Canada Life Centre August 8, 2025 Photos by Samuel Stevens.

LISTEN HERE Nashville-based singer and songwriter Sam Varga reveals his new single, " Queen of the Ashes ." The brooding, guitar-driven anthem tells the story of a woman who burns down her entire world in an attempt to get revenge on those who hurt her. Fueled by Varga’s signature emotional intensity, “Queen of the Ashes” channels the chaos and allure of self-destruction into something strikingly cathartic. “ I had the title for a while and knew exactly who I wanted to write it with ,” Varga shares. “ Caroline [Romano] is an outstanding artist, and Spencer [Jordan] has been my best friend since I got to town—he’s the special sauce on so much great music coming out of Nashville and LA .” The trio wrote the song in a single night at Varga’s apartment before bringing it to producer Dan Swank (All Time Low, Knox, Taylor Acorn), who helped bring the vision to life in a quick-fire studio session. Building on the sound he introduced with his 2024 debut album Shadow Work , Sam Varga continued to expand his vision with breakout singles like “Minute Man” and “Long Way Back.” Now, with “Queen of the Ashes,” he pushes even further, deepening his alt-country edge while preserving the raw vulnerability and urgency that set his music apart. Sam Varga is a Nashville-based artist blending his emo roots with Southern grit and singer-songwriter soul. Originally from Louisville, Kentucky, he came up in the city’s DIY emo scene, cutting his teeth on loud guitars, basement shows, and late-night chaos. At home, his parents filled the house with ’80s rock, Southern staples, and classic lyricists, giving him a rich musical foundation. That mix of raw punk energy and emotional storytelling now fuels a sound that sits somewhere between alt-country and rock. It's gritty yet melodic, with acoustic textures and dynamic, genre-blurring instrumentation. Addictive, sharp, and self-aware, Varga's music is emotionally unfiltered, self-deprecating, and unflinchingly human. Whether he’s unpacking existential dread or offering hard-won hope, his songs are made for long drives, post-party spirals, and those fleeting moments when you just need everything to make sense for a few minutes. Listen to "Queen of the Ashes" on all streaming platforms:  https://onerpm.link/940152436222 Follow Sam Varga online: Website Instagram TikTok YouTube Facebook Spotify

How would you describe your music to any person who may have never heard it before? Eric: Hi, I’m Eric Gynan, Co-founder of the bands Leaving Eden & Silver Springs Fleetwood Mac Tribute (2 different bands with the same members). A little introduction: USA, Boston, MA Label: Verdict Music, Sony/Universal Worldwide Distribution Members: Eve - Lead vocals Alyssa Bailey White - Keys/Vocals Jake Gynan - Drums Rich Chouinard - Bass/Vocals Eric Gynan - Guitar/Vocals. What's the significance of your band's band? Eric: We look at this whole planet, at one point being the garden of Eden, and since it’s filled with all the corruption and deceit, wouldn’t it be nice to go somewhere else for a little bit, thus “Leaving Eden” What are your musical influences and inspirations? Also, if given the chance, what musician(s) would you like to collaborate with? Rather, this is to either write a song or be featured on a track. Eric: My older brother turned me onto Black Sabbath when I was a kid. He also turned me onto the band UFO with Michael Schenker. Both in which we’ve had the opportunity to share the stage, so it was really a full circle for me. Because we play in a Fleetwood Mac tribute also, I learned to really appreciate Lindsey Buckingham's guitar work. I never liked Fleetwood Mac that much when I was a kid, but I learned to appreciate it as I said. Would love to write, record with, or perform with Lindsey Buckingham. When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non-musical sources that help you reconnect with your creativity? Eric: Fortunately, I never find myself in a creative rut. The environment is usually when I’m alone. A lot of time spent alone in this business, either writing, recording, or practicing, rehearsing. I was always the guy at the parties playing the guitar in the corner. I just connect with the universe and listen and everything seems to come. Do you have any favourite songs to perform live? Could be your own music or even a cover. Eric: Dream With Me Official Video (in a time of the Coronavirus) By Leaving Eden I love the melody, piano, guitar licks, and the vocal line, lyrics. If you could perform a show this very second anywhere in the world, where would it be? Eric: Our label talked to us about Scotland’s Edinburgh Festival Fringe, the world's largest arts festival, next year, so we will see. Looks fun, can probably find some great Scotch while we are there. What do you currently have planned for the remainder of the year? Eric: We will continue writing, recording and touring, breaking into new and exciting territories as we forge ahead. We’ve been fortunate enough to have shared the stage with so many great artists, touring The USA, UK & Canada sharing the stage with hundreds of the biggest national bands in the world including; Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio, Rob Zombie, 5 Finger DeathPunch, Disturbed, Marilyn 
Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, Buckcherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary 
Woodstock) Shinedown, Dropkick Murphy’s, Alice in Chains, Papa Roach, Bret Michaels, 
Halestorm,Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel, Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted 
Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) Adelitas Way, Scott Stapp (The voice of Creed), Pop Evil, Ratt & many more. If your music was a type of food, what would it be and why? Eric: Chewing gum, so you can chew on it for a while and savour the flavour. What's the funniest thing that's ever happened to you while performing? Eric: Nothing really comes to mind other than tripping, falling with a guitar and saving the guitar. What's the most random thing that has ever inspired you to write a song? Eric: Just random thoughts that come to mind while travelling when you have nothing to do. Your mind wanders, maybe something that was said in conversation, even just a word, can trigger a song. What's the most useless talent you have, and would you incorporate it into your music if you could? Eric: Playing with my balls? I don’t think I can incorporate that. I’m joking, by the way. [Laughs]. Thanks for the time today, Eric. Is there anything else you may want to add that I didn't cover before you go? Thanx so much, and you can check out our tour dates https://leavingeden.com/tour & https://silverspringsfleetwoodmactribute.com/tour-dates Twas my pleasure. Follow the band on their socials: https://www.facebook.com/bandleavingeden https://youtube.com/@leavingedenband?si=U8cEUL1EbpzVHhEr https://twitter.com/leavingeden?lang=en https://www.tiktok.com/@leavingedenband https://leavingeden.com/ https://silverspringsfleetwoodmactribute.com/

Three Days Grace have always been a band defined by resilience. Since their explosive rise in the early 2000s, their catalogue has soundtracked heartbreak, rage, addiction, and survival—anthems for those battling inner wars. With Alienation  (out August 22, 2025, via RCA Records), the Canadian rock giants take one of the boldest steps of their career: the return of original vocalist Adam Gontier, nearly twelve years after his departure. The result is a record that feels both like a homecoming and a rebirth—an album that captures the band’s original fire while pushing into heavier, darker territory. The album’s twelve tracks dive headfirst into themes of isolation, collapse, and defiance, as drummer Neil Sanderson describes: “Some of what we write about—anxiety, addiction, heartbreak, disconnect—are often a different wave of the same storm. And yet, buried in all the wreckage is something human—still reaching out.” That sentiment fuels the lifeblood of Alienation , a record that bridges nostalgia with reinvention. Opening track “Dominate” wastes no time in setting the tone. A pummeling riff and relentless rhythm section propel Adam Gontier’s unmistakably gritty and fiery verses before Matt Walst’s voice cuts through on the chorus, creating a rare dual-vocal dynamic. It’s a song about grit, ambition, and defiance—the perfect reintroduction to a band that thrives on proving doubters wrong. “Apologies” is pure Three Days Grace DNA—anthemic, emotionally raw, and designed to be screamed back by arenas full of fans. The driving guitars and soaring chorus recall the band’s early 2000s prime, yet the production feels sharpened for 2025’s alt-metal landscape. The track’s lyrical weight, dealing with love lost and the futility of regret, cements it as one of the record’s most impactful moments. Elsewhere, “Mayday” takes aim at a world teetering on collapse, weaving social commentary with exhaustion-fueled urgency. Meanwhile, “Kill Me Fast” is a standout emotional gut-punch, with Gontier at his most vulnerable. His voice carries the raw ache of someone begging for closure, his lyrics cutting as deep as anything from One-X . The title track, “Alienation,” distills the band’s mission statement: a brooding anthem about disconnection, belonging, and the pain of existing outside the lines. Tracks like “In Waves” and “Deathwish” lean into the heavier side of the band’s sound, showcasing Barry Stock’s crushing guitar work and Brad Walst’s rumbling bass tones, while “Never Ordinary” and “Don’t Wanna Go Home Tonight” deliver more melodic, hook-driven rockers destined for radio play. The closing stretch—“In Cold Blood,” “The Power,” and “Another Relapse”—serves as both reflection and catharsis, pairing sombre lyrics with surging arrangements that leave the listener exhausted, but certainly fulfilled. What makes Alienation  remarkable is how it doesn’t feel like a mere nostalgia trip. Instead, it’s a fusion: the raw emotional grit of early Three Days Grace colliding with the arena-sized modern rock sensibilities they’ve honed over the past decade without Gontier. The dual presence of Adam Gontier and Matt Walst—once a point of division among fans—now feels like an unlikely strength, giving the band new textures and perspectives to explore. With Alienation , Three Days Grace delivers their strongest, most cohesive record in years. It’s a bruising, cathartic, and deeply human album—one that proves the band is not only still relevant but perhaps more vital than ever. After decades of fighting through storms both personal and professional, they’ve emerged with an album that reminds us why their music mattered in the first place—and why it still does. It's a triumphant return and reinvention. Alienation  blends the best of Three Days Grace’s past and present. For longtime fans, it’s the record they’ve been waiting for. For newcomers, it’s proof that the band is still one of modern rock’s most powerful voices. Check out more from Three Days Grace: Website | Instagram | X | Facebook | TikTok | YouTube | Spotify

On Monday, August 18, 2025, Mexican rock band The Warning held a premiere for their concert film, Live from Auditorio Nacional, CDMX . The 3-piece band consists of sisters Daniella Villarreal on Guitar and vocals, Paulina Villarreal on Drums and vocals, and Alejandra Villarreal on bass. The night started with the band doing interviews on the red carpet. There was a bunch of fans in the lobby waiting to catch a glimpse of the band. One fan told me he drove all the way from San Diego without a ticket to the film just to see them and that he has seen them perform 13 times. I was happy to see that later this fan, as well as many others, were given tickets to see the film. After the red carpet, it was time to go enjoy the film. The theater was filled with family, friends, and fans. Before the film started, the band came out and said a few words, thanking everyone for coming. The concert film was amazing. I was blown away by The Warnings' performance. Their energy on stage was captured so perfectly that everyone in the audience could feel it as well. After every song, there was cheering and clapping throughout the entire film. Fans were even singing along to the songs. It truly felt like being at an actual live show. I definitely want to see them perform live after watching their concert film. Once the film was done, The Warning did a quick Q&A with their manager, Rudy Joffroy, before concluding the event. Photos courtesy of Alexa Cha - @alexandriapictures

Rising artist Haiden Henderson released his new EP, tension , on August 1, 2025, via Republic Records and LAVA Records. The EP consists of an eight-song tracklist. How important is it for you to connect with your audience on a personal level? Haiden: I’ve been making music for three years, and for the first two years, I thought I could get away with the Frank Ocean effect. I was like I’m just going to post my stuff and people are going to find it and it's going to be great and I don't have to interact with people at all. In the last year, I started playing live and realized I was robbing myself of an experience if I wasn't connecting with the fans. Like why make music if it’s not to feel connected to in some way? So I started heavily investing in my relationship with my fans. I did Discord, responding to comments and DMs, having inside jokes with them and letting them in on my weird quirks. Everything I've done since doing that has had infinitely more meaning. If I take a while to release a song, I don't feel like I'm punishing myself for not being productive; I feel like I'm letting them down. I make this music just to see their faces. Seeing them react to it is the best feeling. What role does visuals play in telling the story of your music? Haiden: I think sort of intentionally and not intentionally, I look a little more edgier than my music is. At the end of the day, it's just pop music. I wear leather, have holes in my clothes and wear eye liner. I love the aesthetic of those things, but it doesn't change how the music sounds. I naturally look pale and sickly, dressing emo and being obsessed with vampires and all that is naturally who I am. I’m very happy that now my fans are starting to look like me. We did a pop-up in Paris a few weeks ago, and I was the first one there. I was like, nobody came, and then out of an alleyway, the cast of the Vampire Diaries came, and it was like 150 teenage girls all wearing edgy shit walking in slow motion over to me. At shows, it’s one thing, and I can see my people, but to see a mass of people in public next to tourists and families. I was like Wow, that's what I look like, that's crazy, we look insane. It was a fun realization, and I feel very seen by it. How has your songwriting and production evolved in this EP from the others? Haiden: It's evolved a lot. For my first two EPs, I wrote all the songs alone in my bedroom on a guitar. Then I would bring them to the studio, and me and one of my friends would produce them together. It was a long and torturous process. I would sit at the edge of my bed and be like write something, write something I would really poke and prod at myself till I had something to say. On this latest project, I was a lot more patient with myself. I wrote a lot of the pieces of the song before I had something to say about it. I can't release a song unless it's a bit true. For this project, I would write a piece or a phrase and put it away for a while. Then the things that were happening in my life that this project was based off of would happen, and I would feel it and build the story backwards from there. Now, when I write, I still write all the lyrics on my own, but I write while I'm on a walk or driving. It'll be more random sporadic times, and not much of an interrogative process. What's an absolute must before going on stage? Haiden: A moment to myself. To get into my body because so much of tour is what I call jellyfishing. Which is where I go, where I'm taken. I'm kind of a rag doll on tour and get yanked around, and it's fun. I have girlfriend brain where I'm like la la la la la and I love it. So much of my life is me making things happen. So tour is fun because I get to float around. A moment to myself before I go on stage is important because I attempt to recollect myself. I want to be full there when I'm on stage and not a jellyfish. What are your must haves and non-negotiables that you're bringing with you on tour? Haiden: I have to pack in a few days, so this is good to think about. Every tour that I've done, I learn how important the things I forgot are. The lame shit that needs to go on tour with me is vitamins I take a lot, especially on tour. I have a whole vitamin kit. A leather jacket is essential, a pair of comfortable sneakers converse and comfortable clothing. What has been your favorite show to open for? Haiden: I tend to base the shows off the city we were in. I now unfairly judge cities based on how fun the crowds were. Even though I know nothing about the city or anything. I really loved Paris. It was such a dream of mine. It's so romantic to me. I’ve watched Ratatouille more than any movie. It was very exciting to play there and have so many fans there. The shows I enjoyed playing were the ones I realized had a lot of fans there. The ones in this last tour in Europe it was my first time there. The fans were singing my songs just as loud as the headliners. I went back and told my label like hey that was insane. I think we need to tour Europe. They were like I'm sure it was fun, nobody believed me. Then, when we put up the Europe tickets and they sold out so quickly, everyone was like oh fuck okay, cool. It’s Paris, Prague, Warsaw, Poland, New York, Denver, Salt Lake City. As for who I opened for, I really liked opening for my friends Landon Barker and Miko.

Winnipeg got a dose of ‘90s R&B royalty on August 5, 2025, as TLC brought their timeless catalogue and unmatched charisma to the Club Regent Event Centre. With a sold-out crowd buzzing in anticipation, the night was kicked off by two of Winnipeg’s own: DJ Mama Cutsworth and Mattmac, who set the perfect stage for the legendary trio-turned-duo. Mama Cutsworth opened the evening with an expertly curated DJ set, blending classic hip-hop, soul, and funk to get the audience moving. Known locally for her infectious energy and eclectic taste, she turned the venue into a dancefloor before the main acts even touched the stage. Following her was Mattmac, the blind Indigenous musician from Garden Hill First Nation, who has been making waves nationally with his powerful mix of hip-hop and pop melodies. His heartfelt performance and undeniable flow were met with enthusiastic cheers, proving once again why he’s one of Manitoba’s brightest rising stars. Mama Cutsworth, Chrissy Troy, and Mattmac. Photos by Samuel Stevens. Then came the main event. Backed by DJ Dubz and a full backing band, the two provided both hype and seamless interludes. Tionne “T-Boz” Watkins and Rozonda “Chilli” Thomas hit the stage with an energy that immediately transported the crowd back to the height of TLC’s dominance. Opening with “Ain’t 2 Proud 2 Beg,” the duo commanded the stage with their signature blend of confidence and swagger, seamlessly flowing into “What About Your Friends” and the smooth groove of “Baby-Baby-Baby.” The set was carefully crafted to highlight both the sultry and socially conscious sides of TLC’s discography. “Red Light Special” and “Diggin’ on You” showcased their slow jam prowess, while “Unpretty” drew a massive singalong from a crowd that clearly still connected deeply to its message twenty-six years after its release. One of the night’s standout moments came during the medley of “Kick Your Game / Girl Talk / Hat 2 Da Back,” where the duo, joined by dancers, kept the energy high and the nostalgia flowing. A dance break and DJ Dubz intermission kept the momentum alive, giving fans a chance to revel in the throwback party atmosphere before TLC returned to deliver a string of fan favourites. TLC. Photos by Samuel Stevens. The second half of the show leaned into the undeniable hits. Songs like “Silly Ho,” “FanMail,” and “Case of the Fake People” reminded the audience of the group’s forward-thinking style and edge, while “Creep” turned the venue into a singalong choir. Of course, the two biggest moments of the night came with “No Scrubs” and “Waterfalls.” The former had nearly every fan on their feet, shouting the lyrics back at Chilli with pure joy, while the latter was a goosebump-inducing closer, honouring the late Lisa “Left Eye” Lopes with her iconic rap verse playing on screen. It was a heartfelt tribute and a reminder of the group’s enduring legacy. Even after three decades, TLC proved they are far more than a nostalgic act. They are living icons, still delivering powerhouse performances filled with authenticity, empowerment, and love for their fans. Winnipeg danced, sang, and celebrated a night that was both a trip down memory lane and a testament to music that has stood the test of time. It was a flawless blend of nostalgia and timeless artistry; TLC’s Winnipeg stop was a joyful reminder that their music will forever be CrazySexyCool .

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

Pop singer-songwriter John K brought his Salt + Light Tour to the Moroccan Lounge in Los Angeles, California, on Tuesday, August 5, 2025. Part one of the Tour began on July 31st in Seattle, Washington, and it will end on August 31st in Orlando, Florida. Jacy opened the night. She sang an unreleased song. During the last song, she got down in the crowd and danced with everyone. She has a great voice and energy. Up next was John, who hit the stage, and fans immediately started cheering. He sang songs from his new album, SALT + LIGHT, as well as his other albums. He also performed a couple of covers, one being Justin Bieber’s song “Daisies.” John switched to acoustic for a couple of songs. He ended the set with his hit song “If We Never Met,” and after he left the stage, the audience started cheering for an encore. John came back out, and the energy in the room went wild. He sang “Parachute” to officially close out the night. John has an incredible voice and great stage presence. Photos by Sabrina Shahryar.

On a warm Saturday night in Winnipeg, the Burton Cummings Theatre buzzed with anticipation as fans packed in for the Hundred Mile High Tour, headlined by country-rock powerhouse Cameron Whitcomb and supported by rising alternative rock outfit The Shindigs. From the first note to the final encore, the show was an electric fusion of infectious melodies, unfiltered energy, and heartfelt moments that left the crowd roaring well past the last chord. The Shindigs. Photos by Samuel Stevens. Opening the night, The Shindigs wasted no time pulling the audience into their upbeat, groove-driven world. Fronted by the charismatic Shea Peoples, the band’s chemistry was undeniable, firing on all cylinders from the bouncy opener "Feeling the Love" straight through to their punchy closer "Chapstick." Their set was a mix of sunny indie-pop hooks ("Sundown") and gritty alternative rock edge ("Fight or Flight"), with standout moments including a surprisingly sharp and funky rendition of Franz Ferdinand’s "Take Me Out," which had the entire theatre clapping along in unison. The crowd responded especially well to "Snowball"—a quirky, high-energy number that had a near cult-like singalong from the front rows. By the end of their 10-song set, The Shindigs had cemented themselves as more than just an opener—they were an event in their own right. When Cameron Whitcomb and his band hit the stage, the energy instantly shifted from excitement to full-blown eruption. Launching right into "Hundred Mile High," Whitcomb’s voice was as commanding as it was emotive, carrying the kind of grit that makes you believe every lyric he sings. His setlist was a sprawling journey, touching on country storytelling, rock swagger, and even nostalgic alt-rock flair. Songs like "My Expense" and "By My Own Hand" showcased his knack for blending heartfelt lyricism with driving rhythms, while "Shoot Me Dead" saw the crowd stomping and hollering like a backroad festival had been dropped in the middle of downtown Winnipeg. Cameron Whitcomb. Photos by Samuel Stevens. The covers were crowd-pleasers in their own right—Wheatus’ "Teenage Dirtbag" drew loud, nostalgic sing-alongs, Tyler Childers’ "All Your’n" slowed things down to a warm, intimate glow, and Nirvana’s "Smells Like Teen Spirit" ignited a mosh pit near the stage. One of the night’s most memorable moments came when Shea Peoples returned to join Whitcomb for "Flower Tattoos," their voices weaving together with the kind of chemistry you can’t fake. The home stretch was pure adrenaline—"Wreckage," "Gasoline & Matches," and "Medusa" hit with the force of a freight train, and just when it seemed like the night was over, Whitcomb returned solo for an encore performance of "Quitter," leaving the crowd in awed silence before erupting into applause. The Winnipeg stop of the Hundred Mile High Tour was more than just a concert—it was a showcase of raw talent, passionate performance, and the kind of musical variety that keeps you hooked from start to finish. The Shindigs brought the fire, Cameron Whitcomb brought the soul, and together they turned the Burton Cummings Theatre into a one-night-only epicentre of unforgettable live music.

LISTEN HERE Rising singer and songwriter Ana Luna shares her new single, “ Can We Pretend We Just Met at a Bar? ,” out on all streaming platforms today. Building on the raw vulnerability and thoughtful introspection of earlier releases like " Daddy’s Empire " and " Dance in a Trance ," the track offers another glimpse into the emotionally layered world of her forthcoming debut album. Anchored by warm, cinematic production and a hypnotic, slow-burning rhythm, the track builds with quiet intensity. Ana’s vocals are intimate, aching, and emotionally charged, pulling listeners into a world that feels both dreamlike and unflinchingly honest. Beneath the song’s softness lies a quiet reckoning, as it tenderly unpacks denial, longing, and the slow, painful process of letting go. “'Can We Pretend We Just Met at a Bar?' is a conversation with myself. It’s about blurring the past and present in order to get to the truth and begin letting go,” Ana shares. "In the song, I imagined how I wished things could be, faced how they actually were, and asked myself why I hadn’t walked away sooner. Deep down, I knew the relationship was over, but I stayed in denial." She continues, “From the outside, it looked like love, it looked like it should work, and that illusion kept pulling me back. But inside, I was suffering. There’s a disconnect between the external and internal: the external hypnotizes you to stay, while the internal is begging you to face the truth that it’s all a facade, and there’s no future there.” Born in Ukraine, raised in Paris, and now based in Los Angeles, Ana Luna is a natural-born storyteller whose music feels both cinematic and emotionally unfiltered. After years of keeping her songwriting private while pursuing acting, she fully embraced music in college, developing a sound that fuses dream pop, alt-rock, and moody ballads into something sultry, celestial, and deeply personal. Through her songs, Ana processes emotional wounds, explores human behaviour, and offers a space for healing. Listen to "Can We Pretend We Just Met at a Bar?" on all streaming platforms:  https://onerpm.link/MetAtABar Follow Ana Luna: Instagram TikTok X YouTube Facebook Spotify

How would you describe your music to any person who may have never heard it before? Glenna: Imagine the girl next door–sort of dorky, zippy, wears her heart on her sleeve, awkward, doesn’t care if she’s cool, kind of girl–made indie pop music! My music is like a memory box overflowing with polaroids, doodles, love letters, and ripped-out journal entries, memorabilia revealing the glimmering truths of growing up. What are your musical influences? G: I’m influenced by Dijon’s organic production, Saya Gray’s maximalism, and SZA’s honesty. I grew up on pop stars, but also indie heroes from Miley Cyrus to Tegan and Sara. I’m obsessed with movie soundtracks and 2014 Tumblr. If given the chance, what musician/artist would you like to collaborate with? G: Dijon in a heartbeat! What's the new single “Two Years” about? G: “Two Years” is about a summer fling turned situationship. I wrote it two years ago after reconnecting with my right person, wrong time and realizing that romantic destiny never had a role in that relationship. It’s about memory and time and how time reconstructs memory. Ultimately, “Two Years” is about mourning the loss of but latching onto the past: a past love and a past self. What's something you hope people take away from the new single? G: I hate to state the obvious, but the right person is timeless. What differentiates your singles “Juno” and “Two Years”? G: Thematically, “Juno” and “Two Years” could not be more different. Despite both being grounded in love and memory and blurring fact with fantasy, “Juno” is a sweet ode to queer becoming, while “Two Years” laments the illusion of a relationship. Sonically, they blend acoustic and electronic sensibilities, but “Juno” is the 2000s teen romcom–the sleepover scene when the girl next door kisses her best friend–whereas “Two Years” is the 2000s surrealist romcom wherein lovers meet again on a train. What did you allow yourself to do creatively for this song that you haven’t in the past? G: “Two Years” holds so many firsts: the first song I played guitar on, the first song I recorded on the EP, the first song my producer and I worked together on ever. Coming into the recording process, I just wanted to entertain every whim and lean into imperfection, infusing a sense of play into the production of songs that have a pop heart. “Two Years” is the latest glimpse of your forthcoming EP, Kid, coming later this year. What can listeners expect from the EP? G: It’s about coming of age at twenty-something. It’s about honouring little me’s big feelings. It’s genre-melding, story-telling, world-building: four tracks about my adolescence and early twenties scrawled on a sprawling pastiche of alternative indie pop. When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non-musical sources that help you reconnect with your creativity? G: I hate to state the obvious again, but experiencing life is the only way to get past creative ruts. Toni Morrison used to say you shouldn’t write through writer’s block, so when I’m struggling to write a song, I just don’t. Instead, I watch movies and TV, listen to vinyl, journal, read think pieces on Substack, go to concerts, and spend time with my loved ones until I’m called to write music again. Do you have any favourite songs to perform live? It could be your own music or even a cover. Any reason why? G: I love performing “Juno” live! It’s the first love song I’ve ever written, so I always find myself smiling through it. What do you currently have planned for the remainder of the year? G: I’ve nurtured this EP for over two years now, so I’m really excited to release it and perform it live in full for the first time! What's the most random thing that has ever inspired you to write a song? G: When I was 14, I was catfished by a boy named Jeremy on Tumblr. That experience served as the starting point for the title track of the EP. Check out more from Glenna Jane: Website | Instagram | TikTok

August 3, 2025 Sidestage All photos by Kay Arnal.

How would you describe your music to any person who may have never heard it before? I’d say it’s music for the mind and the heart—progressive and cinematic rock with emotional weight and a touch of introspection. It lives somewhere between alternative rock, ambient textures, jazz influences, and singer-songwriter storytelling. You’ll get songs that unfold slowly, with intention and detail as well as catchy melodies that are memorable. It’s the kind of music you might listen to while driving late at night, headphones on, sorting through your thoughts—or while lying on the floor processing something you can’t quite put into words. What's the significance of your band's name? The name holon comes from a term coined by Arthur Koestler and expanded on by Ken Wilber. A holon is something that is both a whole in itself and a part of something larger. That idea really stuck with me—on a philosophical level, sure, but especially in relation to music. Each instrument, each lyric, each note—they’re individual parts, but they contribute to a bigger emotional and sonic picture. I liked that duality. What are your musical influences? My musical influences are pretty wide-ranging, but they all share one thing in common: they’re artists who take risks, explore deeply, and create with real intent—whether that’s through complexity, emotional rawness, or sonic experimentation. Early on, I was drawn to guitar-driven rock and metal—bands like Guns N’ Roses, Metallica, and especially Extreme, with Nuno Bettencourt’s rhythmic and expressive playing leaving a huge mark on me. That era pulled me into the guitar world—but it was Dream Theater that opened the door to the progressive universe, and from there I discovered bands like Yes, Genesis, Rush, and Pink Floyd, who really taught me the value of musical storytelling and dynamic structure. At the same time, I’ve always had one foot in more emotionally immersive and atmospheric music—artists like Radiohead, Jeff Buckley, Coldplay, The Pineapple Thief, Arcane Roots, and Biffy Clyro. These are bands that don’t hide from emotion, and that’s something I deeply resonate with. Then there’s the jazz and world music influence—people like John McLaughlin, Shakti, Pat Metheny, and Jaga Jazzist, who’ve expanded how I think about rhythm, harmony, and the sheer possibility of sound. That influence shows up especially in the more textured, layered side of Holon. And of course, there’s Frank Zappa, who taught me that you can be experimental, conceptual, humorous, and completely serious—all in the same song. He gave me permission to think outside the lines. So yeah, whether it’s cinematic emotionality, technical complexity, or philosophical exploration, my influences come from a mix of worlds—but they all fuel the way I build and feel my music. What are your musical inspirations? A lot of my inspiration comes from personal experiences—those moments in life that shake you up, shift your perspective, or leave you searching for some kind of meaning. But beyond that, I’m also deeply inspired by philosophy, psychology, and spirituality. I’ve always been drawn to the big questions: Why are we here? What makes us who we are? How do we grow, change, and connect? That kind of introspection naturally finds its way into the music. Sometimes it shows up in the lyrics, other times it shapes the mood or structure of a song. I think music can be a way of processing and exploring the intangible—things we can’t always put into words but still feel deeply. For me, it’s both a creative outlet and a kind of reflection practice. Like journaling… but louder. If given the chance, what musician(s) would you like to collaborate with? Rather this is to either write a song or be featured on a track. If I could put together my absolute dream collaboration—a sort of emotional-prog-supergroup—it would be something like this: Jeff Buckley on vocals, because no one conveyed raw emotion quite like him. His voice could be both a whisper and a storm, and I’d love to see how that energy could shape a song. Jonas Bjerre from Mew would add that soaring, surreal melodic layer. His voice feels like it comes from somewhere not quite of this world, which pairs beautifully with introspective music. Bruce Soord of The Pineapple Thief would bring structure and lyrical weight. His songwriting is deeply human and honest—grounded without being predictable. Pat Metheny on guitar would be the architect of harmonic color—building spaces within the music that we didn’t even know existed. He could also bring in some of his Brazilian/world music influences. I’d bring in some members of Motorpsycho for texture and edge—they’re masters at fusing prog, jazz, and psych without ever sounding forced. They’d keep us all on our toes, in the best way. And to tie it all together with a touch of cinematic elegance, I’d add Ola Kvernberg on violin. He brings this wild, expressive energy to everything he touches—he can go from delicate to explosive in a single phrase. I think he’d elevate the emotional storytelling of the entire ensemble. I imagine the music we’d make would be part melancholic art rock, part jazz-infused improvisation, part sonic film score. It might never end up on a radio playlist—but it would definitely mean something. That’s the kind of collaboration I live for. What's the new single about? “Samsara” is about the cycles we go through—loss, renewal, change—and how those cycles often feel like a mix of pain and possibility. It’s named after the Eastern philosophical concept of birth, death, and rebirth, which felt like the perfect metaphor for what I was experiencing at the time. It’s a song about surrendering to the flow of life while still holding on to the hope that something meaningful will emerge from the chaos. What's something you hope people take away from the new single? I hope people hear it and feel like it’s okay to start over. That it’s okay to sit in the in-between spaces for a while. And that there’s something beautiful about the process, even when it’s hard. If it helps someone through a rough patch, or even just gives them a moment of stillness, then it’s done its job. What did you allow yourself to do creatively for this song that you haven’t in the past? I embraced minimalism and emotional directness more than I usually do. Normally, I love building big arrangements and pushing the structure, but with “Samsara,” I wanted to focus on the emotional core. I let the song breathe and resisted the urge to complicate it for the sake of complexity. When you find yourself in a creative rut, what do you usually turn to? Any habits, environments or even non- musical sources that help you reconnect with your creativity? For this one, I really leaned into the idea of orchestration and texture in a way I haven’t before. Specifically, I arranged the intro for three cellos, which was a first for me—and honestly, it opened up a whole new layer of emotional depth right at the start of the track. There’s something about the tone and weight of a cello that immediately sets a mood—melancholic, warm, slightly haunted—and stacking them allowed me to create this slow-moving harmonic bed that felt both intimate and cinematic. It was a nice change of pace from building intros out of guitars and synths. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Yeah—“Two Grains of Sand” from my first album The Time Is Always Now is definitely a favourite to play live. It’s one of those songs that seems to connect with people instantly, even in a stripped-back acoustic setting. There’s something about the way it flows—it’s got a balance of vulnerability and movement that feels really natural to perform. It’s also one of those tracks where I can let the emotion lead, rather than worrying too much about technical perfection. It just has that live energy that’s easy to step into, whether it’s for a small room of listeners or something bigger. And honestly, it’s nice to revisit that song every now and then—it reminds me of where this whole journey started. If you could perform a show this very second anywhere in the world, where would it be? It doesn’t matter where it is as long as it is before an audience that is into my music.The crowd is the important part for me - not the place. That being said - it would be cool to play at some of the wonders of the world. You know, like Yanni did in front of the Taj Mahal. Only this could be on top of a pyramid or in the colosseum. Is there any particular venue(s) or city/cities that comes to mind? Yes, the wonders of the world. Anything could be turned into a venue couldn’t it? ;) Well, we do have this festival in Norway called Træna festival on this island that is off the beaten path. Could be cool to play there sometime. What do you currently have planned for the remainder of the year? I’m wrapping up Part 1 of Love & Behold, with more singles coming ahead of the full release. I’ll also be working on Part 2, and digging into a collection of older material that’s long overdue for some attention. The focus is really on finishing and sharing more music, connecting with new listeners, and hopefully building a deeper relationship with those who’ve been on the journey so far. If your music was a type of food, what would it be and why? Probably a slow-cooked curry—layered, rich, a little spicy, and full of flavour that hits you gradually. It’s not fast food, but if you sit with it, it warms you from the inside out. Plus, it’s got a few unexpected ingredients thrown in for good measure. What's the funniest thing that's ever happened to you while performing? To be honest, I don’t have any wild stage stories—I haven’t performed live all that much. holon is primarily a studio project, so most of the music lives and breathes in that space where I’m layering sounds, tweaking mixes, and chasing whatever idea keeps me up at night. What's the most random thing that has ever inspired you to write a song? Once, while staying in a bungalow in Goa, India, I heard a family in the next bungalow having a loud argument. Now, it probably wasn’t anything too dramatic—just regular family tension—but my brain immediately went full cinema mode. Within minutes, I’d constructed this whole backstory involving domestic abuse, generational trauma, escape plans… you name it. Of course, had it clearly been anything serious or dangerous, I would’ve intervened. But it was more a case of my imagination running completely wild, filling in the gaps with emotion and narrative—something it’s pretty good at. That moment sparked a song about hidden conflict and what we don’t see behind closed doors, even if the whole situation may have just been a disagreement over dinner. Sometimes all it takes is a sound, a sentence, or a stranger’s energy to trigger a whole story in my head. It’s funny how the mind works—and how music sometimes starts with nothing more than a spark of imagined reality. What's the most useless talent you have and would you incorporate it into your music if you could? I’m not sure I really believe in the idea of “talent” as much as I believe in hard work, consistency, and curiosity. Most of what I can do musically has come from years of tinkering, failing, and getting back up to try again. So if I have a “talent,” it’s probably more about stubbornness than anything magical. That said—if you ask my girlfriend, she’d tell you I have a real gift for hoarding. I find it genuinely satisfying to hold on to random cables, pieces of gear, old notebooks, broken pedals… things most people would’ve thrown out ages ago. And the best part? Finding a use for something years later. That moment of “See? This is why I kept it!” brings me ridiculous joy. I suppose in a way, I do incorporate that into my music—repurposing old ideas, reworking forgotten melodies, or layering in sounds from recordings I almost deleted. So maybe it’s not so useless after all. Just… long-game thinking. Thanks for the time today, Ronny. Is there anything else you may want to add that I didn't cover before you go? Just a big thanks to anyone listening, sharing, or supporting holon in any way. Making music like this isn’t about chasing trends—it’s about creating something meaningful, and it means the world when people connect with that. And hey, if you haven’t heard “Samsara” yet, go give it a spin—it pairs well with a quiet evening and a cup of something warm.

LA-based alt-grunge rock band Return to Dust's new EP, Speak Like the Dead, was released on August 1, 2025, via Republic Records and LAVA Records. The band consists of Matty Joseph on guitar and vocals, Graham Stanush on bass and vocals, Sebastian Gonzalez on guitar, and London Hudson on drums. What can fans expect from your live shows that they wouldn't get from streaming? RTD: Yeah, new songs, we have a lot of new stuff coming out. We extended a lot of our bridges and outros too. They can expect real music, real rock. You can always listen to any band, but to go to a show and get that same feeling, but more enhanced, is the best part of experiencing our live show. What does the creative process look like? Who does the songwriting? RTD: Me (Graham) and Matty do the songwriting. The creative process differs really from song by song. Sometimes Matty will write an entire song, sometimes I will, sometimes we'll just have a hook or riff idea. Then we'll bring that into the rehearsal room and jam on it full band and demo it out. Then we bring that into the studio. There's times where we bring a verse and chorus and basically track the whole song. Then wrote the second verse two days into the tracking session. Then recorded the whole song. That's what happened with “Abyss,” which is on the EP. There's so many different ways it goes, but we try to keep it exciting and loose. Set no parameters or rules and let the song take it where it needs to go. You're opening on tour for Breaking Benjamin and Three Days Grace. How have you developed your shows from previous shows as you fill these bigger venues? RTD: We're actually just getting into that. It's definitely a different beast. We don’t even know how it's gonna feel like yet, walking out to 10 thousand people. I think the first step is practice and getting better as a band, and then focus on lights and all that. It's really a challenge to figure out, especially since we're opening, so you don't have a ton of control of the lights or music on the PA. you have a short amount of time to pack a punch and get the hell off the stage. You have to think in that box. How do we say the most in the shortest amount of time. We have to build a set full of exciting songs and close in a way that's really special. Hopefully , it resonates with the crowd. We're actually talking about different production elements. Our producer is good at programming atmosphere stuff, so we're talking about little transitional pieces and to make the show unique. How do you believe that the new EP expands on the sound you established on your debut album and how do you think it can open up possibilities for larger projects in the future? RTD: It's going to be a huge transition in many ways. Even with “Bored,” we haven't had a song that's alternatively feeling like that and has precaution stuff and weird things in the background. I feel like that's really left field for RTD. It's cool a lot of the songs were written when Graham and I first moved. We were very young, we were like 19 and 20. We had a lot of initial thoughts about what life was and what our struggles were. It's interesting to see how it's changed and developed with the new body of work. These songs were written in the last couple of years. It's cool to lead with this new thing and turning a huge page for the band. I read that you wrote “Bored” in an underpass. What was that headspace like? Do you think writing it in that environment amped up the inspiration for the song? RTD: It’s right behind our budd y' s house. Privacy is number one when you’re trying to write. You need a place to freely express your ideas. For our music like scream and belt you can't do in an apartment. So we found this place was good because it was totally secluded, and Graham and I could just sing and express ideas. There was good reverb as well, so it sounded really good. How does this project reflect your growth, not just as artists? RTD: I definitely think it's a big step up musically. It's still our sound, I think we're just pushing more for what we want to do sonically. It’s a step up in every way with stuff that we're adding, us as players and them as singers. It's cool to experience tour and grow with that. It feels a lot more layered sonically. What other things outside music inspire your sound, whether that be an experience, a feeling you want to evoke in listeners, etc.? RTD: I think that vibes are something that we chase a lot. I read that if you're feeling down to go somewhere new and change places. It’ll hopefully shift your view on things. The camaraderie of the band is really inspiring. The fact that we all do things together, we’re sharing all these experiences at once and growing together. Feeling them all at once, and we’re all musicians, so we can share them with the world. What was the artistic vision like for the cover of the EP? RTD: This was an out-take. We worked with this talented photographer, and he has an incredible vision. We had some ideas and he was like, lets through a bunch of stuff at the wall and see what happens. No one could have said it's going to be a woman pushing through latex with a butterfly. We took some of the themes we were mood boarding and brought those things to the shoot and saw what happened. This was one of the outtakes. It wasn't what we originally thought it was going to be.

J-pop sensation Travis Japan brought their VIIsual tour to The Grove in Anaheim, CA on July 27, 2025. The band consists of seven members: Kaito “Chaka” Miyachika, Kaito “Machu” Matsukura, Noel Kawashima, Shizuya “Shizu” Yoshizawa, Genta Matsuda, Kaito “Umi” Nakamura, and Ryuya “Shime” Shimekake. They made history in 2022 for being the first J-pop group to compete at the World of Dance Championship Week. They were also on season 17 of America’s Got Talent. Luka & Jenna, Chaotic 3, and Emanon. Photos by Sabrina Shahryar. The openers were dancers, Luka & Jenna, Chaotic 3, and Emanon, who have garnered fame with appearances on World of Dance. Each act had a chance to dance to a few songs before Travis Japan hit the stage. All of the opening acts were amazing. Travis Japan. Photos by Sabrina Shahryar. The moment Travis Japan hit the stage, fans went wild. Their dance moves were incredible, and their voices were great. They had such great energy. At one point in the show, the group brought out a piece of paper with a list of This or That to play with the audience. Travis Japan and the fans were having a lot of fun with the game. After they finished the game, they continued performing. Towards the end of the show, Travis Japan brought out all the openers, and each act got a moment to dance. It was like one big dance party with the audience dancing along. It was a very fun show. There aren't a lot of artists who perform choreography for each song nowadays. It was cool to see Travis Japan doing it. They put on an incredible show.

About the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE .

On July 10, 2025, Princess Auto Stadium in Winnipeg was transformed into a sea of cowboy hats, denim jackets, and the sound of twangy guitars as Country Thunder brought together an all-star lineup featuring Riley Green, Tyler Hubbard, Madeline Merlo, and Petric with special guest Catie St. Germain. With perfect summer weather and a crowd that came ready to dance, sing, and celebrate, the night delivered everything from heartfelt country storytelling to stadium-shaking party anthems. Petric w/ Catie St. Germaine. Photos by Samuel Stevens. Kicking off the evening was Petric, Manitoba’s own country-pop trio, joined by rising local star Catie St. Germain. Their set was a proud homecoming moment, opening with the radio-ready “All She Wrote” and following up with the catchy “Can’t Say No.” The group’s harmonies shined on “18 Ends” and “The Best,” while “Band of Brothers” closed the set with a heartfelt nod to camaraderie and family. It was the perfect warm-up for the night ahead, reminding everyone why Petric continues to be one of Canada’s most consistent country acts. Madeline Merlo. Photos by Samuel Stevens. Bringing her own vibrant energy to the stage earlier in the evening, Madeline Merlo delivered a set full of fresh, contemporary country. Her performance was full of pop-infused hooks and relatable storytelling, showcasing why she’s one of Canada’s fastest-rising stars. Songs like “Slide” and “It Didn’t” had the crowd swaying, while her stage presence brought warmth and charisma that connected instantly with fans. Tyler Hubbard. Photos by Samuel Stevens. Tyler Hubbard, best known as half of Florida Georgia Line, brought his signature blend of modern country hooks and feel-good vibes to the stage. Opening with “Park” and “Night Like That,” he had fans up on their feet instantly. Hubbard worked the stage like a seasoned pro, sprinkling in solo hits like “Back Then Right Now” and “Me for Me” alongside big crowd sing-alongs like “You Make It Easy” (a hit he wrote for Jason Aldean) and “Meant to Be” (Bebe Rexha’s chart-topper). The nostalgia hit hard when he busted out “Cruise” from his Florida Georgia Line days, turning the stadium into one massive chorus. Hubbard closed his set with “5 Foot 9” and “Dancin’ in the Country,” both proving that Hubbard’s solo career is more than holding its own. Headliner Riley Green took the stage as the sun began to set, his Alabama roots coming through in every lyric and guitar lick. Kicking off with “Different ’Round Here” and “Damn Good Day to Leave,” Green mixed stadium-worthy energy with the intimacy of a back porch jam. Fans got a dose of his sentimental side on “If It Wasn’t for Trucks” and a stunning cover of Jamey Johnson’s “In Color.” He also tipped his hat to country greats with “Should’ve Been a Cowboy” (Toby Keith) and “Dixieland Delight” (Alabama), turning the latter into a massive crowd sing-along that echoed through the stadium. Highlights included the touching “I Wish Grandpas Never Died” and a fiery run through “Hell of a Way to Go.” Green even surprised fans with Ella Langley’s “you look like you love me,” proving his setlist was as dynamic as his delivery. By the end, the stadium was electric, closing the night on a high note with a celebration of classic and contemporary country. Country Thunder 2025 at Princess Auto Stadium was more than just a concert—it was a reminder of how country music can unite thousands through shared stories, emotions, and pure good times. From Petric’s local pride to Tyler Hubbard’s chart-topping energy, Madeline Merlo’s pop-country sparkle, and Riley Green’s Southern authenticity, the night was a masterclass in the genre’s diversity. With a perfect mix of nostalgia, fresh hits, and heartfelt moments, Winnipeg’s stop of Country Thunder proved that this festival is more than living up to its name—it’s a storm of country greatness.

I sat down with singer-songwriter indie pop duo Jake & Shelby as they are getting ready for the release of their debut studio album, Learning To Love , on October 10, 2025. Their new single “Shut Up and Kiss Me” released on July 25, 2025. What was the creative process like for the album cover? Jake & Shelby: With this being our debut album, we kept it simple and raw. We had a photoshoot a few months ago and found a photo of the two of us that we thought had something special. We spent a lot of time trying out different photos and designs, but we ended up using what was our favorite version to begin with. How did you decide on the album title? Jake & Shelby: This title was inspired by the last song on the album called “Falling Out of Love.” In the second verse, it says, “I just wanna run away to a place where everybody’s gone, maybe then, I could learn how to love.” When I wrote that lyric, I wasn’t fully aware of what it meant at the time, but I know now that so much of what I was writing was about me trying to love myself. This is how the title ‘Learning to Love’ came to be. Of course, a lot of this album is about learning to love someone else and all of the excitement and nerves that come with it, but a huge part is about loving yourself too. Learning to love yourself enough to walk away from what isn’t good for you and find someone who will really care for you. To work through your trauma, realizing that time doesn’t always heal everything. What was the writing process like? Jake & Shelby: These songs were written over the time of us starting as a duo to the summer of 2024. Most of these songs we wrote the two of us, along with some of our favorite writers. And Shelby wrote one of them all by herself! But our writing process usually starts with a guitar idea of mine, and then we just build from there, typically into melody and lyrics. We want all of our songs to be personal for us, and we want them to be authentic. All of the songs on this record capture a moment, a feeling, or thoughts we’ve had over our time so far as a duo. We’re so happy it’s finally coming out! How long did it take to complete the album? Jake & Shelby: We really dove into recording these songs in October of 2024. But some of them we had actually recorded all the way back in February of 2024!! Which is crazy to think about. But I would say we really focused on writing songs and picking songs for it in the summer of 2024. So I’d say it’s been at least a year in the making. Did you face any challenges while creating the album? Jake & Shelby: Haha definitely! This is our first ever album, so we’ve been learning SO many things while going through the process. One of our main challenges was just communicating what we felt on the inside. Our songs are one of the ways we are best at communicating. But when it comes to communicating what we want for each song and want for the album as a whole, that was really difficult to do for us! Overall, though, it was truly surprising how much goes into it! We’re so grateful we have a great team around us who helped us and supported us in so many ways through it. How does it feel knowing your debut album is releasing soon? Jake & Shelby: Very relieving. We’ve been working on some of these songs for so long now, so it feels relieving to know we’re finally putting them out for everyone to hear! We’re excited to see how people respond and how these songs connect with our fans. Do you guys have any memorable moments from creating the album? Jake & Shelby: One of my favorite memories was when we wrote “Shut Up and Kiss Me.” We wrote and recorded it all in one day! And we wrote it with two of our favorite people Josh Ronen and Tony Ferrari. They are both incredible and always bring so much joy into our days when we get to hang and make music with them. There are few things better than making fun music with people you love. What are your favorite songs from the album and why? Jake & Shelby: “A Little at a Time” is one of my favorites. The message of this song is really important to me and an important reminder to me. I really love the production on this one too. The piano and all the guitars feel so fresh to me and really authentic. It just makes me happy every time I hear it. I’m really proud of this one. Can you describe the album in three words? Jake & Shelby: Learning, Love, Healing Can you set fans up for the perfect environment to listen to the album for the first time ? Jake & Shelby: Laying outside in the grass on a blanket alone or with friends! Just chillin taking in a beautiful day. Follow Jake & Shelby on their socials: Website | Facebook | Instagram | TikTok | YouTube

After more than a decade since their last full-length album, This Means War (2012), Attack Attack! returns with the gloriously chaotic Attack Attack! II —out August 8, 2025, via Oxide Records—is an album that’s as self-aware, unhinged, and sonically explosive as anything they’ve ever released. It’s not just a comeback; it’s a reinvention wrapped in sarcasm, breakdowns, and glitchy euphoria. This is Attack Attack! in 2025: older, weirder, and having a hell of a lot more fun. For a band that practically coined “crabcore” and helped define the scene-kid era with neon-drenched Myspace aesthetics, Attack Attack! II  doesn’t shy away from their roots—it weaponizes them. The Ohio legends embrace their legacy while refusing to get stuck in the past, gleefully blending metalcore, EDM, industrial, and arena-sized hooks into a sound that’s hard to define but instantly recognizable as theirs. The album kicks off with “ONE HIT WONDER,” a tongue-in-cheek opening track that sets the tone with sarcastic swagger and feral energy. It’s a meta jab at critics and keyboard warriors, showcasing the band’s knack for turning mockery into metalcore anthems. From there, Attack Attack! II  only gets more unpredictable. Lead single “Dance!” might go down as one of 2025’s most iconic metalcore moments—not just because of the absolutely bonkers fake country promo campaign, but because it features Will Ramos (Lorna Shore) trading gutturals with synth-heavy groove sections and dance beats. It’s absurd. It’s brilliant. It’s so Attack Attack!. Tracks like “Chainless,” “Walk On Water,” “Karmageddon,” and “Big Booty Britches” offer the kind of mosh-ready chaos fans have been waiting for, delivering spine-shattering breakdowns and soaring choruses. Meanwhile, their song “i complain on r/metalcore” might be the band’s most hilarious and self-aware track yet—riffing on internet elitism with enough heaviness mixed with some rap and pop elements to make even the most jaded listener smirk mid-two-step. Balancing out the chaos are more melodic and emotionally resonant tracks like “Without You” and “Sacrifice,” reminding listeners that, beneath the memes and mayhem, Attack Attack! are still capable of earnest, stadium-sized heartfelt songwriting. Where other bands might shy away from being "scene," Attack Attack! weaponizes nostalgia as a form of rebellion. They dismantle genre norms with a smile, throwing in dubstep drops, auto-tuned choruses, and cinematic synthscapes without ever losing the mosh-pit heart of metalcore. This isn’t just a throwback— Attack Attack! II  is a future-forward freakshow that takes influence from hyperpop, nu-metal, and industrial metal alike. Attack Attack! II  is an album that only Attack Attack! could make. It’s irreverent, exhilarating, and undeniably bold—a musical middle finger to convention that both celebrates and satirizes the genre they helped shape. While some tracks will undoubtedly split the room (as intended), the album is a triumphant return and a reminder that metalcore doesn’t always need to be serious to be seriously good. Whether you’re here for the breakdowns, the internet jokes, or just to feel like it's 2009 again, this album has something for you. And if you’re complaining about it online... well, they probably wrote a song about you too. Check out more from Attack Attack!: Facebook | Instagram | TikTok | YouTube