to share your deep thoughts and feelings in such an open way, but I also think that it is extremely rewarding and, dare I say, cathartic. I try not to overthink my music and writing too much. I hardly ever go back and rewrite or change or tweak songs over and over again. Usually if I’m doing too much of that, I end up falling out of love with it and just kind of scrap it and start a new song. Only the [songs] I love the absolute most will make it onto the EP.

AC: So, without further ado, congratulations on the release of "Comfrey and Calendula!" When choosing a single to debut off a to-be-released album, what made you pick this one? Can you tell me about the song's significance to you, in your own words? 

Fliss: Thank you so much! Honestly, I did think about whether “Comfrey and Calendula” was the best choice for the first single or not. Mostly because lyrically it’s pretty bold, pretty intense, and pretty personal. I wasn’t sure if maybe I should ease people into my music with something less... Like that. Maybe something a little more fun or digestible. But, I decided to go with it because at the end of the day, it is probably my favourite song I’ve written, and I think the subject matter is important. It’s very close to my heart. So I really, really hope that it resonates with people. It was written when I was doing a lot of reflection and processing family-related trauma. It really poured out of me and it’s just really special to me. It would be so amazing if it touched even one person.

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Fliss, photo courtesy the artist

 AC: You also have a music video coming out soon for this track. Without giving too much away, can you tell us more about the creative process behind the video? 

Fliss: Yes! The video was written, directed, produced, and edited by Emma Lamarre, a really good friend of mine. Her and I brainstormed concepts, ideas, and shots, and she and another friend, Christine Loomans, put a storyboard together. Christine also co-directed and helped shoot, as well as helped with a bunch of logistical things. My other friend, Alazaar Dadi, also got some awesome drone shots! And my other BFF, Shamisa Schroeder, is animating the title. I won’t give too much away, but there is a group dance scene with choreography by my friend, Surraya Dawn. The credits for all the friends in the dance scene will be in the video. So, it was definitely such a collaborative effort and I feel so lucky to have so many talented, incredibly generous, and supportive friends who all contributed to making this truly amazing piece of art! 

AC: Before we let you go, is there anything you'd like to plug that you're working on? What can we expect to see from you in 2021, and how is the best way to support your work right now?

Fliss: The music video for “Comfrey and Calendula” will be out next week, on December 13th. The full EP will be finished and released in 2021. 

One really amazing way to support me would be listening, favouriting, adding the single to your playlists, and following me on Spotify — so that you will be notified of my future releases as well! Other than Spotify, you can follow me on Instagram. You can also buy the song on Bandcamp, if you’d like to support me that way. I am so amazingly grateful for any and all forms of support! Since everything is online these days, and especially right now, all the online support helps immensely. Drop me a message anytime. Oh and also! You can sign up for my email list at www.flissmusic.com for special exclusive releases, news, or things like that. For example, this month I am sending all my subscribers a couple of unreleased phone demos as a thank you for pre-saving the song. And thank you so much for supporting me by giving me a platform with Also Cool to talk about my music and help get the word out. I really appreciate it!

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Fliss, photo courtesy the artist

Listen to “Comfrey and Calendula”

Fliss

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This interview was conducted over email and has been condensed and edited for clarity.

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