Tennis' Love Sprawls Towards the Sun on "Pollen" (Mutually Detrimental)

Tennis by Luca Venter

With the release of Pollen, the latest chapter of Alaina Moore and Patrick Riley’s love story has unfolded. The indie pop duo better known as Tennis has captivated audiences for over a decade with their signature lovesick mystique, and with its mellow delivery and emotive conviction, this sixth studio album carries the torch.

On the foundations of Pollen, Moore notes that the pair set out to produce an album that gestured more definitively towards the mainstream, and balanced their dexterous production with a clearer concentration on affective lyricism. The inspirations behind the record narrow down—in the loosest sense of the phrase—to “small things with big consequences: a particle, a moment, a choice.” 

Indeed, the overarching feeling across the release is that a psychic balance is at stake. Simple motifs like a summer breeze or a winding road act as vessels of complexity; Moore remains fixated most steadily on the gravity of her devotion and its ability to topple over. 

Album opener “Forbidden Doors” sets an arresting stage, with Moore’s inquisitive recollections layered overtop of a satisfying bassline. The folk-rock grit on “Glorietta” feels exciting and unexpected, with crispy feedback bookending subtle swipes: “Their patriotic displays are so loud / They’re controlling Eden from the clouds / You can’t resist the urge to dominate / Like it’s written in your DNA”. The sharp retro-pop production that encapsulates Pollen is best exhibited on “Let’s Make A Mistake Tonight”, with a late-disco groove and an earworm of a bridge elevated by Moore’s syrupy-sweet tone.

In comparison to this bold start, the second half of the album feels a bit more familiar. This is not to say that it’s disappointing—devotees of the duo will find plenty to enjoy—but certain moments fade with a passing sigh that feels comparatively less impactful. “Paper” has this floating quality that feels like the song’s on the tip of your tongue – its airiness complements Moore’s confessions of uncertainty. “Gibraltar” sparks some intrigue with its vocal melodies and psychedelic licks but doesn’t land as convincingly as its counterparts.

Ultimately, Pollen builds on the sophisti-pop legacy that Tennis has cemented, sprinkling tasteful experimentation throughout a timeless musical premise – the overpowering beauty of a love that lasts.

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Pollen

Out February 10, 2023 via Mutually Detrimental

1. Forbidden Doors

2. Glorietta

3. Let's Make a Mistake Tonight

4. One Night with The Valet

5. Pollen Song

6. Hotel Valet

7. Paper

8. Gibraltar

9. Never Been Wrong

10. Pillow For a Cloud

All songs written and produced by Alaina Moore and Patrick Riley

Drums and engineering assistance by Steve Voss

Ambient noise on “Gibraltar” by Griffith James

Latin translation on “Never Been Wrong” by Alan Sumler

Mixed by Claudius Mittendorfer

Mastered by Joe LaPorta

Album artwork by Luca Venter and Allison Freeman

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Tennis

Instagram | Bandcamp | Spotify

Website | YouTube | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Take A Sip of Calm Lake's Sparkling Anti-Jingle "Le Seltzer"

Single art by Jess

With yet another series of doom-and-gloom announcements under our belts, it’s easy to get caught up in the one-two punch otherwise known as the past couple of years. Now more than ever is the time to practice gratitude and reflect on the little things that bring us joy: aimless strolls, loved ones, and — of course — a crisp can of seltzer. Montreal’s Calm Lake has freshly released “Le Seltzer”, a gleaming bedroom-pop track that does just that.

Calm Lake is a project by Filipino-Canadian songwriter Nikki Celis (known as one-half of shoegaze duo cmfrtble.), who is currently based in Montreal. Calm Lake is a collaborative effort featuring friends from around Canada, including Andrew Joshua, Shane Spencer, Alex Lavoie and Jessica Segura. The project finds their inspiration from 90s emo and dream-pop, citing influences like Pedro the Lion, The Radio Dept., and Bilinda May.

Nikki Celis of Calm Lake. Photo courtesy of Nikki Celis

“Le Seltzer” marks the project’s second single, following the angsty “Toothache” released in August of this year. “Le Seltzer” was written as an earnest tribute to the locally-owned seltzer water brand that started during the pandemic. The track is described as an “anti-jingle”, inspired by the fluorescent catchiness of ‘90s product commercials. On the story of “Le Seltzer”, Celis remarks:

"In Montreal, people have been finding ways to express their creativity, whether that's making new musical projects like Calm Lake, making their 'quarantine songs' or even starting new businesses. This is my take on a quarantine song."

From start to finish, “Le Seltzer” paints a sanguine picture with dream-pop production that’s as effervescent as the beverage itself. This track leaves you with no choice but to smile, evoking memories of sunset-tinted park hangs and breezy balconies through its jangly fog. As major fans of this delicious drink, we here at Also Cool are pleased to report that Calm Lake’s latest single is just as satisfying. Kick back with a can of yuzu blossom and pomelo and don’t lose sight of the escapades that await you.

Stream “Le Seltzer” below!

Calm Lake

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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Swedish Electronic-Indie Songwriter sir Was Tackles Mortality on New LP "Let The Morning Come" (Memphis Industries)

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sir Was by Malin Ingrid Johansson

Being confronted with one’s own mortality is, suffice to say, fodder for personal reflection. Let The Morning Come, the third feature album release by Swedish songwriter and instrumentalist Joel Wästberg, or sir Was, deals very closely with themes of mortality and time, but not with a sense of panic or urgency, rather it’s calm and collected. 

Following 2019’s Holding On To a Dream, Wästberg was set to open for Swedish electronica mainstay Little Dragon during the summer of 2020. However, following the pandemic and the cancellation of tours worldwide, he was told tests revealed he inherited a hereditary condition causing multiple strokes.

“At first I got very sad and scared,” Wästberg says of the diagnosis. “But at the same time, it was like all the other worries I carried suddenly didn't matter. I just got this very intense feeling of being alive.”

The entirely self-produced album released October 15th on Memphis Industries. The ten-track project showcases Wästberg’s knack for subtle electronica compositions and charming songwriting. Singles like “Waiting For The Weekend” and “I Need a Minute” touch on themes of time and place, supported by rich instrumentals that refrain from overcrowding the mix, but that bloom and develop in their own ways.

“I Need a Minute is about the strong wish to stick around for a bit longer. A cry for more time. At the same time, it’s a wish for a pause,” said Wästberg.

Let the Morning Come is out now on Memphis Industries - listen below.

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Let The Morning Come album cover by Damien Priest

sir Was

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Gabriel Lunn is a writer, multimedia journalist, and pop music enthusiast based out of Victoria BC. When he isn’t trying to decipher the human condition he can usually be found going for long runs or collecting vinyl records he really doesn’t need.

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Amsterdam Indie Quintet The Klittens Talk Humble Beginnings and Growing Closer with New Single "Canned Air"

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The Klittens by Megan Bruinen

Indie Amsterdammers The Klittens have won us over with their latest single “Canned Air.” Premiering October 15th on So Young Magazine, “Canned Air” and its accompanying music video is the quintet’s first release since their 2020 debut Pigeonhole. “Canned Air” was written by the band’s lead guitarist and backing vocalist Winnie Conradi after a heavy breakup in search of catharsis through the comfort of friends. In her own words on the track, Conradi explains:

“The song builds up around a single note and gets more and more dramatic as the song progresses. The vocals fight for a moment in the spotlight and find togetherness in the choir, only to get distorted by a raw and loud break. In a way it follows some kind of 6-stage plot structure, as it ends in completion; an aftermath.”

Charmed by the outfit’s knack for frankness and writing our new favourite breakup song, we chatted with 3/5 Klittens —Kat, Laurie and Michelle—about growing closer together through the realization of “Canned Air.”

Zoë Argiropulos-Hunter for Also Cool: To start, can I ask about the origin story of your band?

Kat: Yaël and Winnie were sitting on a bench after school. I wasn’t there, but I can picture it. I’ve heard this story so many times; it’s almost like an old family tale. They came up with a band name, “The Klittens,” yet they didn’t have a band to name. I remember getting a call from them around that moment: Hello, we are starting a band and you are in it. We’re called The Klittens. And so it began.

Laurie: I bumped into Winnie at a concert and she knew through her roommate that I used to take drum classes in the past. After the concert, she walked up to me and asked if I wanted to join her not-yet-existing band for a few jam sessions. I was like, Sure, we’ll do some jam sessions and then awkwardly let our early friendship fade away. But, it turned out to be so much fun to play music together! These jam sessions got a little bit out of hand though.

Michelle: Winnie and I go way back because our parents are friends. She had told me about The Klittens and I remember thinking how cool it was that she had started a band. I’d always wanted to be in one, but it never really found people at the same level. Most of my friends who were in bands had been doing that since secondary school so they were much more skilled and comfortable jamming. When Winnie told me The Klittens were looking for a bass player, I had just started picking up guitar lessons again and thought to give the bass a try. Playing with them —as musicians at a similar level, but also and most of all as friends— has always been great fun and we grew a lot together.

AC: You've just released your brand new single "Canned Air,” congratulations! In your own words, what significance does this track hold for the band?

M: For me it’s a very emotional song, for several reasons, but partly because I think it was the first song we wrote that features all five of us singing. Developing it into the song it finally became was a process that has brought us closer together, especially through the way we explored combining our vocals.

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“Canned Air” stil by Kilian Kayser

AC: Can you describe your band dynamic and creative process when it came to writing "Canned Air"? 

L: Winnie wrote this song at home. After finishing the song, she sent the demo to us and it was our turn to adjust and complete the song. Although the structure and melody of the song already were something that we all really liked, I had to spice up the GarageBand drum sample and Yaël tweaked the lead vocals. Every time we write a song it’s a different process; sometimes someone makes a demo, sometimes we just jam. 

M: In the original song, Winnie imagined the main vocals to be more spoken-word-like, but that developed into a melodic singing with Yaëls input. The two styles created a different atmosphere. When we were recording the song in the studio, we got Winnie to speak the lyrics and Yaël to sing them at the same time. So it became more layered in the process.

Also Cool: I’d love to know more about the music scene in Amsterdam! Are there any particular venues or local bands that you love?
L: There are loads of cool bands and there is a very dense and supportive indie scene in Amsterdam, but also in the rest of the Netherlands. A band we love is Personal Trainer, a project by Willem Smit, who has supported us as a band since the beginning. I think my favourite venue is Cinetol. It’s a beautiful building and the programming is very diverse. It’s really accessible to play Cinetol as an emerging artist, which makes it a very interesting breeding ground for talent. 

M: And then there are a couple of cool emerging post-punk/art rock bands, like Global Charming and a fungus. Venues that are worth paying a visit if you’re in town would be Garage Noord, Skatecafé, De Nieuwe Anita, and the former church Paradiso.

“Canned Air” still by Marc Elisabeth

AC: On a more present note: What does the future look like for The Klittens? How can we keep up the momentum surrounding this release and support you going forward?

L: We hope we have a bright future. We are trying to get back on track after not being able to play live shows and going abroad due to the obvious reason. It would be great to go back on tour in Europe or the UK again and play shows, meet new people and discover new cool places. We would love to go back to the UK, but it’s going to be tough due to Brexit. The best way to support us is by ending Brexit! In all seriousness, though, I think the best way to support us is listening to our music and recommending us cool record shops, radio stations, magazines, venues and festivals throughout Europe, and maybe even worldwide, so we can reach the audience we want to reach. 

M: What Laurie said, and… If you’re looking for a cool t-shirt, we have merch too! 

Watch the music video for “Canned Air” below!

The Klittens

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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NYC's Lily Konigsberg Crafts Relatable Pop Reflections on Debut "Lily We Need to Talk Now" (Wharf Cat Records)

Lily Konigsberg by Chloe Carrasco

NYC’s Lily Konigsberg has announced the arrival of her long-anticipated full-length, Lily We Need to Talk Now, out this Friday, October 29th, on Wharf Cat Records. Since 2016, Lily has been chipping away at her plainspoken pop debut, all while learning to find lightness in life’s most trying moments. Leading up to her release, we had the chance to connect with Lily and chat about her evolution as an artist, writing from her heart, and making a name for herself in New York’s underground music scene.

Zoë Argiropulos-Hunter for Also Cool: To start, I'd love to know what growing into your first proper full-length LP has been like since its beginnings in 2016? 

Lily Konigsberg: It's funny because I've made so much music throughout my life, but I’ve never released a full-length. I'm somewhat of a perfectionist I guess… This album had around five song orders and many rejected songs. It's actually something I'd like to work on because I admire artists that have frequent releases. This being said, I'm really excited to share this album with people, I am proud of it. 

Also Cool: Branching off of that, how have your past musical endeavours informed this release, Lily We Need to Talk Now? Say, in comparison to writing music with your band, Palberta, or other projects?  

Lily Konigsberg: Palberta taught me how to collaborate and how to perform confidently. I am forever grateful for the friendships I formed with Ani and Nina and the confidence we built together. Working with Matt in Lily and Horn Horse allowed me to hone in and work on my melody writing. My past solo work prepared me for writing a set of bangers with the intent of having them all be as good as each other. This of course didn't happen because there are always favourites. Being in these projects educated me as a writer, performer, and friend. I wouldn't be where I am without them. 

AC: You’ve spoken about how your album commemorates heavy moments in your life, but with an intentional effort to not take yourself too seriously. How do you find humour or lightness in vulnerability and translate it into your music? 

LK: Humour is a big part of sadness and pain for me. I feel a lot all of the time so it's a way I've learned to cope. Some might say it's a tactic of distraction, but I think it's the most human and relatable reaction to pain. Humour and vulnerability come through mostly in my lyrics. In one song, I'll go through moments of relatable sadness, absurd concepts, sass, and back to pain. It's just how my brain processes emotion. I live for dark humour. For instance, in a song with my new band, My Idea with Nate Amos, I wrote, Why so sad bitch, depression's a conspiracy theory? It's an insane line, but I feel it really hard. It's me throwing my hands up in one of those moments of realizing that nothing matters at all. 

AC: Given that the album is such a personal work, has it been strange to see it being dissected by bigger publications like Pitchfork and the FADER? 
LK: I mean, yeah! It's okay because I put it out for people to dissect and interpret. Loss is a completely universal feeling. This album is mainly about a breakup for me, but the songs can apply to many different instances of loss. I am most excited about hearing what my listeners think. 

Lily Konigsberg by Chloe Carrasco

AC: On a different note, I'm curious to know about your coming-of-age —in both real time and as a musician— in NYC. How have you forged your path in the New York scene to be where you are now? What advice would you give to others trying to stay afloat in such a coveted artistic hub? 

LK: Well first of all, I was born in Brooklyn in an upper-middle class neighbourhood. I was encouraged to pursue music when I expressed interest in it, and I had the opportunity to begin performing at the age of 14. Many people do not have most of these privileges growing up. Mix privilege with unique talent and you are going to get a certain amount of attention.

Through music, I met friends I still have today and developed a presence in the music scene. Music was great for me as I was a pretty shy kid, and it enabled me to have a reputation instead of having to prove my worth through my personality. After that, it was all meeting other musicians and relating to them, meeting Palberta, meeting Wharf Cat and on and on. Things organically grew from there. Only now do I have a manager for one of my projects; it was pretty DIY until now. It's hard to give advice considering this but I would say to try not to be discouraged by the music industry. It's inherently racist and sexist like every industry and doesn't recognize talent a lot of the time. Keep making music and meeting like-minded people. 

AC: To end off, how do you plan on celebrating this release and what are your plans for the future? 

Hmm… I'll probably drink a Gingerale and stare at a wall with a smile on my face. Maybe I'll have some Twizzlers. Then I'll play my release show on November 14th at Union Pool. More info for that will appear on social media soon enough. Maybe I'm trying to get sponsored by Gingerale and Twizzlers? I guess that would kind of contradict my previous rant! Next up for me is my debut album with my new band My Idea on Hardly Art. I'm so excited! 

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LILY WE NEED TO TALK NOW

Out October 29, 2021 via Wharf Cat

1. Beauty
2. I Can Make You Sweat Forever
3. That's The Way I Like It
4. Alone
5. Don't Be Lazy With Me
6. Proud Home
7. Hark
8. Bad Boy
9. Roses, Again
10. Goodbye
11. True

All songs written by Lily Konigsberg

“Bad Boy” written by Lily Konigsberg and Nate Amos
Engineered, mixed, produced and mastered by Nate Amos

Tracks 3, 6, 9, and 11 engineered by Sasha Stroud and Nate Amos

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Lily Konigsberg

Instagram | Twitter | 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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Sunglaciers Release MGMT-Inspired Indie Pop Track "Draw Me In" (Mothland)

via Mothland

According to our recent Instagram polls and that one guy's TikTok, we've all been missing early 2010s indie-pop in a real way. MGMT, Phoenix, M83, and Passion Pit had held us with a vice grip for a while with their sparkly guitar riffs, upbeat vocals, and slightly dystopian lyrics.

Lucky for us, Sunglaciers (Mothland's latest signing) fill that nostalgic void with their latest single, "Draw Me In." The track is reminiscent of The Postal Service's "Such Great Heights" and embodies the band's self-blurring of dazzling indie-rock melodicism and icy post-punk experimentation genres. It's a departure from their earlier shoegaze sound and delves into MGMT-inspired pop.

Sunglaciers came together as a band in 2017 and are based in Calgary. The track was co-produced by Chad VanGaalen and mixed by acclaimed engineer Mark Lawson (Arcade Fire, Yves Jarvis, The Unicorns). It's also accompanied by a video directed by pluri-disciplinary artist Anthony Lucero.

"I went with the direction I did because the sound and spatial structure of the song was very fluid and encompassing. I found that when messing around with machine learning that flowers and daisies really fit the nature and energy of the song better than anything else could." -- Anthony Lucero

Watch "Draw Me In" below

Sunglaciers

Website | Bandcamp | Spotify | Apple Music | Youtube | Instagram | Facebook

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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Meggie Lennon's Debut LP "Sounds from Your Lips" is a Psychedelic Dream Pop Wonderland

Album art via Mothland

Are you in need of a 60s-inspired psychedelic soundtrack for your cottagecore botanical gardens date? Yeah, we thought so. 

Meggie Lennon's self-described "make-out-dream-pop" album “Sounds from Your Lips” is the perfect mélange of shimmering psychedelia and sensual chamber indie-pop. Released on one of our favourite local labels, Mothland, the record was produced by Samuel Gemme (Corridor, Anemone, The Brooks). It features the guitar-playing of The Besnard Lakes and Elephant Stones' Gabriel Lambert and additional contributions from her longtime friend and collaborator, Jules Henry (Super Plage). 

If you're a fan of Weyes Blood, Charlotte Gainsbourg, or Melody's Echo Chamber, we can guarantee you'll fall in love with Meggie. We got to know a bit more about the singer's world over email, and after meeting IRL at FME earlier this month, we can guarantee that the singer radiates as much sunshine and kindness in person as she does on her record.

Dive into Meggie's world below

Meggie Lennon by Mélissa Gamache

Also Cool Mag: From the mellow sparkle of 'Night Shift' to the unapologetic seduction of 'Long Time,' this album is wrapped up in a sense of pleasure and hedonism. How did this thematic inspiration come to the surface, and what does it mean to you to create with indulgence? 

Meggie Lennon: I am very easy to please. Simple pleasures are the best, from a nice warm espresso to a gentle kiss on the neck. My songs are inspired by my own life. I like to have fun, eat well, and listen to vinyl. I am very fortunate to have the life I have and am very thankful.

AC: This album is the perfect fit for the heat of summer's haze, timing brilliantly with a reopening world and further avenues for exploration. If you could describe the perfect scene meant to be soundtracked by Sounds From Your Lips, what would it be? 

Meggie: It would be in a natural setting, where a couple would lay in the green grass and kiss passionately under the warm sun. Water would be nearby, ready to welcome these warm bodies in love.

AC: The music video for 'Night Shift' is such a dream, balancing kaleidoscopic sensations with coyness and intimacy. Tell us more about the process of creating this video. 

M: I am lucky enough to be surrounded by really creative friends. I had jotted down all my ideas and showed them to my friend Marielle Normandin Pageau. She really dug it and called her other friend Samuel to operate the cameras. We shot everything in two days. Four locations were needed: a parking lot, a lake, a bathtub and my basement. It was a lot of fun but was quite intense since it was in October and the water was crazy cold. Marielle is a real magician when it comes to editing. She really succeeded in conveying the psychedelic feel we wanted through her shot selections and image superpositions.

Meggie Lennon by Mélissa Gamache

AC: How do you nurture yourself creatively and inspire artistic reflection? 

M: As I said, what I see around me and do every day inspires me greatly: a walk in the park, a feeling of depression or happiness, my flowers and plants growing, a crazy bar hopping adventure with my friends, a live show, anything. I like to keep it simple and straightforward. I am not a poet though I enjoy poetry. Leonard Cohen is amongst those I enjoy. And the music, always more music, passionate musicians like Weyes Blood and Kevin Parker greatly influence my writing.

Catch Meggie Lennon live at POP Montreal & DISTORSION’s showcase with Hot Garbage and ALIAS on September 25th! RSVP on Facebook

Meggie Lennon

Facebook | Instagram | YouTube

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of a studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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Ellyn Woods Releases Indie Dream Pop EP All At Once (House of Youth)

The heatwave has broken, and the cool, end-of-summer wind is slowly sweeping through the city. What better way to celebrate than to groove to some synthy dream pop tunes from Ellyn Woods?

Today Ellyn releases her indie-pop album All At Once on Montreal label House of Youth. This release follows her 2017 release Sound of Home, an EP inspired by her backpacking travels on the west coast of Canada. 

While her Sound of Home combined Ellyn's soft, haunting vocals and acoustic guitar arrangements to create an intimate, hypnotic vibe, All At Once leans more towards a breezy, jazzy electronic sound reminiscent of 2010s indie pop. For fans of early Santigold and Little Dragon, Ellyn's latest album may just be your new favourite find.

Listen to Sound of Home below

Ellyn Woods

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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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In Conversation: NYC's Mons Vi Opens His Indie-Pop Time Capsule

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Matthew Hershoff (Mons Vi), by Drake Li

Editor’s note: The following interview explores themes that readers may find distressing, including suicide, grief and loss. Reader discretion is advised.

Mons Vi is the alias of the Big Apple’s Matthew Hershoff, a multidisciplinary artist who found his bearings by making bedroom-pop a method of survival. Hershoff’s collection of songs amassed over the last decade tell the harrowing story of his twenties; a period marked by immense loss, pain and personal hardship. Finding solace in songwriting, this coping-mechanism transformed into a creative outlet for Hershoff, who began gigging with a rotating cast of musicians in NYC’s indie circuit before the onset of COVID-19.

When speaking with Hershoff, I ask him how his relationship with music has changed since being cultivated as a place of healing during a difficult chapter in his life.

“My twenties kicked off with me losing my mom to suicide, which was devastating to me and coloured the next decade of my life. Music started as an entirely personal thing: It was about going through a process of grieving, and just getting my feelings and emotions out. Though my mom’s death is not necessarily the focal point of every song I’ve written, it’s a cornerstone of my personality and my experience; so, themes surrounding loss and abandonment come through in a lot of my earlier work. That being said, I’ve done a lot of growing since then, not like I’m an old man on the hill (laughs)… but, you know, I’ve connected with different people, found community and peace and am now I’m in a new identity-formation period. For the first time, I’m thinking about how I can bring my music into a live setting and make people come together and experience some kind of collective energy!”

Over the last eight years, Hershoff has built a musical catalog that he plans to release as a full album in the near future. Knowing that his musical career came of age in NYC, we get on the topic of the city’s dense culture and rhythm as a world-renowned epicenter of artistic expression.

“New York has such a rich history of music and powerful personalities,” says Hershoff. “You can’t escape it when you’re here and it makes you feel like you’re part of some kind of lineage; which, of course, informs the music that comes out of the city.”

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Matthew Hershoff (Mons Vi), by Delaney D.

For Hershoff, a steady work ethic of going out and playing live music, coupled with getting to know familiar faces at gigs and about town, has helped him settle into a community that he says, “is really there for the long haul.”

The pandemic has made it difficult, if not impossible, for musicians like Hershoff to connect with their community lifelines. Without shows materializing as a cultural milieu, Hershoff has been chipping away at the beginnings of his debut record in isolation.

“As my debut comes together, I’m trying to harness the essence of what made me feel alright with being a human. All of this collective time alone has helped me think of how I can make these songs –some of which are eight years old– both healing and fun and a means of people coming together. This is what I picture while I write, hoping that it manifests.”

To get a glimpse into Hershoff’s imagination, I then ask him to touch on the backstory of his recently released music video for his latest track “After School.”

“I collaborated on that video with a friend of mine, Renata Pereira Lima. She is an extremely talented choreographer and works a lot in the realm of modern, interpretive-style dance. I knew I wanted to make a video with movement and I described what the song was about to her, and she brought that to life. The storyline is really as simple as two characters wanting each other, but one won’t give the other attention, so the other crosses a boundary to get said attention and then they have a party.”

Hershoff articulates that his songwriting is generally character-driven to represent and heighten parts of himself that he wants to come forward in his music. He notes that this method of narrative creation allows him to hone in on parts of his personality to release vulnerable feelings or hold himself accountable.

“We all have parts of our personality that, if you let them get out of check… you know, you end up being a jerk or getting out of control. If you let those parts of yourself speak freely through your art, it allows you to take control of your emotions in a healthy way,” he elaborates.

In closing our conversation, Hershoff dives into what is on his plate at the moment, as well as his upcoming plans.

“I’m putting my band back together right now and exploring other mediums of expression. I’m, of course, especially focused on music and feel like things will reveal themselves sooner rather than later, as the world begins to open up and live shows become possible once again. The best way to support me is by checking out my music and, you know, bobbing your head to it (laughs). But in all seriousness, if you’re interested and listening to the words, come to a show and hang out! I’d love to get to know you.”

Mons Vi

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Bandcamp | Spotify | Youtube

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

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Wrocław’s Oxford Drama Makes Light of Modern Absurdity with “What’s the Deal With Time?”

Oxford Drama, shot by Nelly Valverde

If the weight of the world has got you feeling sideways, you’re not alone. This sentiment is the driving force behind What’s The Deal With Time?, the third album by Polish indie-poppers Oxford Drama. Inspired by the never-ending mazes of modern technology and society, the duo – consisting of Małgorzata Dryjanska and Marcin Mrówka – transforms crushing emotions and uncertainties into a musical experience that transcends the turmoil.

Highlights of the concept album include “Not My Friend,” which is described as a “therapy session” in a track – its depth is punctuated by silky struts of guitar and Dryjanska’s warm vocals. “This is the Internet” strikes a refreshing balance, poking fun at algorithmic dependencies without veering into condescension. Then there’s “San Junipero,” inspired by the Black Mirror episode of the same name – a haunting piano ballad that shines through the pointed commentary, speaking to the subject of romanticizing the past and blurring the lines of what’s real.

In Oxford Drama’s persistence through heavy realities with flecks of optimism and wit, the band uncovers worlds of possibility. There is so much to be said about navigating the “today,” and so much more to be dreamt about tomorrow. We caught up with Małgorzata to chat about What’s The Deal With Time?, and covered everything from Seinfeld to the winning life accomplishment that is taking out the trash.

Rebecca L. Judd for Also Cool: Hi there Oxford Drama – thank you for your time, and for sharing your art with us at Also Cool! What's The Deal With Time? is a stunning album, congratulations on the release. To start, I'd love to learn more about both of you – what kinds of musical backgrounds did you come from, and how did you find each other?

Małgorzata Dryjanska of Oxford Drama: Thank you so much! Marcin and I met almost 10 years ago during an English language competition, where kids from different high schools in Wrocław had to prepare a speech about youth. Both [of] us were the only ones that had musical themes in our presentations, [and] we felt that we might have a lot in common. We were right about that, but it took almost two years of Marcin persuading me into forming a band. Our iPods matched, we both loved Blur, and because Marcin knew I liked to sing, he wanted to try to make music with me. I finally agreed, [and] it was worth it!

Also Cool: What's The Deal With Time? is a concept album, exploring plenty of complicated subject matter such as the pressing weight of nostalgia and societal relationships with technology. What does making a statement on these topics mean to you, and what is it that convinced you to do so?

Oxford Drama: As both Marcin and I are on a mission to understand the world, and especially nowadays — to understand the modern world — we felt intrigued by the idea of writing a concept album as both the observers and the receivers, actively taking part in the modern mess. 

We're kind of old souls, in the sense that we don't really find ourselves understanding every aspect of technology. We want to get our music out there in the world, so by wanting that we have to be visible in our social media feed. But we don't want you to be bored or frustrated by constantly seeing our faces, so we're very careful about choosing what we want to post and how we want to post it. 

And that's only us as professional users of social media – privately, we're also not happy with loads of ads trying to get our attention, [or] how we're living in our own bubbles and not always seeing other perspectives. These are the subjects that are frequent in our conversations, so we thought we might want to take those themes and present them in the form of pop songs.

Oxford Drama, shot by Nelly Valverde

AC: I took a special liking to "Bachelor of Arts" – it struck a relatable and tender contrast between all the world's possibilities and an internal lack of direction. Could you elaborate on this track, its formulation and its intentions – particularly within the context of the rest of the album?

OD: The theme of "Bachelor of Arts" started more as a joke. We just started writing some songs within the subjects we wanted to elaborate on, already knowing it's a concept album, and I [was thinking] that I'm just one of many in the modern world feeling [like] “...I'm not a kid anymore, but I'm kind of lost as an adult. I get work done, but man, sometimes I just need a hug and some peace and quiet.” 

I think that feeling of being lost is so universal, but I wanted to sketch it in a way [where], by listening to the words, you can see the picture. You imagine that person, the protagonist, and it's so vivid that you can also guess the surroundings. We wanted to be free in the interpretation, because in a way the person from "Bachelor of Arts" might also be the one in [other tracks like] “This is The Internet”... we don't know that. 

But what I think most of the songs on What's The Deal With Time? have in common is the humour that I think keeps us sane. Just like in “Bachelor of Arts,” I sometimes think I should get a medal for taking out the trash, but I know it's not going to happen. But yeah, I sometimes deserve it (laughs).

AC: It's mentioned that your album is inspired by Seinfeld – the cheeky reference in the title definitely gives that away! Can you elaborate on Seinfeld as an influence? What are some other cultural influences behind What's The Deal With Time?

OD: I knew this day was bound to happen! The story is kind of strange. My parents introduced me to Seinfeld when I was a kid, and I remember watching their favourite episodes and remembering the funny lines … and basically being in love with every element, creating the atmosphere of New York in the 90s. 

And so [that nostalgia] was always in the back of my head – Seinfeld, my love for Saturday Night Live and movies with Chevy Chase. My favourite video is the one with [Chevy Chase] for Paul Simon's “You Can Call Me Al.” Humour for me helps in dealing with the modern world, but I also love lyrics that are about playing with words, and have some irony or sarcasm in them. David Byrne singing about peanut butter, or Ezra Koenig singing about a falafel shop just fascinate me. So on What's The Deal With Time? I didn't want to present such important topics deadly serious, I wanted to add some lightness to them by adding some absurdity. And that humour in everyday situations reminds me of how I remembered Seinfeld as a kid.

Most definitely Black Mirror's episode “San Junipero” influenced us to write [the] song of the same title. Both of us understood the plot differently but we both shared similar emotions which the episode evoked in us.

[Lastly], this might be controversial, [but] U2 also inspired us in a way. In the fall of 2018, we went to Berlin to see the guys from U2 live, and the time spent in this beautiful city inspired us in ways we couldn't even imagine. We talked a lot about the history of Europe, about how Berlin inspired U2's Achtung Baby and Zooropa, but also Bowie's Low and “Heroes.” Despite knowing all of the albums really well before, this mixture worked so well that our heads started creating a lot of ideas, and then What's The Deal With Time? happened. [That] Berlin era is just full of great ideas.

Oxford Drama, photo provided by the band

AC: What's The Deal With Time was released into the world a couple of months ago – how have you celebrated since then?

OD: We finally binge-watched Six Feet Under! 

We're extremely happy with the response [to the album], and as perfectionists, it's the first time after the release that we still wouldn't change a thing, really. There are some gigs planned for the summer that we're extremely excited about. And now we have the time to start working on the new record, because there are a lot of ideas that are waiting to be taken care of – hooray!

AC: Thank you so much for your time, Oxford Drama. What's The Deal With Time? will be on loop for me for many long summer nights to come. What can we next expect from you?

We're excited to play [that] new material, because it's so much fun. Also, I guess we're getting back to the studio – that is our living room – to make the next record, as some ideas are waiting [to come out] and we kind of don't know how to relax, so…

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WHAT’S THE DEAL WITH TIME?

Released on March 26, 2021

1. Not My Friend

2. Too Busy

3. Bachelor of Arts

4. San Junipero

5. This Is The Internet

6. You Only See What You Like

7. Offline

8. Retromania

9. Episode Couples

Music by Małgorzata Dryjanska and Marcin Mrówka

Lyrics by Małgorzata Dryjanska

Produced by Marcin Mrówka

Drum recordings (tracks 7, 9) produced by Jacek Maciołek

Mixed and mastered by Michał Kupicz

Cover design by Hanna Cieślak

Band photos by Nelly Valverde

All rights reserved Oxford Drama, 2021

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What’s The Deal With Time? is now available to stream and purchase – take a listen here!

Oxford Drama

Bandcamp | Soundcloud | YouTube

Instagram | Facebook | Spotify | Apple Music

Rebecca L. Judd (she/they) is the features editor of Also Cool Mag. She writes and creates out of her studio apartment in Ottawa, kept company by vivid dreams and a cuddly grey kitty named Dora.

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

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