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

La Sécurité by Aabid Youssef

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

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

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

La Sécurité by Aabid Youssef

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

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

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

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

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

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

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

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

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

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

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Stay Safe!

Out June 16, 2023 via Mothland

1. Le Kick

2. Dis-Moi

3. Anyway

4. Waiting For Kenny

5. Suspens

6. K9

7. Serpent

8. Try Again

9. Hot Topic

10. Sleepy Rebellion

All songs written & performed by La Sécurité

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

Mastered by Francis Ledoux

Artwork & layout by Melissa Di Menna

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La Sécurité

Bandcamp | Instagram | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool Presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Corinita

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Poster by Vasco Cavalheiro

Though flooding dancefloors in spring attire may be hard to imagine in midst of this week’s major snow dump, we’re asking you to save the date—and potentially bear the cold—for our next show! We promise, it’ll be well worth your while.

On Thursday, March 30th, hit Bar le Ritz to experience both the gig and the rave in true Also Cool fashion. Open the pit with surf punk trio NO WAVES, taking the stage with fishnet-tearing hardcore ensemble Whoredrobe, followed by a deepcut dance party led by DJs Beamskii, 1800pastamoney, Mayalabae and Corinita,

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Also Cool presents: NO WAVES, Whoredrobe, Beamskii, 1800pastamoney, Mayalabae and Coronita at Bar le Ritz

Thursday, March 30th, 2023

Doors — 7:30PM | Show — 8:30PM | 18+

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In a recent interview, NO WAVES is described by Also Cool contributor Uma Nardone as:

Maybe a kaleidoscope of indie sleaze, where Blink-182 and Surf Curse intersect? Their sets radiate a joyousness and respect that's rare in the industry. They want to be there as much as the audience does, and it shows. 

Joining the bill is up-and-coming hardcore band Whoredrobe. “Never taking themselves too seriously,” Whoredrobe uses riot grrl, punk and metal influences combined with humour and irony to create music that is uniquely their own.

Get ready to mosh, dance and let loose at our punk show-turned-after at Bar le Ritz! Save the date and see you on March 30th.

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Charting Piss for Pumpkin's Ascent in the Montreal Punk Scene

Piss for Pumpkin. Photo courtesy of @charlie.yoko

In the span of less than a year, Piss for Pumpkin’s experimental punk sound has made the band of three a staple in the Montreal music scene. Their sound —which the band describes as loud and anxious — is tailor-made to whip a crowd into an almost violent frenzy. As pandemic restrictions have eased over the past year, Piss for Pumpkin and their shows have emerged as a much-needed outlet for the moshers stuck inside for far too long.

Indeed, as the one-year anniversary of their first show approaches, the lightning-fast popularity of Piss for Pumpkin’s sonic experience is reflected in the huge variety of venues the band has played. From the Van Horne skate park to Turbo Haüs to backyard venues in British Columbia, Piss for Pumpkin has become widely loved for their ear-shattering vocals, heavy bass, and homemade approach to punk. Lead singer Annie MacLeod and bass player Isaac Seglins sat down with Also Cool to discuss their journey as musicians and the release of their first single “Citronella” on July 12th. 

Kate Addison for Also Cool: Thanks so much for meeting with me. I've loved going to your shows over the past year, both in Montreal and BC. You guys have been an official band for a while now — how did you first start playing together? 

Isaac Seglins for Piss for Pumpkin: All three of us came together in university. Matt [Sagar] — the band’s drum player — and I knew each other and jammed in high school, and together we wanted something different [from the music we had played before]. We met [when we were still in school] but we weren’t a band for a long time because we had nowhere to practice. 

Annie MacLeod for Piss for Pumpkin: After some searching, Matt found a practice space we could use last August. [It’s] an old industrial building that is always soaking wet and disgusting, but at least we can be as loud as we like.

Also Cool: Annie, I know you were in first year at Concordia three years ago. Did you guys play together then or only start jamming a year ago?  

Annie: We became friends during our first year of university [in 2019] and we jammed together once at a Concordia studio. 

Isaac: It was too clean, nothing really happened. It was a weird, sterile room. 

Annie: [The experience] was kind of awkward, and I was really nervous. Nothing happened after that, I guess, until we were in third year. That's when things [with the band] started happening.

Isaac: Yeah, things really started happening as soon as we got that [industrial] space [in 2021]: we wrote half of our songs the first week, and then we had a show two weeks later [on August 27 2021 under the Van Horne overpass].

AC: That's crazy quick! How did you book that first show?

A:  Matt is really good at being social. He had been going to a bunch of shows, just talking to people and other bands. He met Jack from Last Waltzon who mentioned that they needed an opener. [And so] they gave us a shot.

Piss for Pumpkin in concert. Photo courtesy of @bailyaphotography

AC: Let’s talk about your band’s name, Piss for Pumpkin. Where does that come from? 

A: Okay, I love this question! As a kid, I had a guinea pig named Pumpkin, but I didn't know how to spell pumpkin. [I spelled it] “pum-kin” instead. [@Pissforpumkin] was my Instagram name for a long time, because I was thinking that ‘P is for pumpkin’ [and that the name] honoured my dead guinea pig who I cherished as a child. I thought it would be kind of funny to put another “s” and make it a little vulgar. [After] we wrote a bunch of songs and decided, “Okay, we're a band, we need a name,” Matt suggested my Instagram name. [The band] put the extra ‘P’ in there [to make Piss for Pumpkin]. 

Pumkin the guinea pig. Photo provided by Annie MacLeod

AC: Who would you say are your musical inspirations?
A: Well, all three of us definitely have so many influences that are all very different to our sound. [The music we make] is definitely an entanglement of all of those different elements. It's hard to pinpoint specific artists. All three of us definitely have so many influences that are all very different, but our sound is primarily influenced by living in Montreal and the environment where we are [making] music.

Piss for Pumpkin’s rehearsal space. Photo provided by Annie MacLeod

AC: How would you describe your music to someone who's never heard it before?

I: I would say energetic. Scared, but not scary.

A: A lot of the lyrics are about being really anxious and living in the city.

I: Another influence for Matt and I was our time spent being in bands that we kind of hated with multiple guitarists who were very loud. [Piss for Pumpkin] was an opportunity for Matt and I to be the loud ones. As a bass player, you [normally] don't get to be upfront too much, so, for me a big inspiration for the sound is how loud can the amps go now that I'm not competing with any guitar.  

AC: You’ve played several live shows in Montreal overy the past year, with a few in BC too. How has that impacted your music?
I: While we have recorded stuff coming up, I still consider the live shows to be the primary Pumpkin experience. It's interesting: you write a song in the dungeon, right? Then you practice it, and you think it's gonna be a certain way, and then you perform on stage and you realize “never mind, the song should be like this.” We find that when we’re performing the song, we’re kind of still writing it. Matt and I will shoot a look at each other and confirm with our eyes, and then the song will be rewritten in the moment.

Piss for Pumpkin in concert. Photo provided by Kate Addison

AC: With all the performances you’ve been doing, is there anything special that has stood out for you? 

A: The Vancouver show [with Dastard on July 25th] is definitely fresh in my mind. We were performing [in a backyard] near this strip of restaurants, and this really drunk lady showed up. She was just so enthusiastic. She was dancing and loving it, and she brought us pizzas and put them in the pit. Everyone was grabbing pizza and dancing, too. Outdoor shows [can be] really nerve-wracking because [neighbours] complain. For example, there was another lady at the Vancouver show who was standing outside the fence and giving the organizers a hard time. That was kind of scary, but we gave her some cake and she left.

AC: Maybe the cake lady was just feeling left out. 

This has been a really great discussion, thanks so much for your time. So, finally, before we end for today — what is the plan for Piss for Pumpkin going forward? 

A: We're releasing our first single [on] July 12th, which we're really excited about, [and] a music video as well.

Piss for Pumpkin. Courtesy of Ali Seglins

I: Last month we went to Annie’s grandparents’ [rural] property. We set up lights, and shot so much footage and so many photos of the band. We did a big visual art project.

A: We don't have a set date for the album [yet] because it's still being mixed. But hopefully [it will be out] this summer.

AC: How are you producing it? Are you doing it yourselves or are you outsourcing it? 

A: A few people are kind of working … poking away at it.

I: [The album] is very close. Friends [are making it]. It's a low-budget operation but we have some very knowledgeable friends. 

Listen to their first recorded single “CITRONELLA” here, and their newest release “CONDITIONER” below!

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Piss for Pumpkin

Instagram | Bandcamp | Youtube | Facebook

Kate Addison

Website I Instagram

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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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Marilyne Lacombe (Mothland, Taverne Tour, DISTORSION, FME) Talks Music Industry Beginnings and Montreal's Alternative Music Scene

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Image courtesy of Marilyne Lacombe

Live music is back with a vengeance, thanks to hardworking folks like Marilyne Lacombe. If you haven’t met Lacombe at L’Ésco already, you’ve definitely attended one of her brainchild events. For over a decade, Lacombe and her entourage have cultivated pillar projects at the core of Montreal’s alternative music scene, including Taverne Tour and DISTORSION psych-fest, as well as booking agency and indie label Mothland. We had the chance to meet Lacombe IRL at this year’s edition of FME, and catch her in action as a festival programmer and producer. Between sets, Lacombe graciously took the time to chat with us about her career beginnings, starting a label during a pandemic and her must-have essentials for any festival go-er. Check out our conversation with Lacombe below! 

Zoë Argiropulos-Hunter for Also Cool: Hi Marilyne! Thanks so much for chatting with Also Cool. To start, you've been around the block when it comes to the music biz. Tell us about your intro to this career path.

Marilyne Lacombe: I started to book shows in Montreal in 2008 when I was in charge of the music programming at Chez Baptiste sur Masson. Back then, the bar presented shows every week!  I had this idea of doing an alternative “St-Jean” that would celebrate the contemporary Montreal indie scene, in opposition to the nostalgia medley traditionally presented at Parc Maisonneuve. Then, “L’Autre St-Jean” was born. It created a whole media and political circus, as we were criticized for adding anglophone bands to the lineup. In the end, it really helped put the event on the map, and during the course of  five editions, we had close to 10,000 visitors coming every year at Parc du Pelican in Rosemont. We sadly had to end it because of the lack of funding; we were honestly taking huge financial risks for a one-day event.

A couple years later, I founded a multi-venue festival called Taverne Tour with my partner from “feu” L’Autre St-Jean, Pierre Thibault. Initially, it was just about creating a fun festival in the middle of winter that doesn’t take itself too seriously and trying to cure that January depression, all the while supporting small local businesses. The response was so great that it quickly became a staple in Montreal’s festival circuit. Over the years, we’ve presented some of my favorite bands, including: Deerhoof, METZ, A Place To Bury Strangers, Föllakzoid and Guerilla Toss, just to name a few.  

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Image via Taverne Tour

Also Cool: When did Mothland come into the mix?

Marilyne Lacombe: Around the time of Tavern Tour, I joined some like-minded people —gravitating around L’Esco— and together we founded DISTORSION. We wanted to present a well-organized, independent, underground psych festival with modern and diversified art direction.  We quickly gathered a community around the festival and eventually, we decided to start Mothland to help further the bands that we were working with, as no other booking agency would work with them.  Back then, I was pretty adamant of not transforming this into a label… But when COVID-19 hit the music industry, we weren’t all that keen on organizing livestream events, as we felt they would not really connect with our audience… So. starting a label was a great way to move forward with our mission.  I’m not sure how we got here so quickly, but we’re currently working on our 17th release!

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Image via Mothland

Also Cool: That’s amazing! Segwaying off of that, let’s talk about this year’s edition of FME, which was a long-awaited return to live music. Seeing as music festivals are certainly you're thing; what makes FME stand-out and what was your involvement with the festival? 

Marilyne Lacombe: I started programming for FME four years ago. At the time, I would book a handful of weirdo and wild card bands on the lineup. As of 2020, I've been directing the programming with the support of my Mothland colleagues. Since the festival is mainly focusing on new acts and music discoveries, we have almost infinite artistic leeway and are able to put forth cutting edge programming. The festival has been running for almost 20 years now and over the time, has built a solid and trustful relationship with the artistic community across Europe and North America. It’s truly an honour to take on curation duties for such a great event!

I think there is something very magical about FME. Doing the annual 8-hour pilgrimage to a remote mining town, up in northern Quebec, for 4 days of music, is always a highlight of the year. If you compare it to similar festivals in Montreal, I feel like there are so many other distractions. During FME, people really have one thing to focus on; going to concerts to discover new music. There is also something exciting about bringing international acts and inviting them to this northern region of Quebec, as they would never end up there otherwise. I also love that the local community is deeply involved in the festival, making it a communal event where everybody chips in! 

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Image via FME

 AC: What was it like programming the festival this year and what acts were your favourite?

ML: There is something really weird and exciting about programming a festival in COVID times. Usually, you’d see pretty much all the bands live before booking them. This year, we programmed many artists that we’d never seen live!  Though it was a bit risky, I was really pleased with taking the leap overall. I loved seeing Toronto’s kulintang ensemble, Pantayo, for the first time; ‘’mockasin-gaze’’ outfit Zoon; Quebec-Atikamekw grungy indie-folk artist Laura Niquay; Jangle-pop duo Ducks Ltd.; and canadian shoegaze veteran No Joy.

AC: What are your music festival essentials that you can't live without during festival season? 

ML: Well, since we’re talking about FME here, I could not survive without my fall clothing essentials: a lot of sweaters, jackets, mittens, hats, and scarves! Fortunately this year wasn’t too bad, but I always come prepared because it has literally snowed during FME weekends in the past.

Other than that, I always have an iconic Taverne Tour flask in my bag, which also helps with the cold weather!

AC: In closing, are there any other current projects that you're working on that you'd like to shout out? 

ML: Definitely check out Mothland’s upcoming releases! I can’t tell you too much about them, but we really have some badass releases coming down the pipeline! Also, we’re preparing for the return of live music events in Montreal… Stay tuned! 

Taverne Tour

Website | Facebook | Instagram

DISTORSION

Website | Facebook | Instagram

Mothland

Website I Facebook I Instagram

FME

Website | Facebook | Instagram

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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"Surrounded" - Motorists' Jangle Punk LP Explores Isolation, Community & DIY Spirit (We Are Time/Bobo Integral/Debt Offensive)

Surrounded by Motorists album art

Standing at the back of the show, holding your beer close, you're wondering if anyone is going to talk to you or if you'll have the courage to talk to that cool person that keeps walking by. This is the oddly specific yet nostalgic feeling that emerges while listening to Motorists' debut LP "Surrounded."

Comparable to various eras of punk, jangle rock, and mid-2000s Canadian indie rock, Motorists express their struggles with isolation by pairing a post-punk vocal tone with optimistic and upbeat melodies. The trio Craig Fahner, Jesse Locke, and Matt Learoyd have played music together since their early days in the Calgary DIY scene. They've since gone on to work together on various projects, including Chandra Oppenheim's release of her 1980s album EP Transportation.

Throughout their many years playing, touring, and community-organizing together, Motorists have maintained their values and ability to be vulnerable with each other, and through their music. We spoke with the band about all this and more a few months back, leaving us feeling cautiously optimistic for the future of DIY Canadian music scenes. 

Malaika Astorga for Also Cool: Tell us a bit about the band and who you are as people.

Jesse: My name is Jesse, but my DND name is Nox Arcana, inspired by a minimal wave artist who made DND-inspired music. Matt, Craig & I have been friends for a long time, have played in bands together almost ever since, and eventually formed Motorists.

Also Cool: I'm interested in hearing more about the scene you came up in and how you got into the scene.

Craig: Great question! It's particularly fitting because we've been really close friends for the past 15 years. We met each other through the DIY music scene in Calgary. I met Matt when I was 16 and Jesse shortly afterwards. For me finding the Calgary DIY music scene felt like salvation. I was living a pretty sheltered suburban existence and was really thirsty for people with shared values. 

I think it's a testament to how valuable those kinds of communities are. We've been able to maintain friendships and keep those same values together moving forward, even when we've moved to different cities. We've tried to bring those inclusive anti-commercial values to the scene in Toronto, which is ostensibly not an anti-commercial music city. It's very much where people go to make money in music.

Jesse: The last show we played before the pandemic was in the basement of a comic book shop in Toronto, where we were carving out our own little DIY scene. It was all ages, PWYC, which was really similar to many shows I went to growing up in Calgary.

Matt: I also think there was sort of a heyday in the mid-2000s. Maybe from 2007-2011, during the Weird Canada era, there really felt like there was a camaraderie across Canada of various DIY scenes having the opportunity to connect. It might have just been coincidental with us being in our early 20s at that time, but there was definitely an affinity of the Calgary DIY scene with Ottawa, Victoria, and Halifax. 

It's always felt like there's been a sharing of values and perspectives. Canada also has so few major cities, so when you did get on the road to tour, there was definitely a crew of this DIY community. Obviously, these things have shifted and changed over time. Some of these people are stars, some have dropped off, and others are keeping the spirit alive… But there's just something about keeping things DIY and grassroots and trying to resist the industry machine. 

Jesse: We're now tentatively booking release shows, and a lot of those contacts are from the Weird Canada days. Those connections that we forged back then in 2009… Just the fact that Weird Canada had a map icon and you could search by place, it helped build a DIY touring circuit across Canada and connected me to all kinds of different communities.

Photo by Michelle Lemay

AC: In my own experience growing up in Ottawa, I would be so happy that any show at all was happening. Regardless of what show was on that night, everyone went because it was the only thing happening that night. Now, as I interview more bands, they all bring up this same sort of spirit of how making an effort in their own communities was what really brought them a long way.

That being said, it seems like friendships and community-oriented things are really important to you. What have you learned about friendship in your experience as a band and being friends with each other for such a long time?

Matt: What a nice question! I think being in a band is a special kind of intersection of relationship where you're buds, creative partners, sometimes roommates, and sometimes travel buddies. There's a lot of joy and intimacy due because you end up going through so much together. It's something you might not get from someone who you just see out on the weekends. 

There was also nothing about our friendship where we were once friends and had to cross the threshold into bandmates. That was just sort of the cauldron that we were forged in, so there was nothing more natural than being in a band together. We had all been in bands before, and together it almost felt like muscle memory. Even the songs came together really fast. There's a song on the record that came together three months after we got together. Regardless of if we're in each other's bands, lives or even in the same city, there's always been a cumulative effect of quickly being able to get on the same page creatively. 

Craig: We got to know each other by playing music together, which for me personally, shaped what it means to be in this sort of ideal friendship. And like Matt said, it's one where you have to depend on each other, be accountable, and work through problems together. 

You have this really rich constant negotiation and intimacy, which I think set a foundation for me personally of how powerful a friendship could be. It's more than just having a good time and chatting; it's creating a really rich and meaningful dialogue while being able to rely on each other. When we recorded this record, we were the only people we saw other than the people we live with. This record is sort of a product of that intimacy.

Jesse: I never would want to be like the Pixies, where everyone has their own tour bus. I think we all challenge and hold each other accountable. We raise each other to a height that we know that we can all achieve.

AC: The album carries a theme of reconnecting with people. What has that process been like for you? It feels like an awkwardness that we're all going through together.

Craig: One observation I've made is that COVID has forced us to acknowledge that we all have different boundaries and comfort levels. When re-entering the social world, I think it's a really good thing to approach it with this awareness of others and be considerate of what they need and what they're comfortable with. This is also why we haven't rushed into playing shows again; we're just waiting for what feels like is the right time to do so. 

Matt: Well, it's difficult for sure; a lot has changed as we start to reconnect again. A lot of the venues are gone, the musicians who work in the service industry are struggling, and those who used to tour all the time now have to look for alternative sources of income. We have less time for leisure activities and less time for practicing music. In the most optimistic version of the future, DIY will become a necessity because there just won't be that many places to play. 

In Toronto, we have Rehearsal Factory, where 90% of bands rehearse, but they're all being sold, which is probably 1000 rehearsal spaces gone. We got really lucky because Craig has a basement we can use, but almost everyone I know uses these spaces to rehearse. 

The barrier for entry is definitely a lot higher. I think the landscape is going to change in general. Still, I hope that it makes it so that when shows do happen, people will think of them as really valuable and won't just treat them like a party opportunity. Instead, it will make them more inclined to build community. 

Motorists

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

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Montreal's FHANG Makes Lynchian Synth-Punk on Self-Titled Debut

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FHANG by _apacalda

Whether you’re a student getting ready for your fall term, an artist unwillingly accepting the end of summer, or a tired individual simply craving something new; we could all use an electronic-ambient-krautrock journey to lift us on our feet and replenish our energy levels. If you found yourself nodding while reading the last sentence, then FHANG’s eponymous debut album might just be the thing for you.

FHANG is an up-and-coming duo from revered Montreal bassist Mishka Stein and avant-garde producer Sam Woywitka. Being a rich artistic encounter between a bass player for Leonard Cohen’s final studio album and a—producer who recently garnered a JUNO award for their work on Half Moon Run’s 2019 album A Blemish in the Great Light— listeners should expect nothing less than musical magic. And rest assured, FHANG delivers: The album seamlessly transitions from peaceful ambience to moments that are sometimes ominous and tense, and other times blissfully psychedelic.

When I ask FHANG whether they knew their collaboration was fate from the moment they first met up, they both answer yes without hesitation. “The way I came across Mishka is definitely funny,” says Woywitka. “I drove out from Vancouver Island with a little tow-behind Uhaul and I didn’t really know what I was doing.” Woywitka describes arriving in Montreal and unloading his Uhaul to stay at his childhood friend’s house before being coaxed into attending a Black Legare concert (a Montreal band which Mishka plays bass for). “Being from a super small town on the West Coast, it was crazy to be downtown in a big city,” explains Woywitka. “The show blew my mind, and I couldn’t stop thinking, Woah, I definitely want to work with these dudes. I had a friend that knew Mishka, and soon enough we were going to concerts together and forming a friendship.”

Sam and Mishka go on to emphasize the belief that their ten-year age gap and respective lived experiences contribute greatly to their collaborative chemistry as well. “I’m the old guy,” Stein jokes, “almost like a parasite with Sam over here keeping me young.” Woywitka laughs, saying, “I feel like we have different lenses that compliment each other. Our differences round everything out in a nice way.”

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FHANG, photo edited by Mishka Stein

These differences are pronounced on Stein and Woywitka’s first collaborative LP: The calming moments feeling nearly blissful, and the ominously tense moments feeling stark and visceral. While chatting with the pair, I make a remark about FHANG seeming like the soundtrack to a surreal film, due to its volatility and extensive grandiose moments. When I inquire whether Sam and Mishka’s work is informed by movie soundtracks, I am pleasantly surprised by their response. “This album actually came from some sessions doing music for a film script that I was writing,” Woywitka says. “It was about the soundtrack at first, and when that idea was abandoned, it became about the album. Afterwards, it became about the band. Before too long, we begin to descend the rabbit hole discussing our favourite movie soundtracks,” he elaborates. 

“Soundtracks are a huge influence for both of us,” Stein says, “And as far as influences go, I [used to] listen to the original Blade Runner soundtrack almost religiously for many years. The movie is a masterpiece, in my opinion, because there’s so little dialogue that you get most of the story from the music. [Greek electronic composer] Vangelis just killed it. So did Ridley Scott.” 

As our conversation veers towards the topic of film, I ask what kinds of movies, music, and books Mishka and Sam have engaged with to keep busy during the pandemic. Soon I learn, however, that FHANG was very much a pandemic activity, taking all the time, passion, and effort out of the duo’s daily lives. Mishka describes quarantining in a hotel room upon hearing the news of a canceled tour, and feeling “a sense of staring right into the gaping mouth of the most fearsome aspects of a strange, changed new world.” FHANG was their way of coping with the surges of fear, confusion and tragedy which were all too prevalent for the duo during this unprecedented time.

 This included not only the creation of music, but also their accompanying videos. In the music video for “King Blame,” a man in a rabbit mask follows an alienated protagonist on his late-night voyage through a strange and psychedelic urban realm. “Vaudevillian” alternates between visuals of a strange masked individual and a disturbed Sam Woywitka being painted in colourful makeup. The Lynchian video for “Something Real,” features Woywitka and Stein at a tea party, staring deadpan into the camera with mysteriously grave facial expressions.

All of these visual pleasures were produced with Woywitka behind the camera, and Stein giving his creative input from time to time. Stein expresses his initial reluctance with the filming, much to his amazement later on: “When [Sam] talked about buying a crazy camera and learning video editing software, I was thinking that’s not something you can just pick up and do… but apparently for Sam, it is. When Sam sent me the [video] edits, I literally had no comments. It was great.” Woywitka’s adeptness for video creation clearly shines through in the band’s mesmerising visuals, all of which are strangely beautiful.

Yet video editing was not the only new obstacle that FHANG needed to overcome when creating their album: Stein and Woywitka decided to take up adding their own vocals to their music mixes for the first time as well. “Having to make sounds with your face all of the sudden to complete the picture… it’s a very fragile thing. It could very easily ruin the piece as well,” explains Stein. Woywitka describes the struggle and elation of adding his vocals, saying: “I feel like it has birthed a new part of me. I sang in a punk band when I was fourteen, but that was short-lived. As of lately, I couldn’t stop thinking this would be so much easier if I just sang. It has really opened up a new door.”

Whether it’s the creative and multi-interpretational lyricism, the haunting vocals or the surreal music videos, every listener will have something to take away from their experience with FHANG. Add a sublime album cover from Montreal-based miniature artist Louisa Schabas, and the uncanny bundle that is FHANG is complete.

FHANG’s self-titled debut was released last Friday, August 27th, but listeners can expect more weird and wonderful content from The Hidden Ship, Sam Woywitka’s newly-created record label and outlet for pandemic projects, otherworldly earworms and so much more. FHANG will be performing at this year’s FME festival in Rouyn-Noranda on September 5th at 10:00 PM EST.

FHANG

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Spencer Nafekh is a tireless reader, writer, editor, and advocate for the written word. With an undergraduate degree in Concordia's English and Creative Writing program imminent, he plans to pursue a Master's specialization in journalism so that he can fully realize his career path. When Spencer is not working away, he is probably listening to experimental music while lost in the world of a science fiction novel.

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Also Cool's FME Top Picks: Round One

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Pierre Kwenders by Uproot Andy

If you haven’t already heard of Quebec’s FME (Festival de musique émergente), we’re thrilled to acquaint you. Founded in 2003, FME is an annual music festival held in the beautiful town of Rouyn-Noranda and exclusively highlights independent artists. Our team is grateful to be attending this year’s edition of FME, and leading up to the festival we will be rounding up our list of must-see (and hear!) acts from the 2021 lineup (which is top-tier all around, for the record). Take a peak at our first collection of FME Top Picks below, featuring Pierre Kwenders, Lido Pimienta, Pantayo and Crabe.

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Pierre Kwenders by Fanny Viguier

Pierre Kwenders 

Pierre Kwenders is the stage-name of Congolese-Canadian singer-songwriter José Louis Modabi, who is somewhat of a living legend as a Juno-nominated and Polaris-longlisted after-hours king. After immigrating to Canada as a teenager, Kwenders attracted widespread attention for his guest appearance on Radio Radio’s 2012 album Havre de Grace and began releasing his own music shortly thereafter. The Montreal-based musician is celebrated for his music that “is a response to a world that so often asks people who fit comfortably in multiple boxes to pick only one.” Known for rapping and singing in multiple languages (English, French, Lingala and Tshiluba), Kwenders is also recognized for his percussive rhythms that command undeniable danceability. If you find yourself in Montreal, check out Kwenders’ after-hours Moonshine soirées, held every Saturday after the full moon in a location only disclosed via text message the day of the event. 

Pierre Kwenders will be performing at FME on September 2nd, 2021 at 7:00PM EST

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Lido Pimienta by Daniela Murillo

Lido Pimienta 

Another trailblazer on our Top Picks list is Lido Pimienta, the Afro-Indigenous, Colombian-Canadian superstar who dazzles audiences with her artistry, while simultaneously confronting systemic toxicity that permeates society at large. With the 2016 Polaris-Prize win under her belt, Pimienta is known for her mesmerizing poetry, electronic soundscapes that embrace her Afro-Indigenous traditions, and a wholeheartedly punk stage-presence and outlook.  Now based in Toronto, Pimienta also works as a visual artist and curator who explores “the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular.” To top it off, she has of the most eye-catching performance attire and visuals we have ever seen. 

Lido Pimienta will be performing at FME on September 2nd, 2021 at 7:00PM EST

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Pantayo by Sarah Bodri

Pantayo 

Pantayo’s 2020 self-titled debut is constantly spinning for us. This Canadian queer quintet based in Toronto is made up of members of the Filipino diaspora. Formed in 2012, Pantayo combines of kulintang —an ancient form of Southeast-Asian instrumental percussion using gongs, drums and chimes— with elements of synth-pop, punk and R&B to create infectious rhythms as a basis for their ethereal soundscapes. Named as one of NOW Magazine’s Toronto Indie Musicians to Watch in 2018, their debut LP was shortlisted for the 2020 Polaris Music Prize. The group is perhaps the first ever act to fuse the rippling effect of a gong with pop sensibilities; a feat made clear by their name, which is Tagalog for “for us.” 

Pantayo will be performing at FME on September 2nd, 2021 at 7:00PM EST

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Photo credit: Crabe

Crabe

Self-described “présent-punk” duo Crabe are constantly pushing the envelope with their aggressive, experimental sound and work ethic. Known for their energetic, chaotic live performances and a career that spans over the last 15 years, the band has played over 250 shows and are a staple in Quebec’s experimental music roster. Their most recent release Sentients is described by Mothland as “a tribute to out-of-date sounds [due to] the band offloading their traditional rock n’ roll instruments to pursue new avenues of ‘crabisme.’” Possibly making the most noise between two people, Crabe are sure to wake us up from the quarantine haze with their industrial, thrashing expansion on punk’s skeleton.

Crabe will be performing at FME on September 3rd, 2021 at 10:00PM EST

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For more information on FME, to review the festival schedule and purchase tickets, please visit their website.

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Mindfulness and Magic: How Nyssa Has Been Keeping Busy During the Pandemic

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Nyssa, shot by Ron Hollywood

Toronto-based musician Nyssa has been writing and performing songs since she was 12 years old, with her musical influences covering a wide range of generations and a plethora of musical genres. These sources of inspiration are clear in her 2020 album Girls Like Me, an insightful exploration of gender-based expectations that dips between post-punk and glam rock, incorporating hints of folk in its more reflective moments. Girls Like Me was recently nominated for the 2021 Polaris Long List, and we are keeping our fingers crossed for Nyssa. We got the chance to catch up with Nyssa to chat about rock n’ roll storytelling, dream journaling and working with Meg Remy of U.S. Girls on her latest track.

Spencer Nafekh for Also Cool: Hi Nyssa! As an introductory question, I was curious if you could say a little bit more about your artist name? I looked a little more into the name “Nyssa,” and the first thing that came up was a Wikipedia page for a Doctor Who character. Is this where you’ve gotten the name from?

Nyssa: Actually, Nyssa is my birth name! I’m of Irish and Scottish descent, but my mom read the name in a book and really appreciated it. Apparently it’s ancient Greek for “a new beginning,” and there’s also the bonus of the Doctor Who character, an ewok in the Star Wars universe, and a tree found in North America. I figured that because I have a first name that sounds like a “one name” thing, I would use it as a stage-name. This puts a healthy pressure on me not to let myself down, because at the end of the day, I don’t want to change my name: I’ve got something to live up to.

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Nyssa, shot by Ron Hollywood

Also Cool: Personally, I find that Girls Like Me is an album with a uniquely cool post-punk sound to it - I hear hints of bands like The Cure and Bauhaus. I’d like to take this opportunity to pop in a “generic music question”: What kind of music did you listen to growing up? What inspires you now, and are there any artists or albums that you’ve heard as of lately and just absolutely need to put people onto?

N: Growing up, my mom and dad both separately listened to a lot of rock n’ roll. My mom was a big Rolling Stones fan, so that was a big presence in the house; same with Neil Young, Elvis, Johnny Cash, Liz Phair, Lucinda Williams, and Sinéad O'Connor. I’ve been thinking about this recently, and it’s funny how all my favourite artists from childhood that my mom introduced me to are still essentially my favourite artists: Lucinda Williams’ Car Wheels on a Gravel Road and Liz Phair’s Exile in Guyville are still two of my favourite albums of all time.

With Girls Like Me, I was basically trying to make my own version of storytelling rock n’ roll without using traditional rock n’ roll instrumentation; relying more heavily on Ableton and sample work, and not so much on guitar. I wanted to incorporate influences like Bruce Springsteen, and fuse rock n’ roll with soul and country music. It’s hard to put into words, but I’ve always been attracted to squishy, fuzzy, and crunchy sounds. My background in garage rock informs that, but I didn’t want Girls Like Me to sound like garage rock at all. Having access to samples and the ability to manipulate them was what really allowed me to get the unique sound that I was looking for.

AC: Would you say that your latest track “It's A Nice World To Visit (But Not To Live In)” is a direct response to the pandemic lifestyle? It seems different from your previous works, in terms of its slow buildup and its spooky synth-pop vibe… Do you see this track as an experimental anomaly or does it mark a transition in the vibe of the music you want to make?

N: My song is actually a loose cover of this 60’s Lee Hazlewood and Ann-Margret song; a real crazy garage rock anthem that I was first drawn to in high school and “squirreled away” for later use. My friend Lex—who is one of the owners of Fuzzed and Buzzed— initially approached me about doing a single for a compilation that they were planning. His neighbor is Meg Remy of U.S. Girls, so that got the ball rolling on the production of the track. Next thing you know, I was in the studio with Meg and a bunch of other musicians, and although Meg oversaw most of the session, “It's A Nice World To Visit (But Not To Live In)” was the song that she really stepped on board to produce. The whole process was very freeform: it was mainly me and drummer, Jay Anderson, jamming it out. 

I wouldn’t say that “It's A Nice World To Visit (But Not To Live In)” is totally an anomaly, though. I see myself walking down a number of musical paths in the future, and one of them is darker, and more surreal. It was recorded pre-pandemic, but it feels very… “pandemic friendly.” (laughs)

AC: I’ve noticed the “dreamscapes” series that you post on your socials from time to time. Whether it’s work from Flemish Renaissance painter Pieter Bruegel the Elder, photographs from the children’s picture book iSpy, or shots from that crazy fantasy movie The Adventures of Baron Munchausen, it appears as though you like sharing grandiose landscapes and pleasantly ethereal scenes. I was curious whether this aesthetic was something you try to mimic in your music, or is it something that you admire from a visual standpoint?

N: Because I’ve been so confined to my apartment these days, I find myself thinking about these dreamscapes and scenes from childhood… Worlds that I inhabited as a weird only child. To be honest, Girls Like Me is an album that I wrote over the course of a couple of years when I was waiting tables and living my life. Things obviously just feel very different these days, and I think that sharing these “dreamscapes” encapsulates everything that I’ve been doing over the past year, and the stuff I’m writing now.

On the topic of my more recent habits, I’ve also started doing this thing called “active imagination,” a Jungian technique which works like guided meditation. You’re supposed to enter your own dream world and just see what happens, or what your mind is trying to communicate to you. I find this has been helping me open my unconscious mind, and the dreamscapes that I have shared recently have been really informing that whole practice, which feeds into my writing as well!

AC: Sounds interesting! It seems like you have been keeping yourself busy in these strange times, exercising retrospectivity and imagination. Would you say that the pandemic has had a positive impact on your creative process, or a negative one?

N: Definitely positive. I’m part of this songwriting group with some friends in New York, and so I’ve had the pressure of writing a new song every week. This has been hugely important to me, and it wouldn’t have happened if we weren't thrown into this whole ordeal.

I’m really thankful for these exercises in creativity, which have resulted in my thoughts being much more magical. There’s going to be a very witchy album coming out post-COVID, that’s for sure.

Since we’re on the topic of creative practices, I should mention that another thing I’ve been doing is logging entries into a dream journal… It’s been beyond satisfying. It is so fulfilling to be able to look back over your dreams over a given period of time, and to notice patterns or recurring themes. I would recommend this practice to anyone and everyone.

AC: I think it would take a certain level of dedication to maintain a dream journal. Personally, I’ve tried a few times but can never fully commit to it. Have you ever had any lucid dreams? Also, I don’t want you to do anything that you’re uncomfortable with… But. is there any chance you would be willing to share an entry from the journal?

N: Trust me, I’ve tried this dream journal idea on multiple occasions but this is the first time that I’ve stuck with it. It takes patience, for sure, but don’t give up! Also, you don’t need to have a full dream in order to log it. Even if you remember a small tidbit of information, it is still worth logging. I’ve honestly never been too interested in lucid dreaming, because I think there’s a special quality about something totally untainted coming from your subconscious. Because the Otherworld is attempting to speak to you, I think it makes sense to not hold onto your ego, let things happen and go with the flow.

And you know what? Sure, why not… I’ll share an entry. 

—Nyssa goes off-camera for a moment and returns with her dream journal—

Hmm… I eat seafood… Lots of beaches… Okay, here’s a weird one that sounds like a real fairytale archetype:

“An old wizard at sea, travelling the land and performing illusions as a bat in exchange for sanctuary. Islanders with red caps accept the deal, watching as he performs the final illusion. Noah’s Ark arising from the sea, at first afar and then up close. The ark opens like a sea monster with many teeth. The wizard emerges in-mouth and proclaims, ‘and now you shall offer me shelter whenever I ask.’”

- - -

Our conversation quickly transitions into movie territory, and I soon learn that Nyssa is a big horror movie buff. “I like violent movies,” Nyssa says, “but not when it’s too realistic or unnecessary.” Among her favourite movies, the 1985 horror-comedy Return of the Living Dead has a special place in her heart. “It really just ticks every box,” she tells me. “I love the practical effects, the gore, the punks in the cemetery… it has everything.” Thinking of what she’s watched recently, Nyssa talks about her new fascination with the surreal films of Alejandro Jodorowsky, as well as The Secret of Roan Inish.

What stood out to me more than anything, though, were the ways in which Nyssa has harnessed creativity during this strange time; the mystical planes and otherworldly dreamscapes where she has situated herself as of late. By the end of our chat, we digress into a conversation about the intersection between religion and spirituality. When I explain to her my belief that dreams and music are the closest that humans can come to magical experiences, she passionately agrees. “Absolutely,” Nyssa says, “and I think that the oldest human beings would agree with you on that. At the end of the day, it all comes down to mindfulness and magic.”

I’m really looking forward to seeing what Nyssa puts out next, which may or may not be a darker and witchier album that releases post-COVID. In the meantime, Girls Like Me has been released on a limited edition vinyl and is readily available for order online.

Nyssa

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Spencer Nafekh is a tireless reader, writer, editor, and advocate for the written word. With an undergraduate degree in Concordia's English and Creative Writing program imminent, he plans to pursue a Master's specialization in journalism so that he can fully realize his career path. When Spencer is not working away, he is probably listening to experimental music while lost in the world of a science fiction novel.

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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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Review: Priors Break-In 2021 With My Punishment on Earth

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If you’re a fan of the Montreal rock n’ roll outfit Priors, you may have been wondering if they were ever going to fulfill their promise of a third release before the close of 2020. Luckily for all of us, they stayed true to their word and saved the New Year with a 10-song LP titled My Punishment on Earth.

The album leans heavily into synth sounds and channels a raw, pent-up energy that feels fitting after a seemingly stagnant year spent in isolation. “Astral” is an especially propulsive track that will have you bouncing off the walls with its avalanche of thumping drums and a driving chorus that exponentially builds up until the end - peak avalanche. The other  stand-out track is “Fox Force Five,” which features a downright menacing guitar riff - and is accompanied by an appropriately murderous music video, to boot. 

As is characteristic of their music, Priors’ My Punishment on Earth is a taut listening experience - and with its clocking in at just over 26 minutes, you’ve got to be committed to the intensity. However, there’s a contemplative air instilled among the controlled chaos. The opener is a punchy psychedelic number alternating between a relentless bass hook and blasts of distortion. A meandering guitar threading its way throughout makes the songs feel unexpectedly experimental, while the lyrics are suitably doom and gloom, taking you on a deep-dive into the sinister subconscious milieu.

A few of the tracks are recognizable from pre-pandemic sets, but are now presented in a more polished digitized form. It’s a matter of personal preference whether you like the clean cut versions over the raw sound of a show, but there’s no arguing that the blend of guttural garage punk with an electronic edge has been a core element of the band’s sound since the start - and it works effortlessly here.

Most of all, this LP makes me miss rubbing shoulders with fellow dive bar aficionados. Here’s hoping for that day to come soon. You can find both digital and vinyl versions of the album on Bandcamp. 

Priors are Chance Hutchison, Stuart Buckley, Alan Hildebrandt, Drew Demers, Seb Godin, and Maxime Desharnais.

Priors

Instagram | Bandcamp | Big Cartel Store

Written by Alex Kerkhoff

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Montreal's DEMO FEST Utilizes Punk Ethos in a Call to Action

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The 2020 Winter Solstice marks the anticipated launch of DEMO FEST, a huge selection of submission-based demos created by over 350 musicians around the world during the Fall season of the pandemic, as well as a dusk ‘till dawn livestream telethon, hosted by Suoni Per Il Popolo’s Suoni TV.

What started as a songwriting challenge between DEMO FEST founder, Martin Tensions, and his bandmates has now grown into a world-wide benefit for Solidarity Across Borders, a migrant justice network based in Montreal. Since 2003, Solidarity Across Borders supports primarily non-status and refugee individuals and families in Montreal through popular education, direct mutual aid and support work, and political mobilizations, including demonstrations, pickets, delegations, and direct actions. All proceeds from the sales of the DEMO FEST release, as well as funds raised during the telethon, will be donated to Solidarity Across Borders.

We had the chance to chat with Martin Tensions and DEMO FEST team member Sasha Pozzolo about how their community mobilized to beat the woes of isolation while advocating for migrant justice, making DEMO FEST more than a compilation.

Zoë Argiropulos-Hunter for Also Cool: Hi Martin and Sasha! Thank you so much for collaborating with Also Cool to chat about DEMO FEST. To start, can you introduce yourself to our readers and tell us more about who you are and what you do?

Martin: I've been in and around “DIY punk” since I was a teenager; playing in bands, booking shows, going on small tours. Playing and participating in music isn't something I want to “make a living” from, but it's always been the center of my friendships and creative endeavours. I used to organize mixtape exchange clubs for my friends every year, which I think could be described as a forerunner to DEMO FEST.

Sasha: Similarly, I’ve been in and around DIY/punk since I was a teenager and playing in bands actively more so for the last five years. I have a nerdy history of studying photography and going to library school; I’m really into meshing punk into image making, subcultural documentation, and how punk is archived. I make up ¼ of I.F.O. which is a punk and punk-adjacent collective event organizing group. We ran the festival I Can’t Believe It’s Not Paris last year. We are acting as support staff for DEMO FEST and will be running the livestream today.  

Also Cool: Can you tell me about how you've managed such a wide-reaching project? How was it originally conceptualized, and how has it felt to watch it expand into such a large-scale action?

Martin: When the stronger lockdown measures came into effect in Montreal in March, all live shows were indefinitely postponed. All my bands stopped jamming. A lot of my friends were talking about taking the time to try and work on solo projects, writing songs with collaborators remotely by sending tracks back and forth, or learning some new instruments and/or production/home recording methods. I had a small burst of energy, trying to demo tracks for my bands or other projects at home, but that energy tapered off. I knew that was happening for a lot of people around me. Without shows or tours, there seemed to be a lot less motivation to actually finish anything.

Originally, I thought of doing a “challenge” with three of my band mates where we each had to finish a solo isolation project by a certain date, hoping we could all motivate each other. I shortly realized I could just invite more people, make it an open invitation, make it a benefit, etc. Once I put it all together and started talking to people, I thought maybe 50 of my friends would do it. My wildest dream was getting 100 demos. I had a pretty good feeling and hope that it was going to tap into something for a lot of people, but didn't really expect it to spread too widely. Seeing that happen as more and more people registered to participate, and then finish, has been very cool and validating. Many people have expressed that it was the perfect thing to get them through an otherwise isolating and creatively stagnant Fall.

Managing the project has not been too difficult. Many people have stepped in to help: Sasha and the I.F.O. crew have been involved from day one, Will Killingsworth of Dead Air Studios has been mastering most of the demos, members of Solidarity Across Borders have been coordinating and advising the fundraising (and helping us reach out to press!), we have friends helping with the art and graphics, managing the massive amount of Bandcamp logistics, and of course spreading the word. The last few weeks have been a bit busy and stressful handling all the submissions and getting them ready, but before that it has not felt difficult to manage at all!

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AC: Branching off of that, what are your thoughts on the idea that artists are often pressured, or even expected, to create works inspired by tragedy and the feelings attached to it? Was this a roadblock that many of the DEMO FEST contributors, or even yourself, encountered during lockdown?

Sasha: I think that there is a lot of voyeurship in artistic creation of all mediums. We are living in such a bizarre time, yet I don’t feel there is a particular emotional bar to meet right now. I have noticed less work being made about despair, but this could also be that there is less work in general. Perhaps it’s a collective understanding that we’re all doing poorly?

As far as DEMO FEST goes, I always felt that the project promoted the opposite intention. Although it was put forward as a “pandemic project,” there was no onus to dwell on the pandemic itself. I heard that 2020 is the year of escapism— maybe we accidentally tapped into that zone by offering a platform to distract ourselves from the pandemic. I’d like to think it’s a little more wholesome kind of escapism. This was a fun little push for people to make music that they put aside, that they never had time for, or maybe they never had conceptualized before having a little DEMO FEST pep talk. 

It’s difficult to continue to make something when a lot of joy is taken from what you are making and how it is received. DEMO FEST doesn’t create the same reciprocal energy as a live event, but regardless of working on a solo project, working remotely, or with a band, it does give a sense of collective agency. In addition, I think that the notions of productivity and spectatorship (or lack thereof) have the ability to place a looming constraint on how, what, and where people will make music. By encouraging projects to occur now and in this manner is to ultimately encourage music being made for the sake of music being made. This coupled with DEMO FEST as a benefit, which collectively and exclusively releases music, I think, makes it an anti-capitalist initiative. It’s both fun and important to analyze what makes art function, what we want from it, and what we can get from it on our own terms. 

AC: I'm curious to know more about your thoughts on demos, as they make-up the DEMO FEST corpus. What elements do demos hold that make them significant, both culturally and sonically, and what made you choose to prioritize launching a demo-exclusive release?

Martin: I realize that 'demo' means a lot of things in the "music industry.” For me, it means a punk demo tape. If you are a band in punk or a punk-adjacent genre, a cassette tape with 2-5 songs is the first thing you release, and that's called your demo. I didn't want to end up with compilation of individual songs. Instead, I wanted people to fully realize a new musical project or produce a complete release for an existing project in this new pandemic context. I wanted people to be empowered to experiment with a new instrument, new collaborators, or a new way of making music and take it to a completed state. Demos don't have to be super well-polished or produced, and they shouldn't be too long… But they should full “demonstrate” (haha) the vibe and sound of the band/project. And I just love digging through piles of new demo tapes. So, calling it DEMO FEST and asking for demos seemed like the thing to do.

AC: This project certainly speaks to the power of community across many spheres. What has surprised, or inspired, you the most about the journey of DEMO FEST and watching the level of inter-community collaboration progress throughout?

Sasha: With entire honesty, the sheer scope of the project was both shocking and heartwarming. It’s been intriguing to see some of the ways that DEMO FEST spread; through friends, through one-degree-of-separation, through both Blink 155 and Barely Human podcasts, and also through absolute mystery. There were online discussions about the best way to record something without a lot of equipment, what benefits certain free programs offered, as well as offers and requests for collaboration on tracks. In true punk solidarity, Will Killingsworth shared so much time and expertise with mastering to tie together everything. Have you ever had a hang out with someone where you both work separately on something, but you’re in the same room? I feel like that was the general community feeling, and it was really wholesome. 

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AC: Before we let you go, do you have any closing thoughts that you'd like to share, and can you tell us how we can support and engage with DEMO FEST?

Martin: Well thank you for helping us spread the word! All of the info and links are collected on the website. You can also follow us on Instagram. The important date is today, the Winter Solstice. The DEMO FEST Bandcamp will go live around noon. All 200+ demos will be there to stream for free and purchase for download. All proceeds from all of the DEMO FEST efforts are going to Solidarity Across Borders, and you can also check them out and donate to them directly. They are seeking one-time donations but also people to sign up with recurring monthly donations! I’ll let Sasha explain the other stuff.

Sasha: The dusk ‘till dawn DEMO FEST livestream will start at 4PM today and run until 8AM on December 22. We will be playing at least one song from every project submitted to DEMO FEST, all of the music videos that have been submitted, and doing a very special screening of the newest edition of Will Mecca’s video-zine Paranoid Anxieties. A schedule will be posted today through DEMO FEST social media. We’ll be screening video collages made by I.F.O. Connor Crash, have a chat room open, and be giving regular updates on Solidarity Across Borders donations!

As for the USB boxsets! Orders will end on December 22. The “All Dressed” Full Team boxset has already sold out, but each of our individual boxes are still available. Each box will contain a USB key card with DEMO FEST artwork on one side, and artwork by Jane Harms on the opposite. There will be DEMO FEST pin packs and a personal mixtape/playlist from one of us. Every person will be putting in secret special other items in each box. You can read our little bios on and order boxsets from icantbelieveitsnotparis.bigcartel.com!

I’ve launched the beginning of a new project called Rock and Roll Highschool. It’s an online event that will happen every Thursday in February and March, which will host short presentations on anything punk and punk-adjacent. It’s very low pressure and meant to be a fun semi-social activity that people can engage with during the next few months. Presentations can be done orally, with a Powerpoint, on a chalkboard, etc., and can be anywhere from 5-45 minutes. There are people signing up for subgenres (like power violence, pop punk, and crust punk), regional music scenes (like UK twee pop, Japanese hardcore, and Belgian synthwave), or doing workshops (on embroidered and cross-stitching patches). Anyone is invited to present and/or participate in the online meetings. The deadline for submissions will be January 14, and the first lecture series will be on Thursday February 4, 2021. 

There is more information and a very quick submission form available here.

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DEMO FEST livestream poster by Sasha

DEMO FEST

Website | Big Cartel | Bandcamp | Instagram | Facebook | Livestream

Solidarity Across Borders

Website | Instagram | Facebook | Twitter

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

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Old Dog, New Tricks: That Dog.’s Music 25 Years Later

They could have been as big as Weezer or Green Day, yet 90’s band That Dog. remains something of a hidden gem in the world of alternative music.

In 2019, the release of their critically acclaimed comeback album “Old LP” reintroduced many to the band’s older catalogue, and reminded listeners of the charm of their girly yet dissonant brand of rock.

Check out Etta Gerrits’ comic exploring That Dog.’s history, and why their music - and 90’s girl rock in general - remains so relevant today. 

While you read, listen to That Dog. on Spotify

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Etta Gerrits is a cartoonist/musician/whatever she feels like being located in Ottawa, Ontario. She likes 90’s girl rock, taking pictures of mittens she finds on the ground, and young adult mystery novels.

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