PREMIERE: Montreal's Never Better Perfects Indie Candour with New Track "Leash"

 

Rhys Climenhage AKA Never Better

Audio engineers: How do you pass the time when your DAW needs to reboot? 

For Rhys Climenhage, AKA Never Better, technical difficulties sparked writing the title track of their to-be-released debut record Leash. Set to arrive October 11th, 2024, the Montreal singer-songwriter shares the full-length’s opener, all of which came together in “about 10 minutes” on the faithful day their Pro Tools crapped out before heading to work in the studio. 

Climenhage is a friendly face in Montreal’s indie scene, both on stage and behind the mixing board. Since arriving in la belle province from their hometown of Peterborough, Ontario, Climenhage has found themselves “stumbling upwards” creatively, collaborating with fellow scene sweethearts like Sasha Cay, Holobody, James Clayton and Fireball Kid, all while nurturing their solo venture as Never Better. 

With their busy schedule, playing “at most, in like seven bands,” and engineering friends’ works, it makes sense that Climenhage “didn’t intend on making a record” when they first started crafting “Leash”.

“Leash” single artwork by Amery Sandford

Out today, the album’s lead offering is a tender musical keepsake for Climenhage. The song documents the early days of Climenhage’s relationship with their now partner, and fellow musician, Charlotte. With warm guitar strumming and honeyed harmonies, “Leash” is ever-inviting after the first listen, offering a glimpse into the budding closeness between Climenhage and the apple of their eye. Fittingly, recording “Leash” on a whim began the process of Climenhage seeking artistic consultation from Charlotte on more love songs they wrote for her, which would eventually become the album. 

“By the fifth song I knew it was going to be a record, and I was so excited to share it [with Charlotte], because she is also a musician and I wanted to see what she thought about it,” says Climenhage. “As we continue to date, I find myself being able to write a song in front of her from scratch, which I’ve never been able to do. I was sharing everything with her early on. She was there while I was mixing, and eventually I got the courage to ask her to sing on the record.” 

Climenhage cites the help of many friends making the production of Leash possible. Featuring instrumentation and backing vocals from a cast of local musicians, the album was entirely recorded and produced by Climenhage. Until Leash arrives this fall, Climenhage says they’re planning to roll out a few more singles and announce the album release show in Montreal, already hard at work on their next project.


LEASH

Out October 11th, 2024

  1. Leash

  2. No Choice or Chance

  3. Pockets

  4. Leaf Clover

  5. Shuffle Slump

  6. Circles

  7. Loud and Lazy

  8. I’ll Find My Way To You

  9. Herd


Never Better

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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PREMIERE: Montreal's Love Language Melts the Winter Blues with "Little Gardens"

 

“Little Gardens” artwork by Heather Lynn

When in eastern Canada, daring to embrace the cold is part of one’s seasonal lifestyle. Here to warm us up from the inside, Montreal’s indie rock outfit Love Language premieres a double-feature single and video for “Little Gardens.”

Following the release of their lush 2021 EP Trying To Reach You, “Little Gardens” boasts a heavier and edgier sound for the band—bringing to life a jam-packed tour and bouncing from stage to stage in less than a year from their first show under an overpass in their hometown. Clad with fuzzy tones and a casual, yet spunky, delivery, “Little Gardens” aligns with Love Language being described as “the band that’s playing in the bar—that all the high school kids are somehow allowed into—in your favourite 90s teen movie.”

Recorded this past spring with Rene Wilson of Faith Healer, “Little Gardens” is one of the first songs written by the band after the release of their debut album. A charming outlier for being “peppery, alive and [not] taking itself too seriously,” the live setlist favourite teases a to-be-released EP, set to arrive in early 2023.

Love Language by Connory Ballantyne

On “Little Gardens”, Love Language shares: “It's a song about two people navigating the world at different paces, desperately wanting a connection only to realize that the other person may as well be floating somewhere out in the solar system.”

Accompanying “Little Gardens” is a rosy music video, shot by the band on Super8, charting their voyage to Sled Island and New York City this past summer.

So, consider “Little Gardens” an ear-worm for your winter funk survival. Give it a spin (over and over) and watch the video below for an endless source of sunshine!

Pre-save “Little Gardens” before its official release on December 16th here!

Love Language
Instagram | Bandcamp | Spotify


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MTL's Prism Shores Releases Youthful Dream Pop Track "Tennis Shoes"

 

Prism Shores. Photo courtesy of Paul Atwood

Days away from the release of their debut album Inside My Diving Bell, Montreal-via-Charlottetown indie-poppers Prism Shores have released their latest single “Tennis Shoes”. Staying true to the band’s sonic influences of dream pop and shoegaze, the track sketches ponderances of malaise and angst that glide us perfectly into the fall’s chill.

Speaking to the track’s deeper construction, vocalist, guitarist and keyboardist Jack Mackenzie shared:

“It’s one of the oldest songs on the record, [and] we’ve been playing it live since about 2019. It’s one of the more mid-tempo moments on the album; our attempt at making a more sensitive track, inspired by both the angstier side of 80s UK indie on labels like Sarah Records and the 90s dream pop of bands like Luna, Pale Saints, Cocteau Twins, and Slowdive. It’s built around a rhythm section of bass, drums, and guitar tracked live to tape. Atop that are some 12-string guitar overdubs and two interweaving, droning lead parts by our guitarist Nathan [Cann] that really cement the atmospheric qualities of this track. The lyrics, like most songs on the record [Inside My Diving Bell, out September 23], take a reflexive, maybe navel-gazing approach. This record is like a coming-of-age document; the lyrics on this song find me wrestling with the more uncomfortable emotions and headspaces I found myself in heading towards my early twenties, feeling a sense of inertia or listlessness and wanting a change.”

The brooding uncertainty of “Tennis Shoes” offers a further taste of what is to come with Inside My Diving Bell, complementing the youthful insecurity of its previous singles “Acrobat” and “Diving Bell”. The rest of the record promises to deliver higher recording fidelity and new musical avenues for Prism Shores, all while balancing with its beloved sense of shambolic character through the natural energy of its live-off-the-floor bed tracks.

Recorded throughout the pandemic at Halifax’s Ocean Floor Recording, Prism Shores teases Inside My Diving Bell as a “scrappy, yet carefully considered proof of concept” — as the band contends with late-adolescent directionality and experiments with sonic depth, their debut full-length LP pledges to chart a promising course that is bound to resonate.

Stream “Tennis Shoes” below!


Prism Shores

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Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.


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PREMIERE: Pascale Project's Tonight My Dance (Dir. Antoine93, Released via La Rama Records)

 
via Pascale Project

via Pascale Project

It's been a summer of asking, "Where's the party?" From party-hopping from the skatepark DJ set to the secret outdoor rave and then back to the spontaneous park party. The pure bliss of running into your friends on the way to the gig and then finding each other again on the clandestine dancefloor is unmatched. If you know, you know, and if you don't, someone will probably post an Instagram story about it later that night.

Either way, if you like the sound of the end-of-summer dream I'm describing, then you'll love Pascale Project's latest music video for Tonight My Dance. Soaked in the tradition of summer fun in the city, elements of Freestyle and Electro weave into the House beat and are made for having a good time. These sounds evoked by our beloved corner of the world (Montreal) are now broadcast to the global network of party purveyors. The track is one of three off of her latest release, "Where's The Party" (La Rama Records).

via Pascale Project

via Pascale Project

Tonight My Dance brings the glam of club culture, calling back to glossy Y2K aesthetics and 90s high-fashion commercials. Directed by Antoine93 (another great musician and party-goer extraordinaire who we have previously covered), the video was created on a $0 budget in the true DIY spirit.

Watch Tonight My Dance below

Pascale Project

Instagram I SoundCloud I Bandcamp

Tracklisting:

A1 - Tonight My Dance

A2 - Welcome (Dust-e-1 Remix)

B1 - Welcome

B2 - Go Home

All cut at 45rpm for diverse playing styles!

Music by Pascale Mercier.

Mastered by Nik Kozub.

Artwork & design by Kris Guilty.

Manufactured & distributed by La Rama Records.

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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PREMIERE: Helen Paradise Debuts Stripped-Back Version of "Glass of Anything"

 
Helen Paradise. Photo courtesy of Tess Roby

Helen Paradise. Photo courtesy of Tess Roby

Montreal trio Helen Paradise have hit a tender note with their single “Glass of Anything”. Pairing perfectly with the track’s emotive rawness is a stripped-back version recorded at Autoland – premiering today on Also Cool Mag.

“Glass of Anything” marks the second release of Helen Paradise, comprised of Sophie Ogilvie, Chris Steward and Markus Stahl. The group was born out of a mutual desire to start “exploring new textures and embracing the increasingly brooding moods emerging in their collaborative songwriting”. The group’s forthcoming EP, External World, melds these possibilities together, drawing from a range of influences including trip hop, prog rock, and avant-pop.

The track offers deep reflections on the innate human ability to communicate to close friends through body language. In describing her lyrical motivations, Ogilvie points to a kindhearted gesture of solidarity and its deeper significance:

“I wrote this song after an experience at a party, during which a close friend of mine noticed from across the room that I was visibly uncomfortable, and broke into the conversation I was in to offer me a drink. This was a kind of throwaway moment - I’m sure he thought nothing of it - but it solidified to me that even in moments of silence and loneliness, I am looked after and understood by the people who are close to me. ‘Glass of Anything’ describes these unspoken bonds between friends, and the exchanges that are shared through a knowing glance or a quiet retreat.”

This live session perfectly complements “Glass of Anything”’s warmth. Rich vocal tones against the delicate guitar accompaniment glow in the ambience, beckoning the listener to recall their own connections and muted exchanges. Take a listen, unwind, and tell your friends you love them.

Watch the exclusive performance of "Glass of Anything" live at Autoland below:

Shot by Nancy Pettinicchio

Engineered by Nigel Ward

Mixed by Chris Steward

Helen Paradise

Bandcamp | Website | Instagram

Youtube | 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.


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Premiere: Magi Merlin Sets the Record Straight With New EP "Drug Music"

 

Drug Music cover by Laurent E. Malo

Magi Merlin has arrived with her highly anticipated sophomore EP Drug Music. Produced by her right-hand collaborator Funkywhat, Drug Music settles the dust around Magi Merlin’s reservations on themes of racial identity, love and personal growth, to which she comments: “I wrote the Drug Music EP as a way to process and reflect on some of my heavier emotions. It is some of my favourite writing and I think that it grew into a piece of work that successfully embodies feelings of affliction and confusion but ultimately acceptance.”

Throughout Drug Music, Magi Merlin owns her truth between entrancing beats and smokey basslines, while getting hot and heavy with lush vocal harmonies and a playful raspiness. We love nothing more than a sound that stands its ground while flirting with the listener to come a little closer; and such is the dance of Drug Music.

TDLR: This album is hot and if you don’t immediately listen to it after reading our review, it’s your loss. Thank you Magi Merlin for melting away the grey Winter slush, even just inside our shivering apartments — for this we are indebted to you.

Listen to Drug Music below

Magi Merlin

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


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Premiere: punctï Makes a Case For Colouring Inside the Lines With "Surprise"

 

punctï is the most intriguing practice of musical constraints since Brian Eno’s Oblique Strategies (or at least we think so). Turning the concept of limitation on its head, multifaceted experimental artist Laura Bardsley (and her alternating cast of one-off collaborators) strive(s) to embrace a “less is more” mindset by creating an album once a month following the same set of guidelines: composition, recording and overdubbing are done in the first, single session, and; post-production is done in another session, who’s duration is roughly the same length as the first. By cultivating a conceptual environment that aims to stretch the possibilities of performance and improvisation, Bardsley captures the “noise, meditation and inner turmoil” at the core of “Yes-Wave.” At the same time, Bardsley explains that “[the] project is all about reclaiming that childhood joy and wonder, without all the learned insecurity.”

Today, punctï premieres her 48th release, Surprise. In 15 tracks that graze the minute mark, punctï paces, yo-yos and chips away at the question she asks herself time and time again: “How do you feel today?” We had the chance to catch up with Bardsley on tinkering solo with her sampler, the restlessness of late-capitalism, and why Tiffany Haddish is “nobody’s bitch” to celebrate the four years of punctï. Check out our full interview below.

Zoë Argiropulos-Hunter for Also Cool: Hi Laura! Thank you so much for chatting with Also Cool. Before we get into the specifics of your latest album Surprise, let's talk about the punctï project. What inspired you to pursue such an ambitious endeavor? In what ways has working within the punctï framework impacted your artistic process, as a musician or as a performance artist?

Laura Bardsley: punctï started 4 years ago on a rather dejected Valentine's Day evening. I had a four track app on my phone and decided to make at least four tracks with the app in one night. After releasing my first album, I realized that it would be super fun to continue making albums in very short time-frames, especially if I collaborated with other artists. [The constraints of punctï] allow my collaborators and I to flex our music muscles every month, and I’ve learned enough about producing, mixing and mastering that I’ve realized there is so much more to learn.

I learned that Wile E. Coyote and Road Runner's relationship was built on a set of rules, just like punctï. It's really illuminated the endless possibilities of what is possible under a specific framework. For performing, I channel a disillusioned office worker, and it's a blast because: a) I've never worked in an office, so it's an acting challenge, and; b) It's a meld of performance art, music, choreography and comedy; sincerely the most fun I can have in one performance.

Also Cool: On that note, you've spoken to how your work channels and critiques feelings of restlessness and inadequacy within the constraints of late-capitalism. How has your perception of, and relationship with, these concepts changed and impacted the spirit of punctï with the dawn of COVID-19 and working-from-home?

LB: My perception of these concepts has only been cemented by the onset of COVID-19, but with more hope for change and growth than ever before. We're at a point where the whole world is experiencing this restlessness and these feelings of inadequacy. Somehow in our shared anxieties, there is a general understanding that this system is worn out and in need of replacement.

I've been doing remote sessions with my collaborators for most of the pandemic, and it definitely is more of a challenge to get into a creative, open and non-insecure mindset. Thankfully, we have the internet and all its gifts… Although I do truly prefer working with people IRL, and will cherish those sessions when they come back.

AC: Something I noticed when studying the punctï project as a whole is that all your collaborative albums reflect different levels of spontaneity. Can you speak to this notion of "Yes-Wave" that you and your collaborators embrace, and how you embody its mindset throughout your production process?

LB: I attribute the spontaneity to the time constraints and spirit of the project: each album is a record of my collaborators and I are at in that moment of our lives. What is grinding our gears right now? What makes us giggle? What makes us nostalgic?

One of my rules for punctï is that if you really like what you're playing, really feeling it, then change it. Make it better, make it different and challenge yourself to explore it. I used to worship No-Wave music, but at a point the rejection of musicality got old to me — I don't want to reject it, I wanna embrace it. I wanna say Yes to The Wave washing over me.

AC: You've tapered off from partnering with another artist to create Surprise entirely solo. What caused this shift and what influences did you bring into the work?

LB: I've produced the occasional solo punctï album, and since this month marks the project’s four year anniversary, I decided to do it alone. As for constraints, I only used my Sampler PO-33 KO, voice, and bass on one track. I was inspired by Tierra Whack's Whack World, where she made 15 one minute songs. Obviously I'm no Tierra Whack, and some of my tracks are over one minute long, but I really enjoyed making Surprise. At points I wanted to make more sample-based tunes, which I pepper into the record. There's bitter stuff, like "Previous Her,” nostalgia for recess on "Snow Worlds,” sex in "Eyes,” and of course, the anxiety of the pandemic in "Like A Lazy Aristocrat.” Oh, and a song about Tiffany Haddish, cause she's the best.

AC: I feel like with any work, there is always some "lessons learned" sentiment that lingers after it's fully realized. If this idea rings true to you, what has been the main take-away from Surprise?

LB: I think because I make an album per month, it's usually not really until later, looking and listening back that I get some kind of a "lessons learned" feeling. The main takeaway from this album is one I keep having to remind myself of: Why try? Why the fuck not.

AC: To close off, do you plan to continue the punctï monthly releases? Do you have any other projects or collaborations you'd like to plug?

LB: I'm pretty sure I'm gonna keep doing punctï until I die. I did the math and at age 69, I'll be producing album #420.

I do more accessible music under Blue Odeur. My newest single "Foam Born" is out on all platforms and on YouTube with a snazzy video.

Listen to Surprise below!

punctï

Spotify | Bandcamp | Youtube

Instagram | Facebook | Twitter

Laura Bardsley

Website

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

This interview has been condensed and edited for clarity.


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Premiere: DECOUPLR Drifts Through the Now with "Digital Bonfire"

 

Digital Bonfire by DECOUPLR is out now. Cover art: Jake Beadenkopf

 
 

Looking for something a little different?  Philly-based duo DECOUPLR have released their debut album Digital Bonfire, and the result is a sound that sticks. 

DECOUPLR is the product of two unique musical histories. Vocalist Bailey Walker got her start in Savannah, GA with Rich Animals, and joined neo-soul group Likebirds after finding her way to Philly. Producer Adam Laub is a long-time staple of the Philadelphia scene, releasing indie-pop as a member of OhBree and trip-hop as <radioaddict>, among other projects.

With Digital Bonfire, the listener moves through the pair’s influences and bears witness to their cohesion. Digital Bonfire is a trip-hop-infused product of the pandemic and all the feelings it’s drawn out – uncertainty, nostalgia, confusion. Walker describes debut single “Cold Sweat” as “...an intersection of the whirling uncertainties of this year colliding with a desire to be vulnerable with our closest friends.” On the second single “Changes,” DECOUPLR continues to fight the mundanity of isolation with vivid longings for tomorrow. 


Fans of Sylvan Esso and Flying Lotus will want to take a listen to what DECOUPLR’s been cooking. Let Digital Bonfire remind you to find hope beyond the Zoom screen… and take a read of our interview below!

Rebecca L. Judd for Also Cool: The pandemic’s impact on the album was incredibly pronounced. A standout track for me was the opening, “Keepsake”, which [highlights] this theme throughout the album where there are these mundane reflections of immobility and disenchantment over chaotic piano arpeggios and production. 

Was it your intention to reflect the present times in your album, or did that come about naturally? 

Adam Laub for DECOUPLR: It definitely was. A few of the tracks, we started a month or two before the pandemic hit. But they also happen to [just] be about being distant from people that you haven't seen in awhile, just by chance. And then, as soon as this all hit and we were all stuck inside, it quickly became this is the moment, this is where it should go.

Bailey Walker for DECOUPLR: I remember when we first started writing, the content was very about being lonely, and I had reservations – do we really want to come out with such a bummer album? Over the course of time, [we felt] like this is content that people can relate to. This is what a lot of people are feeling. So it's good to share.

Also Cool: What utility – as artists or as people, members of your community – does making the “COVID album” serve you in this time?

Bailey: I think that [it’s about] creating a conversation and an ability to connect with people during COVID. Creating like this, ever since March, we all started redefining what our community is and building our communities, especially online. To me, [this] feels like self-expression, but also an opportunity for conversation with people about things that [they] are not normally willing to open up about immediately.

Adam: It's been [part of] a lot of the lyrics. [The] concepts were about letting people know that it's okay to reach out to someone and talk to someone if you need to, especially during this kind of time. There was definitely a focus on that.

Bailey: But the privilege of getting to make music during a time like this, it's also not lost on me either. I have all these feelings, sure, but this is a collective struggle, you know? So it's for everyone. 

AC: Absolutely. It's just interesting to see people use [artistry during COVID] not only as something to unite their fans, but to reorient themselves. It's like a keepsake. It's something tangible [where] you can say it's the same sort of memory as a photo album.

 
 
Bailey Walker and Adam Laub of DECOUPLR. Image provided by DECOUPLR

Bailey Walker and Adam Laub of DECOUPLR. Image provided by DECOUPLR

 
 

AC: Looking at your musical histories, both of you have been involved in so many projects before DECOUPLR. Digital Bonfire reflects that, and it touches on a whole lot of genres. Has there been anything notable that's stuck with you from these musical projects?

A: I would say definitely. The genreless thing is big for me; all the projects I've been in have been pretty genre-absent. And I like being able to jump in between stuff like that. Also, I like a lot of glockenspiels with arpeggiators. You could probably find that on almost every track on this album, if you listen hard enough. It's always there. I promise you. [laughs]

B: I was going to say “glockenspiels''! But every project I’ve been in has also been a genreless, “we don't know what's going to happen” project. Having somewhere where I can just vocally run around in circles and play in [a] space is great. The whole genreless thing has worked out for me pretty well. 

A: I would also say, in general, the projects that I've worked on – including with DECOUPLR – have always been concept albums, even if we don't explicitly say it. So it's just something about having a flow or a narrative [that] has always stuck with me. And even if it's not a sticking point of the album – I think that for me, having that concept in the background has always helped to stitch things together in the end and make it make sense.

AC: That's true. So many artists will either put a completely different story on the page – because it lets them leave their stuff at the door – and for others, art is just an open diary.

I wanted to talk about the “Changes” video, because I thought that [video] reinforced this contrast between the chaotic instrumentals to it all and these reflections of loneliness and wanting to be understood. Hallucinatory animations and the longings for those colours in your own life. [Let’s] talk more about that collaboration process for the video with SUPERVOID.tv

A: I’ve been working on and off with [SUPERVOID.tv] on different projects for years. We did an electronic music record label that [had], God, some of the early beats that I made out there. Then, we kind of fell off and hadn't worked on anything for a few years, but Drew and Keppler and the rest of [them] started this new studio because they wanted to move. Drew did a lot of lighting design and then stage. They started moving into visuals, and we'd been talking about doing something like this for a long time and it just clicked.

It was easy to work with them. We'd never done anything like that. And, you know, [as] someone who is not a visual artist, it was mind-blowing to see how they could make two people sitting next to a tree seem so intriguing and emotional. They literally filmed us for like about 10, 15 minutes… and they did take the time to hand-draw, frame by frame. So, thank you very much SUPERVOID.tv It’s an awesome video.

 
 

AC: “Punchline” was another track I wanted to ask about. It intrigued me for its change in narrative [and emotion], relative to the rest of the album. That post-chorus of cacophonous “ha”s, that’s been stuck in my head. Could you elaborate on the intentions of that track and how it fits into that [Digital Bonfire] kaleidoscope?

B: With any disorienting mess that you go through, there's always this “aha!” moment, this moment of clarity where you say “...oh, I'm still breathing. I have all my fingers and toes.” “Punchline,” the lyrics, the melody, the little ditty came to me in this moment of just needing to take a second to find humour in a very humourless situation. And I drew from influences like Kate Bush and the silly abandoning of reality that she does. “Punchline” acts as a sigh of relief, a little bit. 

A: We also wrote it [when] we were at the height of the Trump administration. And the rest of the album was a bit about personal feelings towards all this stuff. We needed to talk a little bit about how our country is killing half a million people – but try to make it a little bit light and danceable, I guess. There was definitely a point in the pandemic where it all [sounded] like a big joke on us and they were going to pull it back and it was the Truman Show. But sadly, that's not reality. 

AC: How has your local music scene shaped your musical approach? What do you like about the Philadelphia music scene, or is there anything that you wish could change?

A: I've just found a lot of loving, caring people in this music scene. We've done shows all over the place, but I don't feel like I see the same kind of community… [We have] this huge scene with so many people who don't seem to shut smaller and newer artists out. I've just felt a lot of acceptance here, and it's why I've stuck around and done so much.


B: Savannah is a great city, and there’s lots of artists there and a lot of important movements happening there right now. I felt the same thing when I got to Philly, I would take myself to different open mics and local shows ... And the people, they just want to talk to you. People want to know what you have going on.


AC: Final question: with Digital Bonfire out [today], is it too early to ask about next steps, or anything you’d like to plug?


A: We actually have another music video by SUPERVOID.tv for the first single “Cold Sweat.” With the timing of things, we thought it'd be better to wait until the album's out. With this album, I pulled a lot of beats that I've had in folders for years. I've got a lot more of those. So it's only a matter of time before we've got new music yet again…


I’d like to plug the person who helped us with our album art and graphic design – Jake Beadenkopf. He [also] helped us with all of our fonts and texts.

DECOUPLR

Website | Instagram | Twitter | Facebook

Bandcamp | Spotify | Soundcloud | YouTube

Listen to Digital Bonfire, out now on all streaming platforms.

Rebecca Judd is the features editor of Also Cool Mag.

This interview has been condensed and edited for clarity.


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Premiere: Kue Varo Has Something to Say with Debut Album Daffodil-11

 

Kue Varo, photo courtesy of Ariana Molly

After much anticipation, it’s finally here – Montreal-based artist Kue Varo (she/her, he/him, they/them) has released their debut album, Daffodil-11, and we couldn’t be happier.

Kue Varo is the solo project of Kat Spreen, a musician and multi-instrumentalist with a passion for creativity and authenticity. Daffodil-11 is the accumulation of years of writing, working and playing in her local DIY scenes, whether that was during her teenage years in the traditionally conservative city of Calgary, or the artistic hub of her current home, Montreal. 

Album standouts are a-plenty, including “Dreaming” – an emotional freefall of a track in which Varo pleads to anyone who will listen: “Is this the waking life / Or have I died in my sleep? / I used to have something / I thought I could keep.” Shoegaze fans will be entranced by “Fully Clothed”, a feminist anthem that cloaks the listener in reverb. Between bouncy guitars and wails of release, “Animals” will get you thinking about your relationship with social media. Can you tell we’re a fan?

Float away and feel the feels with Kue Varo on Daffodil-11 – and take a look at our November interview, where she dished on identity and its influence on her creative expression. If you need us, we’ll be ~vibing~.

Kue Varo, photo courtesy of Ariana Molly

 
 

Daffodil-11 is a reference to Kurt Vonnegut's Slapstick, which is my absolute favourite book of all time," said Spreen. "It’s roughly about human decency for human [decency’s] sake, without attachment to outcome. This album starts with an angry introduction to the planet, and ends with me trying not to bury her. It’s a very vulnerable and sometimes uncomfortable undressing."

Daffodil-11 was recorded at Montreal's St Zo Studio. The album features Matthew Spreen on rhythm guitar, Chris Dadge (Alvvays) on percussion, Scott Munro (Preoccupations) on synth, and Rena Kozak (Child Actress) on bass and production duties. The seven songs on Daffodil-11 each have one of two personalities attributed to them.


"Although I believe strongly that traits assigned a gender are silly, I enjoy exploring duality in the form of gender to help come to terms with what was imposed onto me," Spreen said. "Gender presenting is a fun visual way for me to do so through my art. Each song on this album has one of two personalities attributed to it: the mod princess light and magnificent of the 1960’s and the grungy 1970’s/90’s beatnik poet/failed artist who is bitter and feels entitled to be. These traits simultaneously exist within me and it’s incredibly liberating to lean into them as a form of expression and creativity."

Listen to Daffodil-11, out now on all major streaming platforms.

 
 

Kue Varo

Website | Instagram | Spotify

Soundcloud | Bandcamp | Apple Music

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Premiere: Misao McGregor Celebrates Self-Definition With Debut "Kid In The Corner"

 

Kid In The Corner album art

If you haven’t already met her, Misao McGregor is a name you won’t forget. Based in Los Angeles, McGregor has an impressive resume. First, she is a member of PlayGround-LA’s Writers Pool Playrights Program for the 2020-2021 season and has had her works produced in major cities such as Connecticut, Seattle and her hometown of Los Angeles. Second, she is the founder of Sacrosanct, a digital community blog that aims to highlight and uplift the creative expression of queer, trans and non-binary BIPOC through community centered activism. Today, she adds to this list of achievements through the release of her debut album Kid In The Corner. Written, recorded, performed and produced by McGregor, Kid In The Corner exhibits her exceptional gift of storytelling, and in her own words: “seeks to provide a voice for those who feel marginalized and disenfranchised while also showcasing her unique and individual experience as a queer, non-binary, mixed-race human in this world.”

 

We were so excited to meet McGregor and learn about how this album, with roots in indie, pop and soul, has grown with her over the years as “an homage to the experiences that have shaped [her], both good and bad, and acts as an end to a chapter only to start anew.” Read our full interview with the 24 year old singer-songwriter below!

Zoë Argiropulos-Hunter for Also Cool: Hi Misao! Thank you so much for chatting with me. To start, congratulations on the release of Kid In The Corner! As you've said yourself, your album encapsulates all the experiences that have shaped who you are during your 24 years on this Earth. How did you conceptualize such a powerful work and see it through from start to finish? Did you have any inspirations guiding you along the way? 

Misao McGregor: Thank you so much! I guess everything sort of came together in a narrative that served to illustrate my life’s experiences, particularly in the ways that I’ve grown over the last couple of years. All of the songs on the album were written within the last five years and represent different formative experiences within my life. So in terms of any kind of inspiration, I just decided to sit back and listen to what my body and my soul needed to hear. Music has always been a therapeutic tool for me and it’s allowed me to discover new insights into my subconscious. So taking a back seat and listening to what I needed in order to heal from certain experiences allowed me to be guided by the music, and ultimately presented itself through the making of the album. 

Also Cool: Branching off of that, the album draws on your own experiences with marginalization and disenfranchisement: How have you maintained self care throughout creating such a vulnerable work?  What advice would you give to other creatives using storytelling as a form of radical healing to mitigate anxiety, stress, burnout and so on? 

MM: Oh, this is a great question! There were times when I really needed to step away from the work. There are a lot of moments in the album where I talk about my struggles with eating disorders, depression, and anxiety. At times, I didn’t want to face those things through music because I was already facing it in my everyday life. But at the same time, music has allowed me to validate my own feelings and express my struggles through a means of creation. If anything, viewing music as a tool rather than an artistic obligation allowed me to put the work down and walk away when I needed to.

I firmly believe in taking a breath of fresh air during the creative process to gain a better perspective, or just to clear your mind when you’ve been so entrenched in something artistic. I try to focus on my basic human needs in those moments, you know, making sure I’m eating, breathing, drinking water, meditating, doing yoga, etc. I often find that even taking a small break from the artistic process can actually help keep me grounded, so that when I do return to the work, I feel like I can approach it more authentically. 


AC: Along with composing this album, you are also behind it's production - which is so amazing! Tell me, what was it like occupying both roles as artist and producer when realizing Kid In The Corner? Did the scenario impact your relationship with or feelings towards any of your songs? 

MM: Woof, it was a ride! I’ve taken piano and voice lessons from a young age, but only within the last two years have I started to explore producing my own work. I actually found myself feeling like a fish out of water in that sense because I was entering new territory, but within the realm of music which has always been familiar to me.

In terms of being both the producer and the artist, those roles seemed to come fairly easily to me. I recorded this entire album in the back bedroom of my parents’ house completely on my own. While at times that felt isolating, it was also kind of my greatest fantasy to have complete creative control, but then if things went wrong, I only had myself to blame. If anything, knowing what I wanted the final sound to be like gave me a better idea of how to deliver the vocals while recording. I knew what elements I wanted to highlight, which also made mixing the record easier as well. I think with such a comprehensive understanding of each song, I actually managed to discover new themes and ideas. After listening to these songs on constant repeat for the last two years, I went through stages of feeling numb to the meaning of these songs, and then rediscovered how important they were, and are, to my personal development. As challenging as it was to wear several different hats in this process as artist, producer, mixing engineer, marketing and public relations, etc., it’s an experience I honestly wouldn’t trade for the world. 


AC: Of course, COVID-19 hinders how we all interact with art at the moment... But how are you hoping to share this album with the world in person when it becomes possible? Do you have a vision for what your ideal performance would look like? 

MM: I know, COVID has put a damper on pretty much everything in our lives. I’ve just been so lucky that my family and I have managed to stay healthy and safe throughout this entire period of time. But! I am excited to be facilitating a giveaway for two different digital booklets that I made to accompany the album: One standard edition with lyrics to each song, and another exclusive addition with accompanying personal essays and childhood photos. If I had an ideal performance in mind, I honestly think I would rely a lot on simply piano and voice. While producing my own work has been so much fun, my roots will always be just sitting at the piano and singing my heart out. I suppose my ideal performance for the album would take place in an intimate environment given the personal nature of the album, and would feature a lot of storytelling and meaningful interactions between myself and the audience. 

Misao McGregor, photo courtesy of the artist

AC: Alongside music, you are also a playwright. Though both mediums in your case tackle similar themes of identity, friendship, family, sexuality, and trauma, does your approach to storytelling change depending on the form it takes? If so, how do you manage being a multifaceted author? 

MM: Oh, absolutely! I have found that with songwriting, I write solely from my own experience and it is much more introspective and personal. But with playwriting, I’m able to take on different roles through different characters and allow the contradictory parts of myself to battle it out within a dramatic setting. I think playwriting actually forces me to place myself in others’ shoes, while songwriting lets me sink into myself and validates my own personal experiences. It’s kind of a nice balance between the two because I’m able to explore various iterations of myself while still broadening my perspective through other people’s points of view. Playwriting also involves a lot more research, whereas songwriting is much more instinctual for me. 

AC: That last question leads me to ask if you can tell me about your project Sacrosanct, and what the creatives behind it, such as yourself, are aiming to do through your own modes of self-expression? 

MM: Yeah! Sacrosanct is a community blog that provides a space for queer, trans, and non-binary BIPOC to share their art and voice their personal experiences, while simultaneously [using the] platform to heal, self-define, and self-actualize through art and wellness. I started this project in June of this year, and have managed to collaborate with and feature over 50 different artists ranging in disciplinary fields from writing, poetry, music, visual art, photography, dance, sex work, academia, wellness, fitness, fashion, food, and community activism.

I, myself, am fair-skinned and can easily [present] as a white, straight, cisgender girl, though I identify as a gay, non-binary femme of mixed-race Japanese and European descent. I take my privileges very seriously, as they have provided me an easier existence in this world, and have also allowed me to benefit from the various forms of oppression that continually marginalize and disenfranchise Black and Brown queer, trans, and non-binary folks. More than anything, I wish for Sacrosanct to be a space that can reflect the diversity of experiences within queer, trans, and non-binary BIPOC [communities], because each individual within these categories of identity brings a different perspective, background, and cultural understanding to what it means to exist in this world. 


AC: Before we let you go, are there any other projects that you're working on that we should keep a look-out for? 

MM: As of right now, Kid in the Corner and Sacrosanct are the main two projects I have been working on to keep me occupied throughout 2020! I will absolutely keep making music and continue facilitating the blog, but in terms of any organized plans, I don’t have any at the moment. Though I’m sure that won’t last for long!

AC: Finally, how are you planning to celebrate the release of Kid In The Corner

Since there won’t be any opportunities to gather with loved ones in person, my plan for right now is just hopping onto Instagram Live and celebrating virtually with friends! I don’t think it’s really hit me yet that this album is going to be out in the world. Being able to share it with others will definitely help me feel like I accomplished something that represents who I am right now in this moment in my life

Misao McGregor

Website | Instagram | Youtube | Facebook | Soundcloud

Listen to Kid In The Corner out now on all major streaming platforms

Listen to Kid in the Corner on Spotify. Misao McGregor · Album · 2020 · 11 songs.

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

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Nora Toutain Has Found Her "Grounding Place"

 
Nora Toutain, photo courtesy of Jawad Elajnad

Nora Toutain, photo courtesy of Jawad Elajnad

As the days grow shorter and the nights get colder, I am searching for warmth in everything I consume. There is comfort in an oat latte, a feel-good rom-com; and now, happily, the soothing sounds of Nora Toutain and her debut album Grounding Place, Vol. I.

Nora Toutain is a Franco-Moroccan singer-songwriter, based in Montreal. Her unique sound can best be described as alt-R&B, though Nora combines masterful vocals with a variety of genres – jazz, funk, neo-soul, and Afropop – to create music that is distinctive and intrepid. 

Produced by Chris Vincent, member of Montreal electro-soul band Busty and the Bass, Grounding Place, Vol. I is one half of a collection of songs that honours and celebrates Nora’s North African roots,  the place where her story began.


This album captivates and celebrates, guiding the listener through an auditory experience unlike any other. I recently had the opportunity to speak with Nora about her magical debut, the experiences that have informed it, and those who inspire her to continue creating. Read our interview with the talent that is Nora Toutain below!

Rebecca Judd for Also Cool: Hi Nora, thank you so much for taking time to chat with us. I’m a huge fan of this record, it’s been on loop. Let’s start off with the basics - tell our readers about yourself and your artistry!

Nora Toutain: Thank you so much! I’m honoured to be featured, and I am so humbled to hear that the record resonates with you! I’m a Franco-Moroccan singer songwriter based in Montreal.  I was born and raised in Morocco, lived in India during my early teens, and came to Montreal to study science at McGill. After graduating, I made a drastic switch and got a Music degree in Jazz Performance at the University of Montreal. My music is a blend of alt-R&B, soul, jazz, funk,  blues and Afropop. My sound is a direct reference to my diverse cultural background and musical influences.

AC: Musically speaking, Grounding Place Vol. I is an incredibly playful album. “Bad at Love” is a bouncy fusion of soul-pop and jazz, “Victoriaville” celebrates freedom through sonically sparkling Afropop… What are you trying to express through all these melanges? 

NT: It’s true that it’s eclectic in genre and style. But that playful sound you’re referring to reflects, in part, the spark and burst of spontaneous energy I felt from starting my career as an artist.  I think that that’s just something that can be felt due to the vibe I had at that moment in my life, about to embark on this epic journey. Vol. I is bright, energetic, and fiery, drawing inspiration from the North African sun, and the colours of my home in Morocco. The themes explored deal with heritage, power, identity, travel, dreams and love.

 
 
Nora Toutain, photo courtesy of Alexya Crôteau-Grégoire

Nora Toutain, photo courtesy of Alexya Crôteau-Grégoire

 
 

AC: You got your start performing with Kalmunity, which is Canada’s largest musical improv collective. How did this experience inform your musical approach?

NT: Kalmunity played a huge role in my musical life. When I first discovered KVC, it was like an epiphany. Seeing these beautiful souls getting together, trusting each other and the music enough to perform improvised song after song… it really resonated with the way I approach and experience music. It feels like a testament to this notion of having a higher force guide us through the process of creation.

So to answer your question, joining the collective definitely made me a stronger performer, because doing what we do requires a lot of courage and faith to step on the stage and deliver a performance without knowing what’s going to happen next.  It definitely helped me learn how to quickly and efficiently adapt to different situations.

[Kalmunity] also naturally guided me through my songwriting later on, because really, what we were doing was constantly writing songs on the spot. It nurtured my curiosity and desire to take it a step further, and convert some of my musical sketches into fully structured songs that take time to really craft.

AC: Branching off of that, I’m really intrigued by the track “Kvc”, in which you speak about the importance of artistry and creativity in order to build community. It feels especially timely in this moment, when we are having to build communities beyond the physical realm. Can you elaborate on your philosophies shared in this track?

NT: In this interlude, I’m definitely making a link between artistry and community, which is important to me.  It’s true that artistry and creativity help build communities, but I’m interested in how community actually informs creativity.  I think one of my strengths is [knowing] other people’s strengths and [putting] them in contexts where they shine. For me, there is no [magic] and no sparks if there are no exchanges - this is an example of why I love and thrive in collaborative creation.

AC: The music video for “Women” is really beautiful - in sharing these clips of your family’s traditions, there is a real sense of authenticity and intimacy in all that the song expresses. Can you name some of the women who are inspiring you right now?

NT: Thanks for the kind words!  I have to start by shouting out the women in that video, who are all family or close family friends.  My mother is the primary source of feminine inspiration in my life. Also, interestingly enough, I’m finding myself currently collaborating and working with a lot of women that inspire me… like the women of LOTUS Collective, who I’d like to shoutout.

 
 
 
 

AC: Thank you again for your time, Nora. Really excited to see what comes next from you - what can we anticipate in the months to come?

NT: Thanks again for having me! In the next few months, other than taking time off for the holidays, I’ll be working on some live performance videos to release in anticipation for Volume 2…

 
 
Nora Toutain, photo courtesy of Alexya Crôteau-Grégoire

Nora Toutain, photo courtesy of Alexya Crôteau-Grégoire

 
 

Listen to Grounding Place, Vol. I - out now!

Nora Toutain

Instagram | Facebook | Bandcamp

Spotify | Youtube | Soundcloud

Rebecca Judd is the features editor of Also Cool Mag.

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


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