A Lost Season, A Magical Year: Trevor Sloan Releases "A Room by the Green Sea"

Trevor Sloan

The music of Trevor Sloan is nothing short of purifying. The multidisciplinary Toronto-based artist excels at penning vivid interpretations of nature, love, loss, and renewal. His folk-pop instrumentation and gentle descriptiveness—reminiscent of artists like Sufjan Stevens—swell with warmth, lifting you to a plane of uncanny familiarity.

On Sloan’s latest self-released album, A Room by the Green Sea, the simple beauty of summer vacations gone by unlocks so much more. Sloan teleports between country fairs and shifting waters, backed by layered acoustics, subtle drum patterns, and field recordings. From the precise memories of “Praying Mantis” to the sober admissions of “Blade on My Face,” A Room by the Green Sea is the embodiment of what you’d hope to hear by picking up a conch shell. It’s the creamy cable-knit jumper that you slip into as the sun kisses you goodbye.

Leading up to today’s release of A Room by the Green Sea, Sloan jumped on a call with Also Cool to detail his latest artistic chapter. We caught up on his poetic inspirations, his adventures out West, and much more.

Rebecca Judd for Also Cool Mag: With [A Room by the Green Sea], you mention that it was inspired by some recent summer travels. Mayne Island – that’s a different one, I’ve never heard of that part of BC before. Can you tell me what it is that brought you out there – what it is you got up to and how that impacted your creative process?

Trevor Sloan: My wife’s family actually lives there, so I’ve been going there for many years. It’s almost like a second home, in a sense. [We’ve gone there for] the last two summers – it’s a beautiful little island, the ocean, the forests. We went to the beach a lot, did some hiking...

We also did a little road trip of Vancouver Island and went to another place called Qualicum Beach, and then Comox, Courtenay, Cumberland… we did this whole tour of swimming, [checking out the] different beaches because we love to do that.

When you’re on Mayne Island, the ocean is just always there. The boats going by, you’re swimming or seeing the waves coming in. I wrote some of the songs there when I was staying there; “Salty Ocean,” for example, and “Island Girl.” And the title A Room by the Green Sea is a room in [my wife’s family home], it overlooks the ocean. Just the feeling of being there and having these memories…

Also Cool: That’s cool that it’s a connection with your wife’s family as well, because it’s a whole different perspective on the notion of family and connectivity to a place. “Ottawa 1977,” [a previous single], that story is related to your family, but Mayne Island must feel familiar yet different.

October Days by Trevor Sloan

In our previous interview (written by Valerie Boucher), you shared that you like to craft characters and immerse yourself in their worlds of these characters – different objects, different settings, different things that you observe. There are a lot of new stories in A Room by the Green Sea: there’s the brokenhearted diarist in “Sweet Lady Jo,” there are teens playing tetherball. How did these new personalities reveal themselves in this chapter? Do they manifest naturally? Do they ever cross over different timelines?

Trevor: I feel like this album is a bit more personal, and maybe there are less characters. It’s more so based on my life and things that I’ve experienced. That being said, even when I’m writing about something that’s happened in my life, it’s still a mix of memory and imagination. Like, I become a character in the story – it’s not necessarily autobiographical.

“Lady Sweet Jo” is an interesting one, because that’s a character – that’s a female poet. The story behind that one is I was reading some poems by Den Sute-jo, but I misread it as “Lady Sweet Jo” because in the book it was written as “Lady Sute-jo.” I thought, “That’s the coolest name, Lady Sute-jo.” The inspiration also came from reading a Chinese poet by the name of Chu Shu Chen, and she writes this very heartbroken and bitter verse. So I came up with this character that was loosely based on these two poets.

AC: All it takes is a little seed. I love the idea of it being a productive misread.

TS: I now have reading glasses, but before then I didn’t… I wouldn’t make that same mistake now, but it was a blessing in disguise.

AC: I’m interested in the stories that don’t make the cut. Are there things where someone or something presents itself as an inspiration, but it doesn’t feel right? Or if [a character or object] is associated with this particular setting or time in your life, does it feel like you need to get those things out on the paper at the same time?

TS: Generally, I will record 20-30 songs and then I pick the best 10. Sometimes songs and characters get cut because I just want to pick the best.

AC: Your music has this delicate and nostalgic quality to it where it feels like a memory in its softness and descriptiveness. But its production is [quite] sharp and meticulous—you work really hard at crafting this vibe that is quite comfortable—so I feel like calling your music “nostalgic” might be a bit reductive when it is so detailed. I’m interested in knowing the ways you may have experimented or tried to do something different with your sound on this new album. 

TS: I really appreciate you saying these things, and the concept of not wanting to call it just “nostalgia.” That’s a word that gets thrown around with my music a lot. I do feel like I try to keep things interesting and modern, I’m constantly discovering and listening to new music. I’m very much inspired by the 60s and 70s but I’m also inspired by new artists. I want my music to sound “of its time” – it’s not just a rehash of [those decades].

In terms of experimentation: in the last interview I did with Also Cool, I talked about my defective [Roland Juno-106] keyboard, and that’s now fixed! [laughs] I was able to use it more, and it was an enjoyable experience. The Juno is an analog keyboard from the 80s. There’s a particular sound on it that has a 70s lounge vibe to it, and I used that on a few tracks, so that’s a thread throughout the album.

I also used more electronic-sounding drums on a couple of the tracks, like “Praying Mantis” and “Island Girl.” That was a new thing for me.

And the sounds of nature…I use water sounds—waves, rivers—and the crackling of a fire.

AC: [Those choices] lend themselves well to what it was you were trying to capture. I love it when musicians take advantage of what it is that’s around them and use that to enhance a story.

Free… Free! by Trevor Sloan

You collaborated with Andy Magoffin, who mixed and mastered some of this album. What was it like to [work] with him again?

TS: Andy’s awesome. I love working with him. I’ve worked with him on maybe eight albums, and so we’re very much in sync now. I can give [my music] to him and let him do the mixing and mastering – there’s always a bit of back-and-forth, but it’s been so long that he just knows what I like and he makes it happen. I really appreciate what he does, because he brings a brightness and a spaciousness to the sound so it all sounds like it’s in a room with the instruments coming from different places.

He also played horns on “Don’t Waste Your Time” and “Lady Sweet Jo.” That was a new thing [for me] – I would love to have more instruments on my records, but I don’t know a lot of people. [laughs] It was nice to have that extra touch.

AC: I took particular interest in “Don’t Waste Your Time.” Going back to common themes in your music, I found that that track really spoke to me as I read the lyrics. It takes a certain turn where it feels like it’s focusing on how to forget more than how to remember. That stood out relative to the rest of the album. Where does that track fit into the album’s narrative, and how did it come to be?

TS: [Many of my] songs can be introspective and concerned with little details, but I would say that [Don’t Waste Your Time] is a bit more universal. It’s about a heartbreak from youth, and how heartbreak changes over time. As time goes by, as you get older, you start to look at it differently and maybe it loses some of the pain that was associated with it. You get to a point as you get older when you can smile at it.

It’s also giving advice – “if you can’t tell what’s on their mind / don’t waste your time.” You’re better off being with people that make you feel good, people who you know where you stand in their eyes.

AC: It’s nice to have that balance of [universality], amidst songs that concern themselves with putting one in the shoes of a character or the emotions of a particular place. For people who want something that presents itself in a different way, it’s definitely powerful to connect the escapism with something more relatable.

For the cover for A Room by the Green Sea, [you’ve added] some unique shapes to it. I want to say one of them is a scythe…? Even just the [muted] colourways. I’d love to ask more about the album art and how you created that collage.

TS: I created maybe four or five collages, and they’re all in the same vein. I wanted something more abstract [for this album], and mysterious. A lot of the collages that I was doing, there were these “ghostly figures.” When you mention the scythe, there’s this green thing that looks like the top of a ghost.

My source material was different paintings from the 1700s, and I cut them up and rearranged them. I wanted the green to be very prevalent. When I collage, I just start cutting and see where it all comes together.

AC: What are your upcoming plans for the release of A Room by the Green Sea?

TS: The most exciting thing is I decided to get vinyl done for this record. This doesn’t make any sense in some respects, but I’ve always wanted to do vinyl and have the physical thing in my hands!

Vinyl Giveaway

To celebrate its release, we’re giving away one vinyl copy of A Room by the Green Sea! Enter today for your chance to win this mesmerizing new album.

To enter the giveaway:

• Follow us at @alsocoolmag and @trevorjsloan 

• Like the post on Instagram

• Tag your go-to friend for music recs (1 comment = 1 entry, no limit!)

Terms and Conditions:

The giveaway closes on September 9th, 2024 at 11:59 p.m. ET. You must reside in Canada to participate in the giveaway. The winner will be selected at random, announced, and contacted via DM on September 10th, 2024. Should the winner fail to respond within 24 hours of being notified, another winner will be selected. The winner of this giveaway will receive one vinyl copy of A Room by the Green Sea shipped at no extra cost; please note that any damages incurred while in transit are no fault of Also Cool or Trevor Sloan. This giveaway is in no way sponsored, endorsed or administered by, or associated with, Instagram. 

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A Room by the Green Sea

out September 6th, 2024

1. Introduction

2. Salty Ocean

3. Praying Mantis

4. Don’t Waste Your Time

5. Faded Towel

6. Green Rivers, Green Summers

7. Sunlight through the Window

8. Blade on My Face

9. Island Girl

10. Purple Starfish

11. Black Water

12. Lady Sweet Jo

All tracks written and recorded by Trevor Sloan

Horns on tracks 4 and 12 by Andy Magoffin

Mixed and mastered by Andy Magoffin

Cover art by Trevor Sloan

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Trevor Sloan

Instagram | Spotify | Bandcamp | Website

Rebecca Judd is the features editor of Also Cool Mag.

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Lumi Athena, Banggz, Tinashe, 2hollis And More: Also Cool's Playlist Refresh

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Also Cools, we’ll cut to the chase: lots of stellar tunes are making the rounds and we’re here to help you find them.

This edition of our Playlist Refresh boasts forward-thinking releases from musicians like Lumi Athena, Banggz, Tinashe, and plenty more. You know what to do – save our regularly updated Playlist Refresh on Spotify today and scroll on to hear our takes.

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The sophomore record of Nigerian-born, Ottawa-based Afro-rap vanguard Banggz has been on repeat since it dropped earlier this month. Aptly titled 4 THE BANGGERZ, the anticipated release delivers hit after hit along with a star-studded cast of featured performers, including City Fidelia, Asuquomo, and Jahmeema. 4 THE BANGGERZ sees Banggz ambitiously craft a “sonic escape,” fusing West African rhythms, futuristic soundscapes and energetic anthems of resilience, identity and camaraderie. To celebrate the album’s release, Debaser hosts the 4 THE BANGGERZ live show on Friday, August 23rd at Club SAW. The lineup features special guests Chyme, Queeny, Mo the Pro, and an immersive installation by MvB. 

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Tinashe - “When I Get You Alone”

Summer 2024 has been dominated by the meteoric rise of many women in pop, both emerging talents and seasoned tastemakers. Among these chart-toppers is Tinashe, an artist who has long uplifted the scene with her subversive sound and confident lyricism without enjoying recognition from the masses. But with earworm “Nasty” serving as a catalyst for some overdue love, the release of Tinashe’s new album Quantum Baby holds the potential to anchor her in the spotlight.

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Slice Casts a Dreamy Sheen on Sincerity with "III" (Selenite Records)

Megan Magiera, Barbara Barrera, and Alex Hattick of Slice by Debbie Cho

Mellow yet moving, flowing yet focused, Long Beach’s Slice have long been crafting their unique indie spell. Comprised of spouses Megan Magiera (guitar and vocals) and Barbara Barrera (bass), along with keyboardist and vocalist Alex Hattick, Slice’s thoughtful artistry has gained favour with women and LGBTQ+ communities across Southern California. The trio masterfully employs motifs of jazz, post-punk, and dream pop, honouring their respective backgrounds without compromising artistic growth.

Their latest EP, III (out August 9th via Selenite Records), carries that compelling torch. Its captivating melodies are enhanced by earnest lyricism, navigating the waters of mental burnout and the demonization of homelessness. Slice touches on pervasive issues with cohesion, turning moments of isolation into cause for unity.

Late last month, Megan, Barbara, and Alex sat down with Also Cool to chat all things Slice.

Rebecca Judd for Also Cool: The band is coming up on its tenth anniversary. I’m interested in hearing how Slice's story first began, and looking back on the first chapters of the band.

Megan Magiera of Slice: It was kind of just me and Barb. Has it been ten years? Or is it-

Barbara Barrera of Slice: It’s coming up. You [Megan] would jam with your looper and you recorded [debut EP SLICE] – remember? All by yourself.

Megan: Yeah.

Barbara: But then we would also jam in your room – I would play bass, you would play guitar.

Megan: The beginnings are just in a bedroom. I thought it would be fun to play a show for my birthday, so we [Megan and Barbara] played a show, and I thought that was really fun. We met Alex and Kelsey [Landazuri, producer and engineer] through the music scene and… I feel like those beginnings are just in a bedroom, you know? Just making-

Barbara: Lo-fi.

Megan: Yeah, lo-fi…

Barbara: Bedroom pop.

Megan: Yeah, there you go…pop? [laughs]

Also Cool: So what were some of the previous bands you were in?

Barbara: I was in a band called Gaze with Lily Stretz from Meow Twins.

AC: Alex, you came into the band a bit later. What was your experience like before joining Slice?

Alex Hattick of Slice: I was a music major turned psychology major. I started playing guitar…in my early 20s, I guess? And then I started my own project, Hellgal, that Meg was in too. I was playing in three bands at one point.

So I saw Slice play, and there were a couple of songs that got stuck in my head, which is pretty rare when I go out and see bands. Usually, it’s like, “Oh, I like this!” but I don’t remember anything.

But I remembered “Sick,” and it always – I could sing “Sick,” and there’s no lyrics to it. There’s this little melody [that] would get stuck in my head. I remember hearing them play as a three-piece, and just being a little fangirl for a while. And then Michael Williams of Sanguine Knight was like, “You should be in Slice! You should have Alex in Slice!” [laughs] He was the little bird in everyone’s ears.

AC: So it was like a [crowdsourced] fusion of the minds coming together? It was just a matter of time before you joined forces?

Alex: Yeah!

AC: Jumping off of that – you’ve mentioned some of these smaller bands in the scene. Here in Canada, you hear about the music scenes in Orange County, LA, and across the West Coast as some kind of entity. A lot of what I’ve learned about the band is that Long Beach and the OC are important to your identity. I’m interested in knowing how your music reflects the sounds and the vibes of the West Coast, of the OC, and how you think it differs as well.

Megan: It’s hard to say stuff about Orange County – Long Beach is LA, technically, but I don’t know much about the Orange County scene. I know you [gestures to Barbara] were involved in it.

Barbara: I mean, I was in the Orange County punk scene as a teenager. But I feel like [being from the West Coast] adds to our chill sound.

Megan: There you go, there you go! [laughs]

Barbara: People say life over here is very laid-back and chill and I feel like our sound reflects that. What do you think, Alex?

Alex: I feel like Long Beach is a mini-LA in some ways. There are some really good venues here – some well-established venues that are dedicated to local music, which is cool. I’ve never lived in Orange County—Long Beach is right on the cusp, it’s like the last stop before you get to Orange County—but a lot of people from LA have started moving down here. I’ve run into multiple people who say they’ve moved here from LA and they’re like “It’s weird here, everybody just says hi! Everyone says hi when you’re walking down the street!”

I think there’s been a shoegaze-y or a 90s resurgence in stuff [here]. There are also little pockets of post-punk resurgence in the area too. So I think it’s been interesting watching who we parallel and relate to music-wise.

Slice by Debbie Cho

AC: Getting to the new EP, III, a lot of it shifts around some dark subject matter. There are songs that deal with anxiety, and “Depleted” deals very specifically with burnout – I’d like to hear more about the greater inspirations at play here. Did you set out to make an EP inspired by something you were working on [or dealing with], or did you feel like the songs kind of came together organically?

Megan: I would say it happened organically, for sure. There was no concept – I strived to do that later on. But all of these songs were written so far away from each other that there wasn’t a “theme” or anything. It just kind of [came back to] everyday struggles that we deal with and were inspired by. The subject matter is something that we [all] see probably every day. Dealing with anxiety and things like that, it’s just our everyday lives. The ebb and flow of life, you know?

AC: What would you say are the time frames through which you were working on all of these songs?

Megan: 2018 to 2020, maybe?

Alex: “Depleted” and “Shopping” are the most recent songs. Those are 2020, 2021, I think? Time passes so quickly!

I worked on the lyrics for both those songs and the lyrics came up during specific moments of feeling my own burnout from working as a therapist; of just feeling those feelings of the world, the nature of our political climate, and things like that. Holding all of that is a lot – for everybody, for lots of different reasons! I work with clients on [those subjects] too, so it’s something I encounter really frequently.

Also, as a social worker, I’ve had several jobs working with lots of different populations, so the lyrics for “Shopping” were inspired by some of the political pieces I’ve been following around the unhoused population and the treatment of those folks in our culture.

AC: Yeah, “Shopping” was one I particularly picked up on. It felt very charged, very riot grrrl in that sense of boldness to it. That’s really interesting to hear more about its connection to the unhoused and other [therapy clients] you’ve worked with.

Learning more about the band, it seems like the band consciously refrains from overproduction and you want to replicate the essence of your live shows. Painting the picture of these live shows, what do they look like? What is the connection to your community in those shows, and how did you come to value this in your sound?

Megan: That’s a good question. Have you ever been to a concert where the band didn’t sound like the recording – in a good way or a bad way?

I guess it’s just more authentic and we feel like we’re being ourselves. There’s nothing that we’re hiding behind. It’s an expectation that we set.

Barbara: When we’ve recorded, it’s always felt like taking a picture of what we sound like at that moment in time…rather than making a painting…if that makes sense? We added some [stronger] production to the new EP though.

AC: I like the visual imagery of that – that does make sense!

Alex: Yeah, and I think with how we seem to jam together, we almost work better together with simplicity and a certain amount of minimalism. Between the bass line, the guitar parts, the [keyboard] parts, there’s this natural flow that they have together and there’s three different melodies all happening at the same time.

So in order to hear that, for that to come out, I like that it doesn’t have so much “background noise” that blocks that out. It has that balance that reminds me of Grass Widow, and how they recorded too.

AC: It’s warm and fuzzy, and you can associate it with the memory of being at one of your shows. It sounds like the community really shows up for you.

Slice by Kelsey Landazuri

Speaking of shows, with the EP coming out on August 9th, I’ve heard there’s a big release show on August 10th. I’d love to know – what can fans expect? Are there any other shows planned, or other tricks up your sleeve?

Barbara: Kelsey and Val[eryee Jimenez of Selenite Records] said that we should record another 3-4 songs, and press that EP and this EP together on a 12-inch. So we’ve been talking about doing that. I’ve also suggested we could press all four EPs on one 12-inch, like this one punk band – Subhumans.

But we’ll see. We want to press a 12-inch, press another record for sure.

Megan: We’re also definitely playing more shows. Whenever a friend hits us up, we usually say yes… we have one more show booked in September.

Barbara: The August show, we’re playing with Coleco Club. It has members of the band Baus. They’re really cool, I can’t wait to play with them!

Megan: Angela Jane Bachman…

Barbara: Angela Jane Bachman!

Alex: I’m a big fan.

Barbara: Yeah, Alex is a big fan.

Alex: We’re going to be playing at our “home base” in Long Beach, which is called Vine. I think it became a thing when I was in college – so maybe not quite 20 years.

It’s now owned by Dustin Lovelis, who’s been in the music scene for a long time. [Dustin] has a recording studio, and he’s really involved in booking musicians. They have music pretty much every night of the week. The shows are also always free, so it’s a hub for music in Long Beach. Honestly, the main hub, which is funny because it’s one of the smaller venues. But it really is – if you’re a musician in Long Beach, you know about it. We wanted to play there because it’s the home base.

AC: Feels like a “return to form” of sorts.

Would those other shows also be in Southern California? Are there any plans to tour out-of-state?

Megan: We have no plans for that right now, but we would love to! We’ve toured the Pacific Northwest a few times, and we’ve even gone the SXSW route. We’d love to play more on the East Coast – Canada! [laughs] We would love to.

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III

Released August 9th, 2024 on Selenite Records

1. Depleted

2. Don't Overthink It

3. Painfully Aware

4. Shopping

Megan Magiera - Guitar/Vocals
Alex Hattick - Synthesizer/Lead Vocals
Barbara Barrera - Bass
Kelsey Landazuri - Drums

Mastered by Nick Townsend
Produced by Kelsey Landazuri
Album Art by Alina Kano

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Slice

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

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Debaser's Pique Continues to Shine with Summer 2024 Edition

Alice Longyu Gao by Rebecca Judd

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

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

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

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

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

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

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

Tangerine by Rebecca Judd

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

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

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Pique

Website

Debaser

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Rebecca Judd is the features editor of Also Cool Mag.

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Step Into Nice Wave's Comforting Paradise with "Warm Glow"

Nice Wave by Priscilla Mars

Something new is brewing in SoCal – emerging indie duo Nice Wave have released the music video for their second single “Warm Glow.”

Comprised of Dakota Blue and Bella Schilter, Nice Wave fuses an appreciation for the musical heritage of California with nods that span across decades. Dakota and Bella formed Nice Wave as an escape from the mundanity of everyday life, a therapeutic outlet for experimentation. Nice Wave capitalizes on these intentions with the “Warm Glow” music video, unveiling a blissfully delicate break from reality.

The music video—directed by Blue and LA-based cinematographer Priscilla Mars—features Schilter waking up in a garden, swaddled by her pastel quilt while surrounded by lush greenery and vivid flowers. Rather than succumbing to confusion, Schilter meanders through the beauty of this landscape, peering through a looking glass and sipping tea (à la Alice in Wonderland).

This relaxing imagery is enhanced by Schilter’s hushed vocals and Blue’s swirling guitar, which are guided by the rhythmic compass of beats sampled from Jarond Gibbs. Said the band of this release: “"Warm Glow" is not merely a song but a captivating experience—an invitation to let go of reality and immerse oneself in a world where timeless allure and modern indie elegance converge.”

Free-falling yet conscientious, “Warm Glow” illustrates the depth of Nice Wave’s potential.

Watch the music video for “Warm Glow” below.

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Nice Wave

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Rebecca Judd is the features editor of Also Cool Mag.

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Sunglaciers Sharpen Their Psychedelic Edge with "Regular Nature" (Mothland)

Sunglaciers by Em Medland-Marchen

Two years after the release of the explosive Subterranea, Calgary post-punk quartet Sunglaciers have resurfaced with Regular Nature, out now via Mothland. 

Spanning 15 tracks, this latest endeavour pulls from familiar motives to paint a truly vibrant picture. Sunglaciers have always stood on the edge of experimentation, anchored firmly in rock n’ roll while nodding to new wave, garage, and whatever else they please. But Regular Nature comes imbued with the conscious resolution to find something new between the folds. 

Said the group of this dexterous new record:

“We want to make you dance. We want to make you think. We want to make you think while you’re dancing and dance while you’re busy thinking. This is an album for the body, brain and heart. It’s compassionate, frustrated, communal and dreadful. In a world of information overload, where everything comes at you at once, Regular Nature is trying to normalize the phenomenon. This is chaotic music for a chaotic world, a three-way conversation between outer self, the subconscious and the mad world.”

Regular Nature begins with “Fakes,” a compellingly frenzied track that reads like a hi-fi, edgier Devo. “All style, not a lot of substance / Shut out, shut out the noise” chants multi-instrumentalist Evan Resnik as he scorches through a doom spiral. “Right Time” puts a surfy foot forward, propelled by winding guitars and striking snares. But while the band is not afraid to reach an electric climax, best portrayed with the psychic anguish of “Kafka,” it is the wistful freefall of slow-burner “Rotten Teeth” that delivers true refreshment: “I still have dreams of love with no beginning and no end / How can that be if I am walking out the door again?”

Regular Nature is a psych-rock saga, supercharged with exhilarating instrumentation while boasting meditative subtleties. Fortified by its stylistic depth, the album tells an engrossing story of the turmoil that awaits us all.

Regular Nature

out March 29, 2024 via Mothland

1. Fakes

2. Right Time

3. Undermine

4. Cursed

5. Kafka

6. I Remember the Days

7. Interlude

8. Frog Mask

9. A.I.

10. Reef

11. Not Ready

12. Rotten Teeth

13. Gov Shut

14. One Time or Another

15. Waiting for Nothing

Written & performed by Sunglaciers (Evan Resnik, Mathieu Blanchard, Kyle Crough, and Nyssa Brown)

Select instrumentation by Chad VanGaalen, Daniel Monkman, Chris Dadge, Nate Waters, and Cassia Hardy

Recorded by Mathieu Blanchard & Evan Resnik

Additional recording by Chad VanGaalen

Produced by Sunglaciers

Mixing, additional production & digital mastering by Mark Lawson

Mastered for vinyl by Richard White

Artwork by Nyssa Brown & Evan Resnik

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Sunglaciers

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Rebecca Judd is the features editor of Also Cool Mag.

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The Dandy Warhols Go The Distance at Le Studio TD

The Dandy Warhols’ setup at Le Studio TD

2024 marks 30 years of The Dandy Warhols. The Portland psych-rock group have achieved a truly remarkable feat, with 11 studio albums and two compilations thrown into the mix. But with such a legacy comes the responsibility to uphold it, which poses its own challenges; many musicians hide behind the enduring glow of their greatest hits, while others grasp so tightly onto the notion of reinvention that it slips through their fingers. Where do the Dandy Warhols go from here? 

Last night at Le Studio TD, they attempted to chart this very course. Montreal marked the halfway point of The Dandy Warhols’ Spring 2024 tour, with this stop falling just days before the release of their twelfth record ROCKMAKER. An occasion full of promise for the Dandys and their devotees – and one that fortunately (mainly) delivered.

The Dandy Warhols capitalized on a roaring welcome by settling nicely into “Ride,” dousing the audience with a sea of shoegaze. Keyboardist/percussionist Zia McCabe commanded the stage all night, handling multiple instruments with ease as her auburn hair billowed in the air. Moving through the ROCKMAKER single “I’d Like To Help You With Your Problem” and synth-disco smasher “We Used To Be Friends” felt similarly organic.

Zia McCabe of The Dandy Warhols

Zia McCabe of The Dandy Warhols

Despite the heavy fluorescent haze, the middle of the set is where things hit a slump. For something that boasts such a distinctive distortion, new tune “Danzig with Myself” (a Frank Black collab) felt lost in the shuffle. A string of Dandy classics seemed to melt into each other, though fans who prefer the band at their breeziest may not have minded. I was grateful for the jolt of B-52’s-esque “The Summer of Hate” and the clarity of “The Last High” to lift the spell. At least Courtney Taylor-Taylor’s obligatory French quips proved charming to the crowd, with the lead vocalist joking that he was working his way up to “chewing out a waiter.” Priorities!

Judging by the resounding reaction, it was the seething bite of “Godless” that brought the Dandy Warhols back to where they needed to be. Just in time, too, for the sticky-sweet “Bohemian Like You” deserved such respect. (I am a Gen-Z music writer – I would be remiss if I did not attach great significance to the soundtracks of DreamWorks Animation films.)

Brent DeBoer and Courtney Taylor-Taylor of The Dandy Warhols

17 songs later, many fans would have been content to keep going, but McCabe drew the night to a close on her MS-20. “Let’s not wait so long,” urged McCabe, offering “je t’aime” before she departed the stage. While several people scattered around to try and find Taylor-Taylor’s guitar pick, other groups could be heard eagerly speculating on ROCKMAKER’s sound. 30 years have come and gone, but the Dandy Warhols continue to juggle an illustrious catalogue with that trademark satirical spark.

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The Dandy Warhols

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Rebecca Judd is the features editor of Also Cool Mag.

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Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

The Ottawa music community holds its own close, so it should come as no surprise that Pony Girl’s album release party at Club SAW was a dazzling affair. Marking ten years since their debut record, Pony Girl has stepped into a complex new chapter with their latest album Laff It Off.

The night began with a charming set from Luella, the musical project of Kingston’s Liv Whitfield. Although her debut album Luna was released just one year ago, Whitfield carried a seasoned air of confidence throughout her performance. Whether she was behind the keys or crooning into a telephone, her dreamy indie-pop melodies wafted through the air, matched with playful lyrics on love (or a lack thereof). 

Leading up to Pony Girl’s set, attendees shuffled in the glow of a custom Laff It Off neon sign, feet surrounded by smiley-face balloons – an inviting scene, complementary to the album’s disposition. The room began to swell with anticipation.

Laff It Off sign for Pony Girl’s album release tour

Pony Girl emerged on-stage to a sea of applause, with band member Yolande Laroche sporting a Luna T-shirt. Within minutes, the audience was swept up in Laff It Off’s lucid narrative, swaying and screaming the words we all know to be true: “I don’t want to be working every day, I don’t want to be working every day.”

The art-pop group has garnered acclaim for their layered approach to experimentation, and even further acclaim for the way that translates so harmoniously into their live performances. The arresting vocoder yelps of Laroche and bandmate Pascal Huot, the mesmerizing proficiency of Mili Hong on the drums – it’s a thrilling experience to watch all the pieces of their puzzle fall into place.

But for a band that has seen so much recent success, including a record-high of five nominations at last year’s Capital Music Awards, Pony Girl has not compromised what it means to be vulnerable. Huot meandered through the crowd during “Wannabe,” illuminating his visage while mutedly pondering his—and our—roles as entertainment. “Age of Anxious,” the standout track from Pony Girl’s previous release Enny One Wil Love You, reverberated with conviction as its distressed musings on the grip of technology rang true.

As Pony Girl continues to find their place in these convoluted times, one thing is certain: Ottawa will be listening.

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Pony Girl

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Rebecca Judd is the features editor of Also Cool Mag.

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Vanessa Tha Finessa Talks Her Talk on EP "CURRENT" (Foundation Media)

Vanessa Tha Finessa by Matthew Cowen

Propelled by the winning combination of bad-bitch charisma and savvy lyrical chops, Vanessa Tha Finessa can’t lose. The Los Angeles-based rapper recently gifted her EP CURRENT to the world – an artful appetizer that leaves no choice but to indulge.

While CURRENT marks Vanessa’s first release, it stands on the shoulders of an expansive sonic rolodex. The Ghanaian-born talent grew up surrounded by hiplife and dancehall alongside American pop music, and immersed herself in artists like Mac Miller and Nicki Minaj when she came Stateside. She was then scouted by casting director Sarah Benjamin after college, courting the fashion world by modelling for campaigns with Nike and Milk Makeup and posing for the covers of 10 Magazine and WWD.

All of these influences are front-and-centre on CURRENT, manifesting themselves as commanding Afro-fusion drum loops and an air of self-assuredness. “I birth these bitches like a doula / Head game crazy, can’t stay out his medulla”, Vanessa snarls mere seconds into opener “Talk Tha Talk”. The bouncy “Top Notch” layers punctuated claps over an echoing chorus: “Yeah, come rock my boat / ‘cuz it’s Murder She Wrote.” Vanessa knows what it’s like to be in-demand: her style toes the line between slapping you with both hands and being too chic to care.

Her decision to change lanes and emerge as a musician first came after a chance encounter with Smiles Davis at an LA party. The DJ and producer picked up on Vanessa’s wit, helping her to record the carnal “Run It” in 2019 (which went on to be featured on Showtime’s Flatbush Misdemeanors). The track is infused with a vaguely-industrial sensibility, peppered with steady claves and distorted vocal layers. Its inclusion in the middle of CURRENT seems to serve as a cleansing vignette of the artist’s first steps. Though a touch less tuned-up than the duo’s other collaborations, “Run It” succeeds at archiving an undeniable spark.

Spanning five tracks altogether, the fluidity with which CURRENT unfolds offers an intriguing testament to Vanessa Tha Finessa’s fast-paced life. An individual of many accomplishments who seems to tower above them all – reaching beyond artistic discipline to capture the weightlessness of poise.

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CURRENT

Out May 25, 2023 via Foundation Media

1. Talk Tha Talk

2. It's You

3. Run It

4. Counterfeit

5. Top Notch

Produced by Falcons, Karats, Smiles Davis, and Royal Bait

Album photography by Matthew Cowan

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Vanessa Tha Finessa

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Rebecca Judd is the features editor of Also Cool Mag.

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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

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Rebecca Judd is the features editor of Also Cool Mag.

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Late Nite Laundry Makes a Mesmerizing Return with Self-Titled EP (Acrophase Records)

Late Nite Laundry by Charlie Young

Faced with the unavoidable turmoil of cancelled gigs and changing circumstances, Late Nite Laundry had no choice but to find their footing and start anew. The Chicago psychedelic soul band—composed of guitarist Ari Lindo, bassist and designer Emily Burlew, keyboardist, engineer, and producer Brenden Cabrera, and drummer Alex Santilli—has re-entered the scene with a crisp and noteworthy EP, Late Nite Laundry, out via Acrophase Records.

Featuring Lindo and Burlew on vocals, the EP hits a breezy stride as it flirts with elements of Brazilian jazz, bedroom pop, and R&B. Encompassed with a dazed warmth, its four tracks stand apart and—at once—melt together. Let Late Nite Laundry wrap you like a cozy plush blanket and sink into the richness of its sound.

Rebecca Judd for Also Cool: Stylistically, your band takes influence from a wide variety of genres and eras, which culminates in a warm and comforting blend of psychedelic soul. Which sonic inspirations did you reflect in this EP?
Late Nite Laundry: In 2020, we recorded and released a project titled The Michigan Tapes that we believe initiated our new sound. It was our first experience self-recording and producing, which we did in March 2020 soon after the world entered lockdown. We took those same practices and applied them to a more refined recording process over the last year [when making this new EP]. Although we are heavily inspired by many genres and bands as individuals, we rarely reference specific artists between ourselves. Instead, we are inspired by individual elements within our favourite music and [find that] each member brings a different flavour to the table.

Also Cool: Your band underwent a fundamental transformation with the disruption of COVID-19 – you’ve previously mentioned that it was a time to “rediscover [your] sound and smoothen [your] process”. Can you elaborate on the ways in which this time redefined Late Nite Laundry as a band?

Late Nite Laundry: Without shows to play in 2020, [our] band regrouped with writing and recording sessions. Previously, we had only experienced recording in a traditional studio format. After the first EP, we wanted to stress experimentation and expand on the production process. Since then, all recording, production and mixing is handled within the group. This has given us the space to push our creative boundaries, while also developing our skills and relationships with each other.

Late Nite Laundry by Charlie Young

AC: Among the changes you experienced throughout the past couple of years was a change in lineup, with Late Nite Laundry’s original lead singer leaving the group. Nonetheless, you previously identified a sense of synchronism between the four remaining bandmates that led you all to push forward. Were there any defining moments where you felt this connection, or was it a gradual ease?
LNL: Naturally, we think it took time to rediscover ourselves. We spent a lot of our initial meet-ups at the practice space writing new material and reworking old songs. A clear moment in our memories was when our song, “Fantasy”, was first written. During a home recording session for the track, Ari [Lindo] began writing lyrics and sang upward of 100 recorded vocal takes. This was a defining moment for the band, because at the time we had contemplated auditioning for potential singers. Releasing that song was a symbol of what we had become and it clearly established Ari as the new lead vocalist.

AC: I’m particularly interested in the duality of “Floating”, which closes the EP. There’s a feeling of one’s resurgence and contentment that soars past memories of a fragmented relationship. I found myself swept up with its instrumental jazzy vibrance and hungry for more all too soon. Which emotions and decisions went into this track, and how are those contrasted or connected with the rest of the EP?

LNL: This was one of the first songs first ever created for Late Nite Laundry. Ari started writing it in 2016, before the band began. It talks about Ari’s first relationship with his high school sweetheart, and it’s intended to capture the euphoric highs and deep pains that he associates with this time. Ari also has a special musical ability to weave into different styles.

This song really shows our indie styles on the choruses with the layered lead synth sounds, but subdues you with witty chord writing on the verses. The outro of the song has always felt like a different planet from the rest. Everything from psychedelic harmonious textures to Alex [Santilli]’s tasty drum fills, the ending ties in the sound that Late Nite Laundry truly represents. We feel like there’s examples of this in all of our songs.

AC: With this new release, what are your plans for re-introducing Late Nite Laundry to the world? Which directions are you next hoping to explore as a band? 

LNL: Now that the EP is out, we are focusing our efforts on touring and promoting the project across North America. Outside of performing, we are a group that consistently writes and records. Naturally, there’s a lot of musical ideas flowing in our brains whether in demo form or just jammed out at the practice space. What we definitely look forward to the most is playing and making music. Sometimes, that means hanging in each other’s living room, jamming at the spot, or getting away to a cabin in the woods (like for The Michigan Tapes). We’re not sure what we will release or when, but our engines never seem to turn off.

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Late Nite Laundry

Out November 4, 2022 via Acrophase Records

1. Hold

2. Sizzle

3. Hi, Can You Hear Me?

4. Floating

Written and recorded by Late Nite Laundry

Engineered by Brenden Cabrera

Mastered by Kelly Hibbert

Photo by Charlie Young

Album design by Emily Burlew

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Late Nite Laundry

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Rebecca Judd is the features editor of Also Cool Mag.

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Also Cool's M For Montreal Top Picks: Round Two

Priors by Lynn Poulin

The 17th edition of M for Montreal begins tomorrow, November 16th, and the city’s music scene is positively buzzing with anticipation. With emerging and established artists from coast-to-coast (and then some!) expected to set the night on fire, it’s hard to resist a taste for what’s to come. Luckily, you don’t have to – Also Cool is here to help, with our second round of selections from this year’s M for Montreal lineup. Be sure to check out our first round, too, and then get busy with your own scheduling… accompanied by our festival playlist, of course.

Priors 

Montreal mainstay punk quintet Priors nose-dived into this past spring with their latest EP NEWNEWNEW. Complete with signature lassoed thrashing and low-fi grit, the band’s punchy ardour remains as they return to the stage from an all-too-familiar pandemic lull. We’ve been parched for a loud gig and are ready to be tossed around by Priors’ angular flirtations. Sandwiched on an absolutely stacked festival lineup—co-presented by Mothland—including Crasher, Absolutely Free, Gloin and Grim Streaker, Priors and their entourage of feather-rufflers are guaranteed to stir up an evening of danceable DIY fervor. 

Priors plays La Sala Rossa on Friday, November 18th at 10:00 PM. 

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Priors

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Emma Beko by Samuel Fournier

Emma Beko

If you’re not already familiar, the sinister stylings of Montreal-based rapper Emma Beko are bound to break your heart. Since rising in the scene as one-half of Heartstreets, Beko has refined her solo sound and tilted heads for her candid and grungy stream-of-consciousness flow. The release of Beko’s latest EP Superficial Stains fits comfortably into her catalogue, fresh off the heels of Digital Damage from earlier this year, so expect a show filled to the brim with lyrical gut-punches. Catch Emma Beko alongside SLM, Lary Kidd, and more for an unforgettably dynamic hip-hop showcase.

Emma Beko plays Club Soda on Friday, November 18th at 8:00 PM.

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Emma Beko

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NO WAVES by Malaika Astorga

NO WAVES

Our favourite Montreal Gen-Z punks will be playing the festival this year, so naturally we couldn’t help but add them to the group. From playing absolutely packed free outdoor shows where the crowd takes over the stage, to opening for NOFX and playing FME over the summer, NO WAVES continues to hold their own in the local rock scene. Stay tuned for an upcoming interview with the band by one of their peers, and in the meantime, catch them at M!

NO WAVES plays with Mobina Galore at Turbo Haüs on Saturday, November 19th at 10:00 PM.

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NO WAVES

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Grim Streaker by Kevin W Condon

GRIM STREAKER

Playing alongside many of our faves—like Gloin and Priors—in the Mothland showcase this week, Grim Streaker made an impactful first impression on Also Cool at this year’s FME Festival in northern Quebec. Singer Amelia Bushell’s stage presence is direct and haunting – a worthwhile experience to feel totally undone by her stare. The band’s song “Mind” captivated us for a month after the festival, and they’re here in Montreal for more to see! Grim Streaker specializes in the genre-bending punk tunes that seem to reach out and grab you by the collar – they would be a shame to miss.

Grim Streaker plays at La Sala Rossa on Friday, November 18th at 9:00 PM.

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Grim Streaker

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M For Montreal

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Maryze Drops Sinister New Music Video for "Emo" (Hot Tramp Records)

Still from “Emo” by Maryze

Spooky season has reached its peak, and Montreal’s alt-popstar Maryze is here to celebrate with a brand-new music video for “Emo”. The single first garnered nostalgic admiration upon the release of 8 — Maryze’s debut album, out earlier this year via Hot Tramp Records — for its torment and evocation, reminiscent of artists like Green Day and Avril Lavigne. With the release of this video, Maryze sculpts a queer love story turned horrifically upside-down.

Still from “Emo” by Maryze

The self-directed video begins with a tender honeymoon phase between Maryze and model/artist Brit Carpenter. The pair is depicted lounging on the bed and laughing through skateboarding lessons, entangled in the purity of infatuation. But their spark turns into a destructive flame, with angst and toxicity steering their relationship out of control and towards a bloody end.

Detailing the theories behind their grungy and dysfunctional nightmare, Maryze shared:

I always seek out queer representation in horror, so this music video is my little contribution. I also feel like queer narratives lack the nuance that straight relationships receive in film, so I wanted to portray all the sides of the story, from beautiful tender moments to scary unhealthy fights. The horror aspect is left pretty ambiguous and moves into a more experimental art direction. We set out to use horror devices to illustrate the toxicity of relationships without having any explicit on-screen violence. I wanted the viewer to be left asking: “who killed who?”

To fully realize her cinematic vision, Maryze created the video concept with horror screenwriter Joel H. Brewster. The visuals were shot by artist Janette King and edited by Solomon Krause-Imlach, who also produced the song.

With its gory and gruesome complexity, this depiction of “Emo” fits magically within Maryze’s universe of transcendence.

Watch the video for “Emo” below, and catch Maryze DJing at the M for Montreal after-party (co-presented by Hot Tramp and Also Cool)!

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Maryze

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Rebecca Judd is the features editor of Also Cool Mag.

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Homework, Cats, and Rock'n'Roll: An Unforgettable Evening with the Linda Lindas (POP Montreal)

The Linda Lindas by Zac Farro

Festival season in the city carries a potent charm, as it dusts its magic over sticky bar floors and croaking choruses. The venue-hopping antics of last weekend’s POP Montreal returned with a particular fervour, highlighting a stellar showcase of industry fixations both emerging and established. Among these acts were the Linda Lindas – the LA teen punks whose rise to the top has warmed hearts around the world.

As I stomped into Theatre Rialto for their headlining show, my first realization was the number of kids anxiously awaiting the group. This was not a surprise, necessarily, but more of an endearing reassurance; an element that would reinforce itself throughout the show was the Linda Lindas’ earnest awareness of their fanbase’s vast demographics. The show felt like a safe space for fans of all stripes – a place to indulge one’s wildest musical fantasies and learn what’s possible in the world of rock.

From that first note of “Linda Linda,” the band emanated rays of remarkably-infectious confidence. “I want you all to scream as loud as you can,” commanded guitarist-vocalist Bela Salazar, moments before vibrantly flailing during a strobey instrumental break. “I want us to get kicked out of the frickin’ venue.” The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night. Between coordinated sways and jittering struts, the group carried themselves with coolness that felt easy to absorb.

Eloise Wong, Bela Salazar, and Mila de la Garza of the Linda Lindas

Mila de la Garza and Bela Salazar of the Linda Lindas

What arguably felt coolest of all, however, was the Linda Lindas’ youthful sincerity. Guitarist-vocalist Lucia de la Garza rambled about homework with a shyness that felt all too familiar, and Salazar shared two goofy bangers about her beloved cats Nino and Monica. The Linda Lindas are nobody but themselves—Riot Grrrl apostles waiting on high school diplomas—and their authenticity made even the small talk about Montreal’s chilly weather feel charming.

The show came to a close with two numbers that shook the walls. “Racist, Sexist Boy” has garnered pandemic infamy with its rendition at the LA Public Library, but its disparaging grit hit Rialto with an authoritative new sheen. The audience kicked and screamed with bassist-vocalist Eloise Wong and drummer-vocalist Mila de la Garza as everyone slayed their own visions of racist, sexist boys. Closing out the show was a cover of Bikini Kill’s “Rebel Girl”, a mainstay of their shows that made it all the way to Amy Poehler’s film MOXIE!. Wong’s sheer joy in relaying the lyrics hit every heart in the venue. I found myself humming the song and reliving my own memories—juvenile cruises in my high school car, which I named after Kathleen Hanna—the whole way to the Diving Bell.

When the show wrapped, myself and many others lingered to reckon with the force of what we just heard. Gathered at the stage’s edge were many of those same kids, hoping for one last memory of their heroes before they jetted back Stateside. I smiled at one girl’s “Vive les Linda Lindas” sign, which made it onto the stage (with the band’s genuine appreciation) sometime in the evening. Another beret-capped girl was still glowing, swarmed by her friends to touch the guitar pick that Salazar handed her near the end of the night. As the four musicians waved their final goodbyes, Mila de la Garza asked Salazar which child made the “Vive les Linda Lindas” sign. Salazar pointed, and the duo smiled and waved. The pure hope and the punk rock fire in that preteen fan’s soul—two sensations that the Linda Lindas have proven can be compatible—surely never glowed quite as bright.

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The Linda Lindas

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Rebecca Judd is the features editor of Also Cool Mag.

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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!

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Prism Shores

Instagram | Bandcamp

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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

Pony Girl via Bandcamp

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

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

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

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

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

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

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

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

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

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

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

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

On Big Pharma, Zoon shares: 

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

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

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

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

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

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Aura Moreno Affirms Life's Complexities with "A Love Story" (Part II)

Aura, photo courtesy of Ana Maria Hernandez

Today marks the Bandcamp release of A Love Story — the latest chapter in musician and creative Aura Moreno’s empire. The Providence-based artist is known for embracing her tastes and energies in all their forms, mixing them together with a charming and unapologetic confidence. With this latest mixtape, Aura leans into experimental textures, sensuous pop, and jolting effects to concoct an autobiographical roller-coaster ride.

After opening up to Also Cool about her formative experiences and creative stylings, Aura is ready to share more about what she believes and where she is headed. Continue on for the second-half of our heart-to-heart, where we explore the healing powers of expression and all the moves she is set to make.

Aura, photo courtesy of Ana Maria Hernandez

Rebecca Judd for Also Cool: In that vein, something that excites me with your music is how escapist it is, while also being contemplative and heartening. You describe your music as “crafted with the intention to dance, heal, and reflect” — many of your tracks convey that beautifully. Have you always incorporated affirmations into your music? 

Aura Moreno: Well, my music has always been honest and true to my experience, so I’ve incorporated affirmations previously, but unconsciously. With my album Understanding, it all was made purposefully, with intention. I needed to hear those songs and conduct that light energy.

Prior to creating that album, It had been brought to my attention that, back in the day when music came to be, people chanted to manifest a better life. To have a powerful frequency like that moving throughout the world, I began to think “Well, now that I know that, why would I just say any old rhymey thing on my songs?”  I’m using this talent to my advantage, to heal myself and to aid the healing of those who are listening! 

Also Cool: Absolutely. Your music has many powerful reflections on how individuals can treat themselves, but also how they can treat each other. I was just listening to “What I Want” [from Aura’s album Understanding], thinking about how I have friends who are going through difficulties. “Give them their flowers while they’re still here”  — that got me in my feels.

AC: How has music helped you to build yourself back up?

Aura: When I was introduced to 90s hip-hop, I was confused about life, feelings, and relationships. As I studied the music of artists like Erykah Badu, Jill Scott, Common, Tupac, A Tribe Called Quest, Slum Village, etc., they painted beautiful images of love and life. I really felt it, but more importantly I understood. That was life-changing.

Within my own work, I was going through it heavily when I started writing Understanding. There was so much shifting in my life: I had lost my apartment, I had no mentors or guidance, and quite a few of my close friendships were falling away, one of them of over 10 years strong. In the midst of all of this, I had lost my identity… I felt alone, hopeless and was deeply unable to validate myself. Creating the album (along with some prayer) was a big step in the process of getting back to my purpose and values.

I appreciate music so much, because every song I’ve made has been a footnote to circle back to. When I listen, I remember certain lessons I’ve learned, feelings or situations I’ve overcome. I’m able to reset, even if it might take some patience and reiteration.

AC: It can be something where people put their own experiences into [their interpretations of] your music, but you orient yourself through it as well. It gives you context for your own future.

Aura: Literally. Once anything goes public, everyone is able to attach their own meaning to it. As long as it’s inspiring and encouraging, I’m happy. Personally, this is my journal that I don’t have to have physically.

Aura, photo courtesy of Ana Maria Hernandez

AC: I’ve loved watching your live performances! If you were to curate the Aura show of your dreams, what kind of atmosphere would you have, and which artists would share the stage? What would be your dream presentation of yourself?

Aura: Definitely green pastures. I love performing outdoors. If I could just perform in a beautiful field, where people are connecting with the Earth… shoes-off vibe, there’s weed, there’s ice cold fresh-squeezed lemonade, there’s bubbles, the sun is shining with a light breeze and it’s just a high vibration… I would want to connect with all the people who are there to have fun and share Love. and the sound system would be incredible of course! 

I would love to perform with some friends — Cassius Cruz, Project Gurl, Homeboyextra, Blue Mena. I’m also really into Babyxsosa right now, she’s incredible. I would love to have a show with her, Pete Rock, baby.com, Pierre Bourne, Hook, Princess Nokia, Rosalia, SZA. And Charli XCX as well!

AC: Absolutely! An Aura collaboration with some metal artists would be really special.

Aura: Yeah, I definitely want to make rock music and metal in the future. I don’t think that I’m a screamer yet, but it’s coming.

I wouldn’t doubt me doing any sort of music, you know? I love country as well, like Johnny Cash, and Leonard Cohen is also an influence. And Neil Young…

AC: Looking into the future, you’ve got a lot on the go. What are your next projects, and your intentions for the rest of the year?

Aura: I’m trying to take the business side of music more seriously. In all these years, I’ve prioritized the creation versus the earning, but I do need to take care of myself. My music is incredible, my heart is pure… I deserve so much. I have a whole résumé of music that I could have tried to monetize in different ways had I learned the game sooner, so I guess I’m trying to be a girl-boss with the music shit? *laughs* I’m also in my baddie era, so I’ve got a mixtape [“A Love Story”] coming soon with all those vibes!

I’m working to become more positive within myself and know that I am limitless — we all are! But I want to feel it and know it deep in my bones. I don’t want to doubt myself or worry anymore. I’m trying to pay attention to where I feel worried about life and rework those thoughts. I’m also trying to move to LA, and get my connections up and get my name out there. I’d like to create, release, and perform a lot more. It’s time to level up, period!

I moved back home June of 2021. After not being around for a while, I wanted to come home and re-centre. I’ve been going out more, talking to different people, and re-introducing myself  — despite growing up here, I don’t think I was ever really “in the community”. I had my friends and stuck to my friends. But I’ve been trying to find what’s happening around town, checking out different scenes. It’s been beautiful to see [Providence] flourishing in such a creative way. There’s so much potential here, I’m just trying to enjoy it while I'm around.

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A Love Story

Out June 6th, 2022 via all streaming services (Soundcloud version out June 1st, Bandcamp version out June 3rd)

1. OUF! (snippet)

2. A Love Story

3. flip phone freestyle

4. guesss nottt

5. Culo de Oro

6. Canvas

7. fuck off (demo)

8. Su Música Suena (demo)

Produced by Jay Almeida, Kris Fame, Black Surfer, eqobKING, Cassius Cruz, Nestro, MasterJo, playshado, Tompsy, and Aura

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

All music written by Aura, with additional writing by eqobKING (track 4) and Kufa Castro (track 6)

Cover image by Ana Maria Hernandez

NYC Also Coolers can check out Aura’s mixtape release party this Sunday, June 5th at Pianos NYC from 8 to 11 PM! Take a peep at the flyer below (made by Aura!) for more info.

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Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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Aura Moreno and the Makings of Her Love Story (Part I)

Aura, photo courtesy of Ana Maria Hernandez

From Providence to beyond, the artistic multiverse of Aura Moreno promises to rock your world. Boasting a catalogue that stretches visual and musical disciplines, the restless creative—better known simply as Aura—has cultivated an image that is both limitless in its references and grounded in its truths. Aura’s self-proclaimed “DIY empire” hosts stylistic impulses with a consistent respect; taking notes from Y2K, trip-hop, rap and metalcore, her multimedia creations aim to heal and provide a place for complexity.

Fresh off the release of her music video for “C U There”, Aura has doubled the pace and drops her latest independent mixtape A Love Story later this week. The tape is now available on Soundcloud, with its Bandcamp release tomorrow and full release on streaming services next week. She describes this newest venture as a “life-affirming musical collage”, a reflective and confident celebration that showcases sounds of pop and reggaetón.

In this first-half of our conversation with Aura, we peruse what led her up to this moment: the impacts of suburbia, the tools in her arsenal, and what it means to step into who you really are.

Aura, photo courtesy of Ana Maria Hernandez

Rebecca L. Judd for Also Cool Mag: Your creative portfolio is expansive, with an exemplary spread ranging from singing and songwriting to digital art and fashion design. How have you established this “DIY empire”, and what are its foundational pillars?

Aura Moreno: I think it all came together organically. I’ve been songwriting since I was a kid, but I never really established that I was songwriting — I was just “writing”, you know. I would also do things like tear up my dad’s old pants and sew them into bags. I’ve always been creative in that way, but how it’s all tied together now goes back to when I started making music. 

As a teenager, I produced for a few years before writing to and hopping on my beats. And then, I mean… I was broke, so I quickly realized “I have to take my own photos and videos and learn how to edit them.” I did that with my first music video. I directed it with an old friend, Ryan Cardoso, and we raised $400 to shoot it. With that budget, I hired an editor—Rasheed LaPointe—who taught me how to edit step-by-step on Adobe Premiere Pro. At the time, I thought you could only make a music video with money; it made things easier, of course, but that wasn’t actually true. I’m grateful we were able to raise that, but I learned afterwards that I could’ve been more nifty. 

Coming up in the scene, I held shows all the time, and the fliers weren’t up to par so I started designing them myself. Back then I was using BeFunky, which I found by googling “free online graphic editor” *laughs*. From there, I began designing my own merch using Microsoft Paint and free online tools.

I was even making nameplates and keychains, after my friend Lara taught me how to use a laser cutter. I was all over the place — and little by little, all of these things folded in together because I’m an independent artist. Luckily, we have this resource here in Providence called AS220, and they help emerging DIY artists. I went lots when I was younger, learning all of these different skills like screen-printing, vinyl and laser-cutting, etc.

Aura’s latest visual, the official music video for “C U There”.

Also Cool: So this lifestyle as an independent artist, for you, came down to self-sufficiency and necessity. From there, you’ve become your own creative director, and you now have both hands on your brand. Do you see that formative time of having to craft your own vision with such hard work as being definitive? 

Aura: Yeah! And you know, my music was already crazy unique, so having and wanting to be hands-on with everything else created this fresh new world. That’s what my “DIY empire” is — it’s this thing that grew because I had to make art for my music. Everything is super distinctive, because that’s who I am and have always been. The vibes will continue to develop, but what’s been really cool about the groundwork I’ve already laid is that my collaborators build off of it. For example, the Pushback 5 Remix video was my aesthetic as seen by the director Eugene Puglia.

AC: Of course. And the more you get comfortable with those mediums, the more you keep in your back pocket. It’s special to know that you didn’t have to compromise to get where you are — you can do it without having to conform or sacrifice.

Aura: For sure. And the plan is to keep that originality and authenticity as I grow. I’ve always despised conformity! And all these mediums have leaked into one another. I truly breathe every facet of design — I would make myself jewelry all the time when I was younger, and I just released an earring line made of upcycled sterling silver. I’ve also just released my first 1 of 1 constructed top.

Getting back to what you said, as great as it was that I did all my own things that way, when I started collaborating with people, it was a little difficult. I was so used to just having myself. I’m still learning how to be a great collaborator now; so much of it is communication, but at first I’d always be thinking “I don’t know if you get me, I don’t know if you’re going to do it right…”

AC: Have there ever been any examples where it felt comfortable to surrender? Can you recall where you saw something unexpected come out of trusting the process?

Aura: Yes, but it wasn’t an experience I had right away. As I was getting into collaborations, I had to remind myself: “We’re here because I love their work, and I trust we can create something beautiful together… so let’s just see what happens.” I had to really loosen up.

Aura, photo courtesy of Ana Maria Hernandez

Also Cool: You grew up in Providence, RI, and previously identified this as your “basic bitch” phase. How did this coming-of-age impact your artistry? What is it that you still carry from this time in your life?

Aura: Growing up in Providence is interesting, because it’s such a small town. I feel like I’ve experienced a lot of different “eras” of this city — it’s much more creative than when I was younger, which is why I felt like I was a basic bitch. Those days, I only spent time partying and shopping because I didn’t want to stick out as an artist. There wasn’t a single day in school or by cousins, where I wasn’t told I was weird; having that trauma already, I didn’t want to further it. Now, I’m just comfortable and confident in my strangeness. What I still carry with me from those days is… I’m still very much a party girl! I don’t know if that’ll ever change. *laughs*

AC: I feel like that’s a universal experience for many creatives — it’s unfortunate to bear that trauma from our early years, because weirdness ultimately does become one’s strength. Going with who you are, it becomes powerful.

AC: You are super versatile in your influences. Growing up, what were you listening to? Which scenes did you explore?

Aura: I wish I could remember my first connection with music. There are so many timelines! Being Dominican, at every family party we’d have bachata, merengue, and reggaeton blasting. My parents both loved this local station, Lite Rock 105.1, which only played the greatest hits of the 80s and 90s — artists like Madonna, Fleetwood Mac, Sade, Tracy Chapman... 

My mom moved around a lot too, so for a while before Providence, I lived in a suburb called Johnston. There, we would listen to Myspace-esque tracks like “Fersure” and “Babycakes”, and I remember having 50 Cent’s “Ayo Technology” on repeat. I’d visit my family in Fort Lauderdale often, where I was introduced to house and EDM. After school, I’d throw on the Music Choice EDM channel and discover music for hours. I really liked rock and metal during high school too — bands like Asking Alexandria, A Skylit Drive, Kings of Leon… and of course, I got ready for school every morning to whatever was on MTV Jams and MTV Trés! I knew all the words to each Gucci Mane, Lil Wayne, Max B and Nicki Minaj song there was. And after my first time playing GTA San Andreas, whew… I studied early hip-hop for years! Slick Rick really taught me how to tell stories. I would just blast all this music in my headphones each day, from AM to PM, in and out of school. My friend reminded me recently that when we first started going to parties in high school, I would put my headphones on and not be at the party. 

AC: That’s hilarious — being in your own little world and thinking “I’m here for the vibe”.

Aura: Exactly. I brought it back this year, just for myself. When I’m out, I don’t always want to interact — sometimes I like being at the club, throwing my headphones on, and enjoying the energy of the environment while being in my own zone simultaneously.

AC: As you were forming your sound and your vision, you were also experimenting with presentation. Before leaning into your identity as Aura Moreno, you released music as Iris Creamer. I’m interested in exploring your shift from a stylized character to becoming authentically you — what does it mean for you to present yourself to the world?

Aura: Honestly, within my healing, it was very necessary. Iris Creamer was a very sexual era for me, and I feel like that’s because I couldn’t access any depth within myself apart from that. I began to notice that I was put in a box because of that, and thought to myself, “If I really adore making music, and this is what I want to do with my life, I have to move forward as myself.” I’m evolving as a human being, so if the music is going to do the same thing, then we need to be together in that way.

Check back in to read part 2 of our conversation with Aura Moreno!

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A Love Story

Out June 6th, 2022 via all streaming services (Soundcloud version out June 1st, Bandcamp version out June 3rd)

1. OUF! (snippet)

2. A Love Story

3. flip phone freestyle

4. guesss nottt

5. Culo de Oro

6. Canvas

7. fuck off (demo)

8. Su Música Suena (demo)

Produced by Jay Almeida, Kris Fame, Black Surfer, eqobKING, Cassius Cruz, Nestro, MasterJo, playshado, Tompsy, and Aura

Mixed by CR3AMER

Additional lines on track 5 by Debra Brito

All music written by Aura, with additional writing by eqobKING (track 4) and Kufa Castro (track 6)

Cover image by Ana Maria Hernandez

NYC Also Coolers can check out Aura’s mixtape release party this Sunday, June 5th at Pianos NYC from 8 to 11 PM! Take a peep at the flyer below (made by Aura!) for more info.

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Aura

Instagram | Bandcamp | Spotify

YouTube | Apple Music | Twitter | Soundcloud | TikTok

Rebecca Judd is the features editor of Also Cool Mag.

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Crystal Eyes Release Soaring Indie Track "Don't Turn Around" (Bobo Integral Records)

Crystal Eyes. Photo courtesy of the band

Perfect for the pastel wistfulness of spring’s earliest days, Calgary-based psych-rockers Crystal Eyes offer you one simple message – “Don’t Turn Around”. This single marks the second to be released from the band’s upcoming album The Sweetness Restored, out on April 22 via Bobo Integral Records.

Gravelly and nostalgic, “Don’t Turn Around” soars with intensity, toying with notions of surrender overtop of a textural indie haze. The track warmly complements the guiding narrative of leading single “Wishes”, guaranteeing a sense of longing for what’s to come.

In the days following “Don’t Turn Around”’s release, vocalist and guitarist Erin Jenkins sat down with Also Cool to deconstruct her plethora of personal touches to the creative process, along with the stacked lineup of Canadian musicians who helped to craft its sonic depth.

Rebecca Judd for Also Cool Mag: This single packs a heavy thematic punch, and the upcoming record promises to as well – described as a "feel-good self-help record for the age of existential dread". Tell us more about the darker themes to "Don't Turn Around", and which external forces inspired this direction from Crystal Eyes.

Erin Jenkins of Crystal Eyes: My songwriting mostly comes from a subconscious place – so I guess this is inspired by whatever anxieties are secretly lurking down there *laughs*. I don't really set out to write songs about anything specific; I try to stay open to the possibility of what the song could be, and then analyze what it means later.

The songs on this record are equally inspired by external influences – the people I'm playing with, music I'm listening to, or music I've loved, aesthetics I'm trying to interpret as a melody or a rhythm. It's a very collaborative process that everyone contributes to. When I listen to “Don't Turn Around”, I think it's definitely about memories, the weight of years added up, how we measure our worth by what we build and the years by what they take. There is pain in caring too much, but there is beauty too.

Also Cool: "Don't Turn Around" marches forward with grungy vocals and a steady beat, harkening back to the indie rock grit of the 2000s. Which artists and projects influenced the makings of this single?

Crystal Eyes: To be honest, I wasn't necessarily thinking about early 2000s music when we were working on this, but I totally hear it now that it's been pointed out. It makes a lot of sense because I love music from that era – I grew up on it!

For “Don't Turn Around”, I was mostly thinking about stuff like Echo and the Bunnymen, The Chameleons and New Order – post-punk rock that is super pop, but still really organic-feeling.

Crystal Eyes. Photo courtesy of Walter E. Neuman

AC: Contrasting the depths of this track is the music video, featuring breezy vintage footage of parasailors on a beach. How did you put this video together? Was there any intentionality in choosing this footage to complement the sound?

CE: This is some old family footage I discovered one Christmas. I love home movies. I thought the footage really reflected the music, it just felt right. There's kind of a vulnerability in the video and a sense of it being a memory that seemed to work.

I took a stab at a first edit of the video, and then Joleen (Crystal Eyes’ synth player) came in and really sharpened it up and tightened the narrative because we really didn't have much footage to work with!

AC: This record marks your latest release since "Radical Softness" in 2019. How has the band evolved since then, and what more is to be expected from The Sweetness Restored?

CE: I'd say the band has evolved a lot since then, because I've collaborated with so many different people over the years. The recording process for The Sweetness Restored was really amazing. We went to Montreal and recorded at Breakglass Studios – this was shortly before the pandemic.

My friend Andrew Woods produced and engineered the record, and his spirit and vision brought everything together. There was just such an air of creativity and generosity – and silliness. Andrew got the idea to add a string quartet (we were thinking big), so he brought in Eve Parker Finley and Zou Zou Robidoux to add string arrangements to a number of the songs.

Basia Bulat was also a big part of the process, lending her wisdom – especially for the vocals. She sat in the studio while I was recording vocals and would run in between takes to shout suggestions – “try it like this!”. Monty Munroe played bass and just killed it, and is, like, the hardest working person ever. We also got to use some amazing instruments like a Therevox and a Hammond C3 with Leslie Speakers.

Past Crystal Eyes member Kenny Murdoch played drums, and current members Jordan Tettensor played lead guitar and Joleen Toner on synth. There's even a choir on one track (Hermitess and her Witch Choir on “No Heaven”). Mark Lawson mixed the record. We threw him probably 1,000 tracks to work with, and he was somehow able to wrangle it into a cohesive, really beautiful sound.

The album covers a lot of ground - genres, moods, etc., but I think it flows really well together. It's definitely something where I hope people can listen to the album as a whole.

AC: Thanks for your time – we're super excited for The Sweetness Restored to be released in all its glory! Aside from dropping this record, what else is in store for Crystal Eyes for the rest of the year?

CE: We have a couple upcoming festival shows at Big Winter Classic in Calgary and Winterruption in Edmonton. We're looking forward to playing a lot more shows and getting back to touring.

We're also writing a lot of new songs, and I anticipate we'll be starting plans to record more again soon. It's been a weird time to be a band, I'm just trying to be patient with myself and everyone else and do the things we want to do, not things we feel like we have to do. No need to force the universe.

Stream “Don’t Turn Around” below!

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Crystal Eyes

Website | Instagram | Bandcamp

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

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Helsinki's Treemer Serves Up Growling Post-Punk with "Paper Cuts / Eyewitness" (Soft Monsters)

Sam Shingler, Joakim Schonert, Marko Haikonen, Mia Keurulainen, and Tommi Lehtonen of Treemer. Photo courtesy of the band

Forged across ever-evolving decades and soundscapes, the work of Helsinki-based indie quintet Treemer has come to a snarling head. Their latest double A-side, “Paper Cuts / Eyewitness”, is now out via Soft Monster. Punctuated by sinister guitars and boisterous percussion, these expressive garage-rock tracks showcase two perspectives of conflict: that of the wounded, rising from abuse with something to say, and that of the ordinary human uncovering darkness within themself.

Following the release of “Paper Cuts / Eyewitness”, we caught up with Treemer’s Mia Keurulainen to peel back the histories that have constructed this latest project: the band’s plethora of sonic references, their creative methods and approaches, and the lasting friendships that have facilitated their vulnerability.

Rebecca L. Judd for Also Cool Mag: Hello there Treemer, thank you for speaking with Also Cool! I'm curious to know more about the formation of the group, and how it's evolved since Chickenpotpie and The Pansies. Tell us more about your origin story, and the ebbs and flows along the way.

Mia Keurulainen for Treemer: Thank you, Also Cool! It all began in the early 1990s with four small-town-guys (Marko, Tommi, Sam and Joakim). They found mutual interest in mostly Brit-based pop and rock music, digging such bands as The Cure, Ride, Slowdive and early U2. They put up a band of their own and called it Chickenpotpie (a word picked up from a Thrasher Magazine comic strip, BUT also a dish served at Twin Peaks’ Double R Diner – this TV series has had a major impact on our identities and on our music, by the way.)

Chickenpotpie fell apart, but the music didn’t stop there. I joined in and brought along my own influences. These were a bit different from what the guys thought of as acceptable, such as Depeche Mode and The The. Soon after, The Pansies (featuring me, Sam, Tommi and Marko) was formed. Quite accidentally, we happened to hit the Britpop wave as it rolled over the continents, with bands like Blur and Suede on the front cover. We got a record deal, made four albums and between 1995–2000 toured Finland, Northern Europe and even Japan.

To nearly make it – I think that was what really wore The Pansies off. On the other hand, band members started to marry and have children. It was only natural to let that phase go, in mutual understanding. And still, the music continued to flow. Sam, Joakim and Tommi started Montevideo and, in my interpretation, moved from an indie sound to take on a more Coldplay-kind of approach. I made a solo album under the artist name Mia Darling in 2007, paying homage to my early female singer-songwriter idols such as Suzanne Vega, Juliana Hatfield and Polly Jean Harvey.

In 2019, Marko came out of the closet with some new songs he’d been working on. It was an honour, and the timing was perfect for me to start composing vocal melodies and lyrics to his songs. It didn’t take us long to ask our dear old friends to join us, and so Treemer was born. What took us long, however, was to come up with a name for the band that suited everyone (laughs). The first song Treemer released was “The Great Void”, followed by the Meeting EP. So far, we’ve released a total of 12 songs.

Also Cool: Your music pulls from many directions, with these songs lying somewhere on the fringes of shoegaze and hard rock. Which musical influences have inspired the band, particularly on this release? Did your time apart have any impact on the formation of Treemer's present sound?

Treemer: Yeah, the roots grow deep. From Bowie, Beatles, Neil Young and Pink Floyd to this day.

It’s funny that you mentioned hard rock. It seems that in Finland, every other kid goes through that heavy metal / hard rock period in early puberty. I, for example, was a huge Def Leppard fan at 13. Then there was the hip-hop phase: Salt’n’Pepa, Public Enemy and Run-DMC. At the same time, the likes of Midnight Oil, Sinéad O’Connor and Tracy Chapman also awoke me to socially significant matters through their music. Tommi, Joakim and Sam even had a hip-hop trio at some point… what was is called, Groovy Sound Crew?

As a child, most of us took classical music lessons. I played the piano for 6 years, so surely the music of, for example, Sibelius, Satie and Khachaturian play at least an unconscious role in my personal take on making music.

The 1990s was a melting pot of sound and genres, and we welcomed them all! It seems to me, one wasn’t perhaps as dedicated to a certain musical style as young people today are? Or maybe this is just me getting old. There was grunge, obviously. Then there was shoegaze, trip-hop, Britpop, dub, electro, R&B…echoes from the 60s psychedelia and soul could be heard in the sounds of, say, Primal Scream, The Charlatans and Stereolab. The USA hit back with the cool of Beck and Sonic Youth, the inwards-turned art school pop of R.E.M. and Radiohead, and the NY garage-pop of The Strokes. Meanwhile in Scandinavia, an Icelandic woman called Björk was doing her own thing, Denmark gave us a progressive gem called MEW, Sweden had a new sweetheart with The Cardigans and drama in the form of Kent, and Norway an endless list of talented, folk-ish (and dare I say nerdy!) singer-songwriters coming up.

Treemer’s latest release, “Paper Cuts / Eyewitness” does definitely recline on the garage-rock end of our influence scale. Pixies, Hüsker Dü and even Pavement come to mind. I personally am a fan of Mac DeMarco and, somehow, some of the more recent Treemer material makes me feel connected to his music. A good kind of couldn’t-care-less-attitude is present.

AC: On one-half of your double A-side is "Paper Cuts", a distorted post-punk rebellion against abuse and mistreatment. Can you unpack the inner workings of this evocative single?

Treemer: Evocative – that’s nice, thank you! When I first heard Marko’s demo (in early 2020) I immediately thought it very different from the earlier Treemer stuff. It had speed and rage. At that moment, I was personally going through a rough patch in life, so the lyrics turned out to be more straight-forward and personal than usual.

The song took many forms (fast/slow, minimal/profuse, rough/polished) before finding its final shape during the recording sessions last summer. I love the crazy instrumental in-between part, very punk-art-garage-what-have-you-pop. It was just improvised on the spot, and for the first time ever I got to play my mini-saxophone on the record!

AC: "Eyewitness" takes a more aggressive stance, cautioning an ill-fated spectator against consequences. Coupled with this sinister song is an intriguing video that you produced, where viewers observe the witness' frightened journey and—ironically—assume a similar role. From your perspective, what is the story being told here? Who is this eyewitness, and what is their fate?

Treemer: Marko’s Eyewitness demo on the other hand sounded just, I don’t know, secretive somehow. The word “eyewitness” started to ring in my head, and I was thinking of old Hitchcock movies and other classical thriller scenes where someone (usually a child) is peeking through a key hole and seeing something terrible… Judicial terms such as “prosecutor” and “witness” came to mind, and I started to build up a story around those words without a distinct plot or design. It was more about the atmosphere. Joakim’s bass lines play a significant role here – a growling synth-bass line of the A-part turns into a progressive passage come along the verse.

The idea for the music video came to me in a dream. Originally, in the dream, there was an androgynous skateboarder in brightly-coloured hair and clothes rolling around the streets of what looked like Venice Beach in LA. They were being chased by us Treemer members, lurking behind corners wearing black sunglasses. Visually and stylistically, the dream reminded me of the Smashing Pumpkins’ “1979” music video or Larry Clark’s Kids.

Instead of sunny LA, the music video shooting took place in Helsinki on a windy, rainy August day. I asked my friend, the young and talented dancer Kaisla, to star in the video and I’m happy she agreed. Together, we immediately understood that the “eyewitness” is escaping nothing but something in themself. To witness something unattractive or gloomy in ourselves is hardly light or fun, so it can easily become a fight-or-flight situation. The video has a happy ending though, as the eyewitness makes peace.

AC: Despite the dark connotations to "Paper Cuts / Eyewitness", they were recorded over a session you folks describe as "summer camp", complete with camaraderie and laughter. I'm interested in the sense of liberation that you found in writing these particular songs during this breezy experience. What does it mean for you all to use your music as a form of empowerment?

Treemer: At least one of us is usually tired or on a bad mood when we arrive at the rehearsal room, but I don’t think anyone has ever left it feeling that way!

Empowerment, freedom to do whatever, self-expression – definitely vital elements to keep the Treemer machine going. And I point out that it is the doing and being there together, in the moment, that matters. Whatever happens next—recordings, releases, gigs—is a bonus. This is not to say that we weren’t disappointed or frustrated when, for example, our gigs in Finland and Germany got cancelled in 2020 due to COVID. For me, Treemer represents a creative and safe environment to test and work on my own artistic ideas whilst being inspired and wowed by those of the others.

Also Cool: Thanks again for your time, Mia! Let's end this on a high: what are your biggest dreams for 2022? What's next up for the band?

Treemer: Thank you! Hopefully we get to play some gigs! There are still 4 songs “under construction” from those last summer recording sessions. So there will be at least an EP at some point. Maybe even a vinyl version, who knows. We are also working on some completely new material. The main thing is to stay healthy and have fun though.

My personal dream is to play a gig at an open-air summer festival somewhere (probably not happening in 2022 though). I can picture it – it’s late in the evening, bright lights split the sky, there’s love and confetti in the air.

Stream “Paper Cuts / Eyewitness” below!

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Treemer

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Rebecca Judd is the features editor of Also Cool Mag.

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