After fifteen years of fusing J-pop effervescence with brutal metal intensity, BABYMETAL’s new album METAL FORTH  arrives like a sonic meteor from a higher dimension. Building on the mythology and musical experimentation of 2019’s METAL GALAXY  and the conceptual multiverse of 2023’s THE OTHER ONE , on August 8, 2025, via Capitol Records, the band returns with METAL FORTH,  and it is perhaps the band’s most cohesive and thrilling evolution yet. True to its name—“beyond metal”—this album pushes genre boundaries with fearless abandon and global flair, bolstered by a roster of high-octane collaborators who reflect BABYMETAL’s ever-expanding reach. Opening with “from me to u,” featuring Poppy, the album kicks off with a warped lullaby that builds into glitchy industrial pop-metal chaos. Both artists have long danced between sugar-sweetness and sonic savagery, and their pairing feels cosmic—an eerie, shimmering celebration of duality. Poppy’s ethereal whispers meld with SU-METAL’s piercing clarity as the track careens into a sinister breakdown, setting the tone for the experimental firestorm ahead. Following is the track, “RATATATA” with Electric Callboy, and it's as chaotic as its title suggests—a rave-metal anthem that weaponizes neon synths and eurobeat with chugging riffs and over-the-top aggression. It’s party metal at its most unhinged, yet undeniably catchy, and plays like a mosh pit inside an arcade. Similarly, “Song 3” with Russian deathcore band Slaughter to Prevail is an outright bloodbath—a feral, skull-crushing track where MOMOMETAL’s playful chants contrast wildly with frontman Alex Terrible’s hell-summoning growls. The genre-hopping continues with the track “Kon! Kon!” which features India-based metallers Bloodywood, a track that weaves bhangra rhythms and traditional instrumentation into a towering, riotous celebration. The result is one of the most culturally rich and rhythmically compelling songs BABYMETAL has ever released—a global call to arms. In contrast, “KxAxWxAxIxI” is a mechanical stomp through cyber-metal territory, its title acting like a corrupted AI mantra. It’s cold, synthetic, and hypnotic—a brief but unnerving interlude into the album’s more abstract side. “Sunset Kiss” with Polyphia is a total sonic curveball—a dreamy, math-rock lullaby drenched in clean, jazzy guitar acrobatics. It’s one of the softest, most intricate tracks BABYMETAL has ever attempted, and Polyphia’s signature melodic guitar wizardry provides a perfect foil for MOAMETAL’s sweetly melancholic vocal performance. It's moments like this where METAL FORTH  earns its “beyond metal” descriptor in full. Another highlight on the album comes with the track “My Queen,” a soaring epic featuring metal band Spiritbox. The track builds with cinematic flair, balancing atmospheric tension with massive, melodic choruses. Spiritbox front woman Courtney LaPlante’s clean and screaming vocals blend surprisingly well with SU-METAL’s power, and when the inevitable breakdown lands, it does so with tectonic force—a testament to both bands’ mastery of dynamics. “Algorism” dives into retro-futurist territory with glitchy synths and a pulsating cyber-grind beat. Here, BABYMETAL leans hard into conceptual weirdness, sounding like an idol group inside the Matrix. But it's the following track, “METALI!!” featuring Tom Morello, that delivers the album’s most politically charged moment—a chaotic, riff-filled explosion of funk-metal fury where Morello’s guitar howls like a siren in the apocalypse. His guitar solo is a welcome blast of old-school rebellion in an otherwise hyper-modern soundscape. The album closes out with “White Flame ー白炎ー,” a stunning closer that strips back the chaos for a soaring, blistering, and emotional finale in the vein of power metal. Sung primarily in Japanese, it channels both elegance and strength, echoing the themes of fire, rebirth, and transcending limits that permeate METAL FORTH . It’s a reminder that even beyond the noise, there is always a heart at the core of BABYMETAL’s world. METAL FORTH  is a genre-defying odyssey that cements BABYMETAL not just as innovators within the metal scene but as architects of an entirely new sonic universe, with no one song being the same sub-genre of metal. With dazzling production, adventurous collaborations, and the trio’s unshakable charisma, this album doesn’t just push boundaries—it vaporizes them. For a band born at the intersection of contradiction, METAL FORTH  is their most confident step into the unknown. Check out more from BABYMETAL: METAL FORTH Official Website (merch and tickets): www.metalforth.com BABYMETAL Official Website: http://www.babymetal.com BABYMETAL Official Facebook: https://www.facebook.com/BABYMETAL.jp BABYMETAL Official Instagram: https://www.instagram.com/babymetal_official/ BABYMETAL Official Twitter: https://twitter.com/BABYMETAL_JAPAN BABYMETAL Official TikTok: https://www.tiktok.com/@babymetal_japan BABYMETAL Official LINE: https://lin.ee/2NfjXC8

For over a decade, Michael Clifford has been the kaleidoscopic heart of 5 Seconds of Summer—a band that bridged the gap between 2010s pop-punk nostalgia and global mainstream success. But with SIDEQUEST , out on July 25, 2025, via Hopeless Records, Clifford confidently steps out on his own, not to distance himself from the past, but to fully embrace the mess, magic, and meaning of the present. SIDEQUEST  is not just a debut—it’s a reintroduction. Clifford’s solo project is expansive, genre-fluid, and emotionally lucid, diving headfirst into existential ponderings, personal growth, and fatherhood, all while cloaked in shimmering synths, twitchy electronic flourishes, and unorthodox alt-pop structures. At every turn, Clifford resists the easy road. There are no carbon copies of 5SOS hits here. Instead, he’s crafted a sound that’s unbound by trends or expectations—an album that’s both deeply intimate and joyously eccentric. The opening track, “kill me for always,” featuring electronic auteur Porter Robinson, is a cinematic start to Clifford’s solo saga. Fusing Robinson’s ethereal atmosphere with Clifford’s yearning vocals, the track feels like standing in the middle of a digital storm—glitchy, vulnerable, and grandiose. The meticulous production mirrors the emotional tug-of-war within the lyrics, setting the tone for an album unafraid to feel everything at once. Then there’s “cool”—a track that perfectly encapsulates the heart of SIDEQUEST . With glossy synths and a slacker-pop rhythm, it’s both sarcastic and sincere. Clifford’s lyricism shines as he delivers a self-aware take on image, insecurity, and trying to hold onto your sense of self in a world that demands performative perfection. It’s personal without being preachy and, above all, fun—one of the album’s defining traits. That playfulness extends to the following track, “give me a break!” a hyper-charged, neon-lit collaboration with Awsten Knight, the vocalist of the pop-rock band Waterparks. The duo bounce off each other with bratty charisma, matching explosive guitars with jittery beats and cheeky lyricism. It’s the most chaotic cut on the album—and possibly the most cathartic. Yet, SIDEQUEST  isn't just kinetic energy. Tracks like “remember when” and “enough” slow the pace, revealing Clifford’s introspective side. On “remember when,” over a simple, melancholic chord progression, he quietly explores the impermanence of moments—lost friendships, missed chances, and the ache of nostalgia. While “enough” wrestles with impostor syndrome and self-worth, but never wallows. Even in his darkest lyrical turns, Clifford leaves the door open for healing. One of the album’s most impressive strengths is how it balances joy and melancholy. “fashion” is sleek and tongue-in-cheek pop-punk number, riffing on trend-chasing and identity crises with a self-aware wink. “thirsty” is an unexpected left turn, driven by etheral acoustic guitars that conceals lyrics about emotional starvation and self-sabotage. “nosebleed” plays with sonic extremes, lurching from quiet reflection to jittery pop sensibilities, capturing the tension between calm and chaos. On the tender, emo-inspired indie pop tune, “if i had a choice,” featuring rising indie artist Ryan Hall, Clifford strips back the digital layers for another organic, acoustic moment. Their voices blend beautifully over glistening guitar and subtle atmospherics, offering one of the record’s most earnest and vulnerable songs. Clifford's debut solo album closes with the track “eclipse,” a fitting, yet brief finale that acts like the dawn after the storm. Clifford’s vocals soar over swelling synths and glitchy guitar textures, reflecting on growth, love, and everything still unknown. It’s hopeful, but not naïve—more a celebration of the journey than a declaration of having it all figured out. Ultimately, SIDEQUEST  is more than a sidequest for the famed musician—it’s a main storyline in Michael Clifford’s evolving creative life. It’s the work of an artist no longer trying to prove anything to anyone but himself. Unconventional in structure but cohesive in spirit, the album captures the chaotic beauty of becoming, of fatherhood, of letting go and beginning again. In stepping out solo, Michael Clifford hasn’t left his fans behind—he’s invited them into his world like never before. SIDEQUEST  is for the dreamers, the misfits, the parents who still feel like kids, and everyone in between. It’s not perfect, and that’s exactly why it resonates. Check out more from Michael Clifford: Facebook  |  Instagram | TikTok  | Twitter

Winnipeg’s Princess Auto Stadium was absolutely buzzing on July 9, 2025, as the inaugural Rockin’ Thunder roared into town, delivering a marathon evening of timeless rock anthems and arena-shaking sing-alongs. With a bill stacked with classic hitmakers—Def Leppard, Joan Jett & the Blackhearts, Foreigner, and hometown heroes Toque—the event drew a massive, multi-generational crowd ready to relive rock’s golden eras and prove these songs still pack just as much punch in 2025. Toque. Photos by Samuel Stevens. Kicking off the night under the summer sun, Winnipeg’s own Toque wasted no time igniting the stadium. Opening with the slick, hook-driven “Never Enough For You,” the band leaned into their mix of originals and Canadian rock tributes. “Forever in a Day” and “Up To You” showcased tight musicianship and rich harmonies, while their take on The Age of Electric’s “Ugly” drew knowing cheers from the local faithful. The highlight came with their fiery cover of April Wine’s “Roller,” which had the early arrivals on their feet, fists pumping, and proudly singing along. Toque set the tone: this was going to be a night where the hits—past and present—would take center stage. As the sun began to dip, Foreigner stormed the stage to the pounding intro of “Double Vision,” instantly pulling thousands to their feet. Kelly Hansen, now firmly cemented as one of rock’s most charismatic frontmen, worked the stage with boundless energy, keeping the band’s legacy alive with respect and fire. “Cold as Ice” and “Urgent” hit with full force, their sax solos and tight rhythms cutting through the summer air. The standout emotional moment came when the band brought out the Daniel MacIntyre Collegiate Institute choir for “I Want to Know What Love Is,” filling the stadium with soaring harmonies and goosebump-inducing power. They closed with “Hot Blooded,” sending the crowd into a frenzy, every lyric echoing across the stands like a rallying cry for rock fans everywhere. Foreigner. Photos by Samuel Stevens. If rock ’n’ roll attitude could be bottled, Joan Jett would own the patent. Striding out with her signature black leather jacket and guitar, she kicked off with “Victim of Circumstance” before tearing into the Runaways’ classic “Cherry Bomb.” Her set was a perfect blend of career-defining hits, covers given the Jett treatment, and newer tracks like “Change the World” and “Different” that prove she’s still creating with passion. The crowd’s energy peaked during “I Love Rock ’n’ Roll” and “Crimson & Clover,” as the stadium transformed into one giant sing-along. She wrapped with a defiant one-two punch of “I Hate Myself for Loving You” and “Bad Reputation,” walking off without fanfare—because, frankly, she doesn’t need any. Joan Jett remains the embodiment of rock authenticity. By the time Def Leppard took the stage, the sky was dark, the stage lights were blazing, and anticipation was at a fever pitch. Opening with the explosive “Rock! Rock! (Till You Drop),” the band proved immediately why they remain one of the world’s premier live acts. Joe Elliott’s vocals were strong and commanding, while Phil Collen and Vivian Campbell traded searing guitar leads with effortless chemistry. The setlist was a perfect balance of deep cuts (“Die Hard the Hunter,” “Let It Go”), 80s chart-toppers (“Animal,” “Love Bites”), and newer material like “Just Like ’73,” which held its own among the classics. Acoustic moments like “This Guitar” and “Two Steps Behind” gave the crowd a chance to catch their breath before the band launched into a triple-punch of “Bringin’ On the Heartbreak,” “Switch 625,” and “Rock of Ages.” The encore brought the night to a euphoric close: “Hysteria” swelling with emotion, and “Pour Some Sugar on Me” turning Princess Auto Stadium into a dancing, screaming sea of pure joy. It was a masterclass in how to command a massive stage without losing connection to each fan. Rockin’ Thunder lived up to its name—loud, electric, and unrelenting from start to finish. Each act brought something unique: Toque’s Canadian pride, Foreigner’s polished nostalgia, Joan Jett’s unapologetic cool, and Def Leppard’s stadium rock supremacy. If this was the first edition of Rockin’ Thunder, it set an incredibly high bar for future years. For the thousands who filled the stadium, it wasn’t just a concert—it was a reminder that great rock music doesn’t age; it simply gathers more voices to sing along.

Avant-garde pop provocateur Sophie Powers has joined forces with K-Pop breakout girl group ILLIT to reimagine their smash hit “jellyous,” originally featured on ILLIT’s mini-album bomb (June 2024). This vibrant new rendition fuses ILLIT’s kinetic energy and dance-floor hooks with Sophie’s candid, effortlessly cool vocals. Since its debut, ILLIT’s “jellyous” has become a fan favorite with its irresistible chorus and heartbeat rhythm earning millions of streams and viral dance-challenge videos across TikTok and Instagram. Now, Sophie Powers amplifies the track with her signature blend of playful edge and emotional honesty, turning up the intensity with every verse. Sophie and ILLIT’s creative kinship didn’t start here. Sophie first publicly showed her admiration by posting a fan dance challenge for ILLIT’s “Tick-Tack” and later joined their web series to cover “Magnetic.” In turn, ILLIT rallied behind Sophie’s recent single “move with me” with their own viral choreography. Their mutual support and shared love of genre-defying pop set the stage for this highly anticipated collaboration that will resonate with fans of both ILLIT and Sophie Powers. “I’m so excited to share my collaboration with ILLIT,” says Sophie Powers. “I watched the show they came from on Netflix and have loved seeing their journey from the very beginning. The girls are so talented and inspiring, and it’s crazy to think I’m the same age as Yunah, Minju, and Moka. This song is so special to me, and I hope it reminds people to chase their dreams the way ILLIT has. I can’t wait to see what the GLIT’s and Powerpuffs think.” Listen to "jellyous (ft. Sophie Powers)" on all streaming platforms: https://illit.lnk.to/bomb About Sophie Powers: Sophie Powers is a sonic disruptor, a style innovator, and an unfiltered voice for a generation that refuses to be boxed in. At just 21 years old, the Toronto-born, Los Angeles-based artist is carving out space for sharp-minded, creative outcasts. Her defiant spirit fuels everything she does, from her boundary-pushing music to the self-designed outfits that have become a signature of her style. Marking the dawn of a bold new era, Sophie has shed the bubblegum-neon aesthetic that defined her early work, stepping into a darker, rawer, and more nihilistic vision—one that embraces chaos rather than sugarcoating it. Her recent singles, “move with me” and “head empty no thoughts,” plunge headfirst into this transformation, channelling unfiltered emotion and brutal honesty with an intensity that feels both visceral and liberating. Since her 2022 debut, she’s earned praise from outlets like PAPER, The FADER, Billboard, and Stereogum, while building a loyal fanbase that’s backed her every step of the way. Known for her high-energy, unforgettable performances, Sophie Powers recently lit up the stage at the UK’s Slam Dunk Festival and Vans Warped Tour in DC and Long Beach. Through her innovative music, bold visuals, and unapologetic attitude, Sophie Powers isn’t just redefining what it means to be an artist—she’s creating an entirely new blueprint: one that throws out industry rulebooks in favour of authenticity, chaos, and creative control. Follow Sophie Powers: Website Instagram TikTok X Facebook YouTube Spotify Apple Music

British singer-songwriter Elliot James Reay released his debut EP, All This To Say I Love You , on June 27, 2025, via Interscope and EMI Records. The EP consists of a six-song tracklist, which includes his hit single, "I Think They Call This Love." Is there anything you're looking forward to this year? Elliot: Tour is a big one. This is my first tour, and I've never been out on the road. I’m really excited to experience that and get a feel of what it'll be like. There’s a lot going on, some things I can and can’t say because I don't know the dates of things yet. But there's a lot of things happening, a lot of exciting things. I’m excited for what's to come. An album for me has to be ten incredible songs. I don’t want one song on the album to be something people are going to be like nope, it’s a miss. A slight bit of pressure in the next year to make sure I get it right. But it is all very exciting and I can't wait for it to come out. What do you want listeners to take away from the EP? Elliot: This specific EP, the clue is in the title. It’s five tracks of all love songs back to back. Some are happy, some are sad, and some are a love you might not have and want to reach for. I want to take people on a journey from start to finish, that love doesn't have to be this or that. Everyone experiences it differently. I want people to take away from this a different emotion than their friend or their sister. Everyone interprets things differently. I want people to feel like it's okay to do that. Not everyone has to have the same relationship as everyone else. Which one of your singles gives us a glimpse into the EP? Elliot: That’s difficult cause I would say all of the tracks are about love. Whether it’s wanting love, having love or losing love. The whole EP is a lovey dovey EP. There is no deeper meaning to it. I feel like it’s setting me up for when I release my next body of work. The love songs will be the love songs and hopefully the next one will be something with a different meaning that's not love. What that will be, I don't know yet. What part of '50s music do you find most inspiring for your own creative process? Elliot: The thing I love the most are the melodies. I listen to a lot of songs. When I watch people write songs today. The go to thing most people do is pick out chords and then hum a melody to this chord, and then I'll put the words together. I feel like it wasn't that way back then. I can hear it in the melodies. I’ve been reflecting on a lot of Brian Wilson stuff, and his passing brought a lot of stuff back. The way that he wrote things, everything was melody first. I think it makes his songs stand out, and a lot of these artists from that era wrote that way. That to me is something I try to put in my music. I don’t think about chords till I put the melody dow,n then I figure out the chords. That might be what helps a little bit more with my songs. Your stage presence is often described as magnetic.what does performance unlock in you that the studio doesn't? How does your relationship with the audience shape that energy? Elliot: I get lost in the music. Once I'm lost in the music, everyone else is. Sometimes I'll listen back to my own performance, and I'll be my own worst critic. I’ll be all over and be like I could have done this or this better. Most people watching probably wouldn't notice the things I notice. At the time, I won’t notice either cause I'm so lost in it. That's what's interesting about my performance. Another thing that really gets people is that I sing, and it sounds like the record. To me, that's what it should be. You shouldn't sound different from the record. It shouldn't be something you struggle with singing on stage. I always strive to sing it on stage and prioritize that which helps with performing. It makes it easier; I don't have to change anything. What can we expect from your live shows? Elliot: I did a show in Manchester before, and it was a test to see how people would react and respond. We set the bar pretty high with that show in my eyes. I was really happy with how it came out. I want to push above that now and try and get a show that I'm willing to take around the world and show everyone. I think a lot of that is going to be amping up the music, making the production sound as good as it can. I want it to feel like it's intimate as well. Something that you can only experience on this tour. That's what I'm going to try and do with most of my tours. Because the next one will be better or completely different. But for this one, it’ll be more intimate. I want people to really listen to the music and enjoy it. What songs are you most excited for fans to hear? Elliot: “Sweetness” is one I'm excited for, I feel like it has a lot of components of a song that I would listen to. “Daydreaming” was a big one for me. I really enjoyed singing, recording and writing it. The main thing is I want people to experience things in their own way and interpret this EP however they feel.

LISTEN HERE Indie-pop duo Eighty Ninety return with their new single, “ Hollywood Dream .” Propelled by pulsing guitars, irresistible hooks, and cinematic production, the track dives into the push and pull of a love that feels straight out of a movie, blurring the line between romantic fantasy and harsh reality. “‘Hollywood Dream’ is about the thrill and longing that can consume a relationship until you start to wonder if that intensity is love or just addiction,” the duo explain. “ It’s about the desire to mythologize your life, to see yourself inside a cinematic story that gives everything meaning — even the pain. But it’s also about how those stories can trap you. And how, even when you know that, part of you still wants to stay inside the dream.” Eighty Ninety—the project of brothers Abner (vocals, production) and Harper (guitar, production) James— blend intimate storytelling and catchy melodies with minimalist pop production. Their sound combines acoustic instruments and electronic elements in a style they call “808s and Telecasters”—a shorthand for both their music and their anything-goes mentality in the studio.  They first made waves in 2016 with their debut EP,  Elizabeth , featuring the viral hit " Three Thirty ." Since then, the New York-based duo have amassed over 40 million streams, earned acclaim from tastemakers like Alternative Press and Billboard, and secured sync placements on Netflix and MTV shows. Their long-awaited self-titled debut album arrived in 2023, affirming their place as consistent indie-pop favorites. Listen to "Hollywood Dream" on all streaming platforms: https://ffm.to/hollywooddream8090 Follow Eighty Ninety: Website Facebook Instagram Twitter TikTok Spotify YouTube

LISTEN HERE Alt-pop trailblazer Charlotte Sands returns today with her explosive new single, " neckdeep ," arriving in the midst of her nationwide run on the idobi Radio Summer School Tour . Following the success of her 2024 album, can we start over? , Charlotte is stepping boldly into a new era, first teased with June’s fiery single “ HUSH ” and now ignited with “ neckdeep .” Blending bratty hyperpop with brooding alt-rock, the song delivers a vibrant collision of anthemic pop hooks, raw angst, and metallic punk grit. "neckdeep" is a cathartic scream into the void, a full-body release and the perfect soundtrack for the next chapter of a brat rock summer.  “neckdeep” is a song about the realization you’re no longer a priority in your relationship and the desperation that comes with wanting to be seen, ” Charlotte shares. “ It captures the chaos that comes with being pushed past your breaking points and constantly existing on the edge of helplessness and revenge.” Known for her genre-blurring sound, radical honesty, and electric live shows, Charlotte Sands has built a dedicated cult following by turning vulnerability into empowerment. Her music soundtracks the highs and lows of growing up, pairing emotional intensity with massive, singalong-ready hooks. Since making her debut in 2018, Charlotte has charted in the U.S. Top 40 for over 15 weeks, won 'Best Breakthrough Album' at the Heavy Music Awards, and has amassed over 300 million global streams — all while remaining a fully independent artist. She’s shared the stage with acts like My Chemical Romance, 5 Seconds of Summer, and YUNGBLUD, and in 2024, she embarked on a highly successful global headline tour in support of her album, which further cemented her status as one of the most compelling live performers in the alt-pop space. With her bright blue hair, Y2K-inspired style, and magnetic presence, the LA-based artist has cemented herself as an alt-pop it girl . But behind the bold aesthetic is a fiercely hands-on artist—designing her own merch and jewelry, crafting her signature makeup looks, and creative directing all her visuals. Fearlessly herself in every detail, Charlotte Sands is a one-of-a-kind artist who continues to defy expectations. Listen to "neckdeep" on all streaming platforms: https://sndo.ffm.to/jodz2az Charlotte Sands Tour Dates: August 1 - Nashville, TN @ Marathon Music Works August 2 - Atlanta, GA @ The Masquerade August 3 - St. Petersburg, FL @ Jannus Live August 5 - Silver Spring, MD @ The Fillmore Silver Spring August 8 - Sayreville, NJ @ Starland Ballroom August 9 - Worcester, MA @ The Palladium August 10 - Philadelphia, PA @ Franklin Music Hall November 15-16 - Orlando, FL @ Vans Warped Tour Tickets for all dates are on sale now:  https://charlottesands.com/pages/tour-dates Follow Charlotte Sands: Website Instagram TikTok X Facebook Spotify Apple Music YouTube

How would you describe your music to any person who may have never heard it before?  Johnny: The sound of Pillars of a Twisted City touches upon a few different genres. But the underlying thread that ties it all together is the love of post-punk and early '80s new wave with a touch of industrial and blackened thrash metal. What's the significance of your band's name?  J: The band name was inspired by the writer HP Lovecraft. The Band doesn’t necessarily align with all of his ideals, but his poetic writing of dystopian sci-fi is where that name came from. What are your musical influences? J: Depeche Mode, Enslaved, Mogwai, The Northern Pikes, Agent Orange, and Killing Joke. What are your musical inspirations? J: Jazz, classical music, Spanish flamenco guitar, poetry, and isolation.
 What's the new song, "FALSE PROPHET", about? J: This song was originally a poem, which was then transposed to fit the music of the song.  The music integrates everything I love about late '70s and early '80s post-punk/new wave. Lyrically, the song touches upon individuals who lose connection with the natural world. Becoming indoctrinated into systems that negate creativity, autonomy, and connection to the self.  What's something you hope people take away from the new songs on the EP? J: As an artist, I can only hope that the sounds and style resonates with listeners out there. This music is honest, non-contrived. A real human, playing instruments and recording in remote environments. 
 Which songs on the album were the most fun to write, and which were the most challenging to write? J: The three songs on the Brimstone Prophecies EP were all conceptualized in one writing session. The recording and mixing process happened over the course of one month. The three songs, lyrically and conceptionally to me are like one song with three distinct parts. It was sort of a mini-opera inspired by Pete Townsend. 

 What did you allow yourself to do creatively for this song that you haven’t in the past? J: I will allow myself to be free without any pressure or timeline. To create something that resonates with me and the listener. Writing not just about myself, but topics that everybody can relate to in their lives.
 Do you have any favourite song off the new project? J: " False Prophet" How does FALSE PROPHET compare to your previous self-titled debut and second album, Sentinel? J: I believe that Pillars of a Twisted City has a common theme of melting genres together from the beginning to the most recent release. The recording processing the quality has been improving.  That’s the most noticeable change.

 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? J: I live in Tofino, Canada. A big part of living in that environment is one’s own journey of reconnecting to the natural world. Working in harmony with the day that’s given to you, not working against it. Living in this environment has creatively inspired me, and thus far, has not seen any creative ruts. Do you have any favourite songs to perform live? Or are you looking to perform the new EP live entirely? J: The Band’s next live performance is on September 6, at Green Auto, in Vancouver, British Columbia. The songs have taken on a new life with the live band that’s been put together. Very dynamic and fun to be a part of. "Subatomic Love" is the song that is the most fun to currently play. It’s a textured swirling song that would resonate with fans of My Bloody Valentine, Cocteau Twins.
 What do you currently have planned for the remainder of the year? J: Over the past several months, I have been writing and recording demos for a full-length album. The full recording will take place over the winter with a hopeful release sometime next spring or summer 2026. 
 So are there any plans to tour the project across Canada in the future? J: We would love to tour across Canada. Wouldn’t be doing that this year, but hope to see everyone out there in 2026! If your music were a type of food, what would it be and why? J: A combination of Manitoba-grown wild rice, Chantelle mushrooms, fiddle heads, and pumpkin seeds, with a miso dressing.
 What's the funniest thing that's ever happened to you while performing?  J: Performed a gig at an all-girls catholic private school, during a lunch hour break for the grade 12 graduating class. Two songs into the performance, the Nuns ran on stage to shut down the show as they deemed it too much. The students loved it, but the nuns definitely didn’t. What's the most random thing that has ever inspired you to write a song? J: Clouds' movement; moving across the sky. What's the most useless talent you have, and would you incorporate it into your music if you could?  J: I don’t believe anyone has a useless talent. Talent is subjective to the individual and how they choose to express it. With that said, I find it a challenge to throw things into a garbage can from a distance and celebrate the accomplishment when it goes in.

 Thanks for the time today, Johnny. Is there anything else you may want to add that I didn't touch on? J: Thank you very much for the interview. We appreciate people taking the time to listen to the music. Feel free to reach out on our band's Instagram page or the band's YouTube page. Check out more from Pillars of a Twisted City: Linktree | Instagram | YouTube

On june , his third studio album, which is due July 30, 2025, via Fearless Records, DE’WAYNE doesn’t just turn the volume up—he strips it all down. Raw, radiant, and radically free, june  is a triumphant rock record driven by vulnerability, wrapped in funk-drenched swagger, and elevated by emotional clarity. It’s his most expansive, soul-baring, and stylistically rich offering to date. Since emerging in 2017, DE’WAYNE has blurred the lines between rock, R&B, alternative, and experimental pop—but here, he fully comes into focus. Inspired by the likes of Prince, Parliament Funkadelic, Nina Simone, and Bruce Springsteen, june  sounds like what happens when a Black artist breaks every mould and builds a palace of sound from sweat, heartbreak, and divine energy. The album’s opening number, "Lady Lady," sets the tone with shimmering guitars and a groove that struts with sex and soul. It’s rock’n’roll with a wink, but not without weight. Then comes the heart of the record: "June" itself, a centrepiece track inspired by Talking Heads and Prince that feels both intimate and anthemic. "I wanted this to reach everybody," DE’WAYNE shares—and he does. It’s danceable, poetic, and emotionally crushing all at once. Tracks like "Take a Picture" and "Highway Robbery" showcase his knack for blending funky basslines with arena-sized hooks. The latter, "Highway Robbery" in particular, is DE’WAYNE at his peak—charming, energetic, and deeply personal, paying homage to Ohio Players while grounding the track in modern textures. The title of which came from the connection he has with his significant other. "She didn’t literally steal my heart—but I left the door wide open for it," he shares, and the song was originally written as a poem; it’s as romantic as it is playful. But june  isn’t all glitter and groove. "Sundays" delivers one of the record’s most intimate moments. A synth-heavy slow-burner, it explores DE’WAYNE’s complicated relationship with his father. "It’s about seeing your father as both a hero and a human, flawed and real, " he explains—and the pain and gratitude co-exist in the song’s aching delivery. Later, "Biological" and "Prize Fight" dig into the messier corners of love and identity. On the former, he surrenders logic to feeling, embracing a connection that feels fated, not chosen. “Some connections are just wired into us,” he says, and you believe him. "Prize Fight," meanwhile, is gritty and gutsy, with pounding percussion and lyrics that speak to resilience and the emotional combat zone of deep relationships. "Forever" and "What Does He Really Know" lean more into dreamy, crooning territory, but don't stray too far from the rock heartbeat that sits in the center of the album's sonic identity. While the track "Love Raider" closes the album with a wink and a roar—a funky rock goodbye kiss that leaves the listener wanting more. What makes june  so compelling is how fearless it feels. DE’WAYNE isn’t chasing genre trends—he’s building a sound that reflects his soul, honouring his influences without being boxed in by them. From the production helmed with close collaborator Dylan Bauld (formerly of flor ) to the bold songwriting co-crafted with Brandon Colbein (Hayley Kiyoko, Anthony Ramos), june  is a tightrope walk between elegance and grit, showmanship and sincerity. In his own words, this is DE’WAYNE’s “epic rock love album.” But it’s more than that—it’s a declaration of identity, a celebration of Black artistry in rock music, and a reminder that vulnerability is  a superpower. june  is not just one of the year’s best rock albums—it’s a genre-bending manifesto for emotional freedom. Check out more from DE'WAYNE: Website  | Facebook  | Twitter  | Instagram  | Youtube

On Sunday, July 13, 2025, Katy Perry brought her Lifetimes Tour to the Honda Center in Anaheim, CA. The tour began in April in Mexico, then made its way to Australia and is halfway through the US leg of the tour. Canada, the UK, and Europe are the next legs of the tour. Rebecca Black is supporting Katy on tour. Rebecca Black. Photos by Samuel Stevens. Rebecca Black hit the stage and got the crowd ready for the night. She performed songs from her new album, Salvation . She mentioned how it was her hometown show and that her first concert was at the Honda Center seeing the Cheetah Girls in 2007, and to be back opening for Katy Perry was such a surreal moment. She was the perfect person to open the show. Rebecca has such a great voice and awesome stage presence. She's a natural on stage. The lights dimmed, and the intro began playing. It was set up like a video game, “The Game of Lifetimes," and it showed all of Katy’s albums. It then went into a news outlet saying "butterflies have been captured, and the world has become a disaster. A half-human, half-machine named KP143 was created to free the butterflies." The video game continued at the end of each act of her set. The stage opened up, and a bunch of wires rose to the ceiling and in the middle was this cylinder shape, which Katy came into the middle of. Fans immediately went wild when she came out on stage. She started singing “Artificial” while being suspended in the air. She performed songs from each of her albums. And even sang snippets of other songs that weren’t on the set list. Katy Perry. Photos by Samuel Stevens. The majority of the fans dressed up in costumes related to her music videos and albums. It was fun to look around the crowd and see what each fan was dressed as; there were a bunch of left sharks, a couple of astronauts, and a lot of blue wigs. Katy was very interactive with her fans the entire night. At the end of one of her acts, there was a QR code displayed on the screen for fans to scan to help pick which deep cut song Katy sang. The most requested song was “The One That Got Away”. Before she sang “The One That Got Away,” she pulled a couple of dressed-up fans to the stage from random sections from around the venue. She gave each of them an egg shaker to shake during the song, and she had them follow her around the stage. Her stage was in the shape of an infinity symbol, and she made sure to go around it often. For a good portion of the show, Katy was strapped to a harness and would fly around. There was not a bad view anywhere in the venue. During “I Kissed A Girl,” she was in this circular cage with her backup dancers doing acrobatics, raised in the air. She flipped herself upside down and started spinning. In “Nirvana,” there were a couple of huge flower petals around the stage, and she would fly to each of them. When she reached the other side of the stage, she did a bunch of backflips to get back to the center of the infinity. While singing “Roar,” Katy came out on a butterfly and flew around. I was very impressed watching Katy do all this while singing. Everything about the show was amazing, Katy's performance, her voice, her energy, you can truly see how much Katy enjoys it. Which made the energy in the room infectious. There was not one person sitting down. Every fan was up, dancing, and singing the entire night. Don’t miss the chance to see Katy Perry on her Lifetimes Tour. It’s such a fun show and an incredible performance by Katy.

It was a night of riffs, nostalgia, and raw energy as Three Days Grace, Volbeat, and Wage War took over Winnipeg’s Canada Life Centre on June 13, 2025. For local rock fans, this show was already special on paper. It became historic  when Three Days Grace performed in the city for the first time, featuring both of their frontmen: vocalist Matt Walst and former, original singer Adam Gontier. It marked Gontier’s first time performing in Winnipeg with the band since 2011. Expectations were sky-high, and the night did not disappoint one bit. Wage War. Photos by Samuel Stevens. Wage War opened up the evening with unrelenting force. They're no strangers to the metalcore scene, or Winnipeg for that matter, the Florida five-piece tore through a tight, brutal ten-song set that showcased both their melodic hooks and punishing breakdowns. Opening with the crushing “NAIL5,” they kept the momentum rolling with heavy-hitters like “Deadweight” and fan-favourite “Stitch.” Briton Bond’s harsh vocals were commanding, while Cody Quistad brought soaring cleans that shone on “Circle the Drain.” Their newer tracks, including “BLUR” and “MAGNETIC,” hit just as hard as their earlier material. Closing with the chaotic “Manic,” Wage War left Winnipeg with ringing ears and a craving for more action in the pit. Volbeat. Photos by Samuel Stevens. Next up were Volbeat, the Danish rockabilly-metal titans who have always had a unique flair for blending the country and rockabilly stylings of Johnny Cash with the chaotic frenzy of the likes of Metallica. They kicked things off with the double shot of “A Warrior’s Call / Pool of Booze, Booze, Booza,” instantly drawing the crowd into their infectious groove. Michael Poulsen’s voice was in fine form, navigating effortlessly between the anthemic “Lola Montez” and the emotive “Fallen.” One of the standout moments was when Poulsen, responding to a fan’s shout, played the iconic opening riff of Slayer’s “Seasons in the Abyss” before launching into “The Devil’s Bleeding Crown,” sparking a roar of approval. “Sad Man’s Tongue,” complete with the “Ring of Fire” intro, brought smiles all around, while newer cuts like their most recent single, “Demonic Depression,” gave new and old fans something special. The band even played the humorously titled “In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom,” showing they haven’t lost their playful edge. Ending with crowd-beloved “Still Counting,” Volbeat proved once again why they’re one of Europe’s biggest rock exports. Three Days Grace. Photos by Samuel Stevens. Headlining the night, Three Days Grace showed exactly why they’ve remained a staple of Canadian rock for over two decades. From the opening riff of “Animal I Have Become,” the crowd was theirs. Marking their first Canadian headline tour since original singer Adam Gontier returned to the band, both his and Matt Walst’s vocals carried both aggression and melody, perfectly fitting both the band’s classic hits and newer material. “So Called Life” and “Break” kept the momentum going early, while “Home” and “The Mountain” added a nostalgic punch for long-time fans. The emotional center of the set was “Never Too Late,” where the arena lit up with phone lights and heartfelt singing. “I Hate Everything About You” proved to be the universal anthem of the night, resonating with everyone regardless of age or allegiance. The band sprinkled in their latest singles “Apologies” and “Mayday” off their forthcoming record, among the classics, and it’s clear that even after all these years, Three Days Grace hasn’t lost their knack for penning radio-ready hard rock anthems. The Canadian rock legends closed out their set and the night with the cathartic “Riot.” They left Winnipeg exhausted, exhilarated, and begging for more. With Wage War’s brutality, Volbeat’s rock ‘n’ roll swagger, and Three Days Grace’s arena-rock mastery, the June 13th show in Winnipeg delivered a powerful, genre-spanning night of heavy music. Few bills manage to please both breakdown hunters and rock radio fans, but this one nailed it, leaving ears ringing and hearts pounding well into the prairie night.

With a wave of cryptic teasers and viral previews, Kami Kehoe’s Kandy  has been one of 2025’s most anticipated alt-rock releases. Set for release on July 25, 2025, via Atlantic Records, Coup D'Etat Recordings, and 10K Projects, the EP cements Kami as a fearless new voice who thrives on breaking genre barriers. Known for blending shoegaze haze, metallic aggression, and hip-hop swagger, Kami crafts a sound that’s both visceral and cinematic—one that speaks to both pain and empowerment. Thematically, Kandy  is a raw, metaphor-rich journey through heartbreak, temptation, and the duality of pleasure and pain. “Even when something feels good, it doesn’t always mean it’s good for you,” Kami explains, a sentiment that ties the EP’s five tracks together. Using candy and drugs as metaphors for toxic relationships, she delivers a narrative that is as emotionally charged as it is sonically bold. The opener, “KANDY,” sets the tone with an ominous, pulsating riff and moody, hypnotic vocal layers. It’s part siren call, part warning sign—a fitting prelude to the emotional rollercoaster that follows. While the following track, “OBSESSED,” is just pure volatility. Its driving percussion and snarling guitar lines echo the turmoil of unhealthy attachment, blending grunge textures with modern alt-rock polish. “MAKE U HATE ME” pushes Kami’s rebellious streak to the forefront. Gritty basslines and swagger-laden verses give it a sneering confidence that feels almost confrontational, while the hook is pure earworm material. The EP’s lead single, “DOPAMINE,” is a standout moment, both musically and emotionally. Written during a particularly low point in Kami’s life, the track builds from a vulnerable whisper to a cathartic, soaring chorus that begs to be screamed back at her live shows. The song’s dark, intoxicating production mirrors the addictive cycle of chasing temporary highs, whether through love, lust, or self-destructive habits. It’s no surprise the track went viral before its official release, amassing millions of views across TikTok and Instagram. The closing track, “COME DOWN,” strips back the chaos briefly for a more reflective tone, which is driven by an acoustic guitar. Its atmospheric guitars and raw, aching vocal performance offer a moment of clarity—an emotional comedown after the EP’s frenetic highs. But it doesn't mean Kahoe can't still bring the heat with one more full-blown rock tune. At just twenty-two years old, Kami Kehoe has managed to carve out a lane of her own in the alt-rock world. Kandy  not only showcases her vocal versatility—ranging from velvety croons to feral screams—but also her talent for blending genres into a cohesive and deeply personal statement. It’s an EP that feels tailor-made for festival stages, with its gritty textures and emotional catharsis resonating with both the Warped Tour crowd and mainstream rock audiences. With Kandy ’s release, Kami is primed for an explosive year. A Warped Tour debut, a fall run with Daughtry, Seether, and P.O.D., and a first-time slot at Louder Than Life mark her rapid ascent in a scene that’s long been craving fresh blood. Kandy  is a daring, addictive ride through heartbreak and self-discovery. It’s heavy yet melodic, dark yet euphoric—an EP that hits like a sugar rush with a razor-sharp aftertaste. Kami Kehoe has all the makings of alt-rock’s next major star, and Kandy  is her strongest case yet. Check out more from Kami Kehoe: Facebook | Instagram | TikTok | YouTube

From the ashes of pandemic-induced isolation and a decades-long friendship that blossomed on the set of One Tree Hill , Kate Voegele and Michael Grubbs emerge as an unstoppable musical duo, Your Future Ghost —a synth-fueled, genre-defying duo with a flair for the chaotic, the cathartic, and the deeply personal. Their debut album, Impatient for the Dream , set for independent release on July 25, 2025, is a thrilling, emotionally liberated ride through the neon-lit alleyways of indie synth pop, dirty rock, and unapologetic self-expression. Across ten tracks, Voegele and Grubbs fuse their distinct musical identities—her polished pop-rock roots and his indie theatricality—into a sonic hybrid that feels both rebelliously fresh and intimately familiar. The result is a record that’s playful, poignant, and unrelentingly bold. Opening with the shimmering “Oh My Ghost,” the duo set the tone with haunting vocal layers and an electrified undercurrent of restless energy. It’s an ethereal invitation to a dreamscape that doesn’t play by reality’s rules—a metaphorical key to the rest of the album’s world. The album's lead single, “We’ve Got Places,” is perhaps the album’s emotional heartbeat. With sweeping synth textures, layered harmonies, and a steady pulse, it finds sanctuary in escapism. It’s the kind of track that glows warmly with nostalgia and hope, making it an instant standout for those seeking a quiet refuge. But Impatient for the Dream  doesn’t stay safe for long. “I’m Like Money” explodes with righteous fury, giving voice to Voegele’s hard-earned defiance. The gritty guitars, punchy bass, and thunderous percussion match the confidence in her delivery: this is a middle finger to industry manipulation and societal expectations. It’s a feminist anthem dressed in glam grit—hooky, loud, and deliciously confrontational. “Oh La La (Animal)” dives into darker waters, confronting the stigmas and weaponization of female power and sexuality. Grubbs and Voegele navigate this terrain with snarling bass, pitch-black grooves, and visceral harmonies. The song’s thematic tension is mirrored perfectly in its sonic intensity—an undeniable high point in the tracklist. On the other end of the spectrum, “The Only One,” “Breaking Out,” and “Ride” tap heavily into the duo’s pop sensibilities. The former leans into dreamy vocals and a mix of swelling synths and keys that evoke heartache and personal reckoning. The vulnerability of the track, and the fun summery vibes of “Breaking Out,” provide breathing room between the album’s more chaotic party moments, without ever slowing its momentum. And then there's “PRITTY”—an explosive cocktail of punk, dance pop, and electro-glam. It's the sound of obsession, of losing yourself in someone else’s chaos, and loving every second of it. Its chaotic charm feels tailor-made for midnight festival sets or late-night drives with the windows down and the volume cranked to eleven. “Fight Like Girls” is another jaw-dropper—a rallying cry that reclaims femininity as power, anchored by Voegele’s powerhouse vocals and Grubbs’ riotous instrumentation. It’s a song made for movement, both sonic and social. Closing with the track “The City’s On Fire,” Your Future Ghost  deliver a finale that’s part elegy, part revolution. It's a slow-building, apocalyptic anthem with a scorched-earth spirit. The lyrics paint a picture of resilience in the face of chaos—an apt metaphor for the duo's entire record. Impatient for the Dream  is the kind of debut that feels like a declaration. It’s as much a manifesto as it is a collection of songs—unfiltered, reckless, self-aware, and fiercely fun. Voegele and Grubbs have crafted a record that inhabits the twilight zone between polished pop and gritty rebellion, where every synth sizzles and every lyric stings with purpose. It's a dazzling, dirty pop triumph for the end of the world and the start of something new. There’s a wild confidence in Your Future Ghost  that makes this album impossible to ignore. It’s music for the beautifully unhinged, for the lovers and the loners, for anyone impatient to make the dream real—even if it means setting the whole world ablaze to get there. Check out more from Kate Voegele and Your Future Ghost: https://www.instagram.com/katevoegele https://www.instagram.com/yourfutureghost

South Korean indie-pop group ifeye leans fully into playful vulnerability on sweet tang , the group's seven-track sophomore EP, which balances sugar-rush melodies with moments of emotional bite. Released on July 16, 2025, via Hi-Hat Entertainment, the project lives up to its name: bright, fizzy on the surface, but threaded with introspection and quiet unease underneath. The EP blasts open with the track “loverboy,” a warm and flirtatious introduction that sets the tonal palette immediately. Light synths and breezy rhythms carry a sense of youthful infatuation, while ifeye’s delivery keeps things grounded—never overindulgent, but tender enough to feel sincere. It’s the kind of opener that invites you in effortlessly, suggesting sweetness without fully revealing what’s to come. That duality sharpens on “friend like me,” where the emotional stakes become clearer. The track explores blurred lines between affection and expectation, pairing catchy hooks with lyrics that hint at longing and quiet frustration. It’s one of the EP’s most relatable moments, capturing the ache of wanting more while pretending you’re content with less. “round and round” leans into repetition both musically and thematically, mirroring the exhausting cycles of overthinking and emotional limbo. The glitchy pop production loops hypnotically, creating a sense of being stuck in place—an effective contrast to the track’s otherwise buoyant sound. At the midpoint, “ifeye (interlude)” serves as a brief, minute-long, but thoughtful pause. Rather than a filler moment, it feels like a reset—an atmospheric breather that reflects the EP’s introspective core and subtly reinforces ifeye’s artistic identity. The emotional center of the project arrives with the start of the EP's second half and the project's massive lead single, “r u ok?”, a deceptively simple question that carries significant weight. The track strips things back slightly, allowing vulnerability to take center stage, but still allowing the group's playful indie pop edge to seep through. There’s a genuine concern embedded in the songwriting, whether directed outward or inward, making it one of the EP’s most affecting songs. Then comes “say moo!”, the most playful entry on the entire sweet tang tracklist. Both quirky and unapologetically fun, it injects a jolt of humour and charm into the project. Even here, though, ifeye maintains cohesion—its lighthearted nature doesn’t derail the EP’s emotional throughline at all, but instead offers contrast that enhances the overall listening experience. The closing track “echo” ties everything together beautifully. Reflective and slightly melancholic, it feels like the aftertaste of everything that came before—sweet, lingering, and just a little sharp. The song leaves space for the listener to sit with their thoughts, making it a fitting conclusion to the journey sweet tang  sets out to be. Overall, sweet tang  is a compact but thoughtfully crafted EP that showcases ifeye’s ability to blend catchy indie-pop sensibilities with emotional nuance. It’s a project that doesn’t overstay its welcome, yet still leaves a lasting impression—proof that even the sweetest moments can carry a tang worth savouring. Check out more from ifeye: Twitter: https://x.com/ifeye_official Instagram: https://www.instagram.com/ifeye_official Facebook: https://www.facebook.com/ifeyeofficial/ TikTok: https://www.tiktok.com/@ifeye_official YouTube: https://www.youtube.com/@ifeye

How would you describe your music to any person who may have never heard it before? Mik: We combine elements of Industrial music, sleaze rock, 80s rock, punk and a touch of 2000s metalcore. Everything that influences us both. What's the significance of your band's name? Mik: I'm Crone, and he is Tye. What are your musical influences? Mik: Ministry, Danzig, Deftones, Skinny Puppy, Killing Joke, LA Guns, Faster Pussycat, Nine Inch Nails, The Cult. What are your musical inspirations? Mik: To create a groove that is equal parts bouncy and brutal yet covered in sparkles. Tye: Just to leave a portfolio of awesome sounds behind when I’m not around anymore, the world will always have the music I’ve been a part of creating, love it or hate it [Laughs]. 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. Mik: I would like to collaborate with Lady Gaga, Blondie, Al Jourgensen, and Tommy Lee on drums. Tye: Something with Nero Bellum from Psyclon Nine. What's the new single about? Tye: It’s all about comparing and contrasting the way in which fame and infamy are usually equalized just in different ways. It's pointing a finger and having a sardonic giggle at the people who think rock music or horror films are dangerous and baseless yet these are the same people giving Charles Manson the covers on Life magazine or the Columbine Shooters their posthumous fame. I used the lens and framework of 80s Los Angeles and Miami type aesthetics, you’ve got glitz and glamour and Hollywood stardom yet 5 minutes down the road, there’s a serial killer on the loose or drug use or sleazy goings on, it’s very much like the world portrayed in the 90s with Marilyn Manson’s music and worldviews or a film like Maxxxine . What's something you hope people take away from the new single? Mik: The understanding that we are wearing our influences on our sleeves. We are trying to create an audio example of what visually influences us. We sing about horror films, sleaze rock and gothic counter culture. Tye: People can read into the subtext and lyrical content, or they can just enjoy the song for what it is, I greatly encourage people to dig deeper with any form of art as you can learn so much and be offered great perspectives, but I also promote people having their own relationships with music, however that may look. What did you allow yourself to do creatively for this song that you haven’t in the past? Mik: I took on the challenge of playing all the instruments myself and arranging the music. It can be a bit intimidating if you don't have a formula to follow. Tye: It was fun as this is a song that I would listen to stylistically, being a long-time fan of the genres and bands Mik has mentioned, but I’m from a more METAL metal background with lots of screaming, fast riffs and breakdowns. So it was fun to do something familiar but completely different, it’s a much brighter sounding song than what I’d usually write, so I just got in that 80s/90s headspace and had fun with it. 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? Tye: I just let it breathe and go do something else, I’m very hyperactive and usually have 50 things going on at once so I can always switch and come back to things, but whether it’s writing, composing music, reading - stepping away for just 5 minutes can really help to reset.Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Tye: I think our song “No Guts, No Glamour” would translate very well live with its huge hooks and rhythms! Hopefully we can do that in the future. Right now with my other band INHERITOR, we keep covering Eternally Yours by Motionless In White which is my favourite song so that’s cool, our song Wasted Time, Borrowed Pain is a live staple and favourite for me as vocally it covers all my favourite things to do. If you could perform a show this very second anywhere in the world, where would it be? Mik: LA, New York, London, Leeds, Chicago. Tye: I’ll honestly play or travel to anywhere, but LA for sure. Is there any particular venue(s) or city/cities that come to mind? Mik: Red Rocks amphitheatre in Colorado. That place looks amazing. Or The Greek in Griffith Park Los Angeles. Tye: Red Rocks would be so cool and immersive, mainstage Download wouldn’t be too shabby either. What do you currently have planned for the remainder of the year? Mik: We are working on a new single. I'm excited about the next one because, as we write, we evolve. The project is ongoing. If your music was a type of food, what would it be and why? Tye: Crone Tye would be a classy steak dinner with some form of bourbon or cheap Caifornian champagne on the side. What's the funniest thing that's ever happened to you while performing? Tye: There’s been a lot and many not safe for work, but one that springs to mind is throwing my now guitar player from INHERITOR over my shoulder into the crowd and no one catching him, he was just a mate and fan of the band back then so his pelvis nearly getting broken either impressed me or made me feel guilty and he’s been with us a while now. What's the most random thing that has ever inspired you to write a song? Tye: Going back to the INHERITOR song Wasted Time, Borrowed Pain, we wrote that song around a chorus melody idea I had when basically doing a spoof-like impression of another famous band. Their influence clearly runs strong in our creative veins as even a joke version of a hypothetical song by them created one of our biggest tracks. What's the most useless talent you have, and would you incorporate it into your music if you could? Tye: I already do by making noises like some kind of injured animal. Thanks for the time today, Mik and Tye. Is there anything else you may want to add that I didn't cover before you go? Tye: Only to say thanks and that people can check us out everywhere under Crone Tye and listen to our first single which is everywhere!

After thirty years of carving their name into pop-punk and punk history, Mest finally made their long-awaited debut in Winnipeg, Manitoba, Canada, delivering an electric set on July 2, 2025, at the Park Theatre. With support from local favourites The 12/21 and also-ran, the night was a full-circle moment for longtime fans and a discovery session for a new generation raised on playlists but craving the raw, melodic angst of the early 2000s. The 12/21. Photos by Samuel Stevens. The night kicked off with the semi-local all-brother pop-punk band The 12/21, who were originally from Manila, Philippines, and are now a Winnipeg-based staple with more polished pop-punk sensibilities and a clear knack for crowd engagement. The band's energy shift in the room was palpable, and they delivered a performance of a lifetime. They blended anthemic choruses with quick-witted banter, igniting the audience to dance and jump along, and sing-alongs from the get-go. With infectious melodies, tight instrumentation, and a solid local following, The 12/21 proved themselves more than ready to share the stage with legends. also-ran. Photos by Samuel Stevens. Next up on the Park Theatre stage was the band also-ran, a Winnipeg-based outfit whose blend of emotionally charged lyrics and fuzzed-out guitar riffs sat somewhere between grunge revival and punk catharsis. Their set opened with the brooding “When” before diving into “Numb the Pain” and the standout “I Don’t Know Who I Am,” each track dripping with self-awareness and vulnerability. By the time they closed with the disarmingly catchy “Cool,” it was clear this band knew how to marry personal trauma with punk hooks. Fans of Citizen or early Basement would’ve found a lot to love here. Mest. Photos by Samuel Stevens. The room was buzzing with anticipation by the time Mest hit the stage. For many, this night was decades in the making—a nostalgic pilgrimage to a band that helped define the soundtracks of their youth. From the first chords of “Rooftops,” the Park Theatre turned into a sea of raised fists and cathartic yells. Frontman Tony Lovato looked genuinely moved, acknowledging more than once how surreal it felt to finally be in Winnipeg after three decades. Mest tore through a fifteen-song setlist that spanned their extensive catalogue. “Long Days Long Nights,” “Fuct Up Kid,” and “Hotel Room” hit with as much vigour as they did in the early 2000s, and deep cuts like “Was It Worth It” and “Barely Hanging On” catered to the diehards. A surprise inclusion was their cover of Modern English's “I Melt With You,” which was originally included in the OST of the movie classic Not Another Teen Movie , which added a fun, unexpected layer to the set. There was a special weight to songs like “2000 Miles” and “Living Dead”, where Lovato’s voice cracked slightly with emotion, reminding the crowd of the real-life heartbreaks and scars behind the melodies. But the encore-worthy trio of “Hate You Sober,” “Drawing Board,” and the timeless “Cadillac” sent the night out on an adrenaline high. The crowd belted every lyric like it was still 2003. More than just a nostalgic trip, Mest’s first-ever Winnipeg show was a powerful reminder of the enduring legacy of pop-punk. Their authenticity and rawness, coupled with the support of two stellar local acts, made July 2 a night to remember for everyone in attendance. Winnipeg waited 30 years—and Mest more than delivered.

With his third studio album AMERICAN PALM , out on July 18, 2025, via EMPIRE and Happy Cowboy Records, Niko Moon doesn’t just invite listeners to the beach—he transports them there. A sun-soaked, genre-bending blend of country charm, laid-back pop sensibility, and coastal escapism, the album reaffirms Moon’s mission to make feel-good music with depth, purpose, and heart. If 2021’s GOOD TIME  was a porch party and 2023’s Coastin’  was a road trip, AMERICAN PALM  is the vacation destination—an immersive concept record that radiates from start to finish with barefoot joy, breezy introspection, and warm ocean air. Built around the sounds and spirit of the seaside, AMERICAN PALM  reflects a deeper emotional resonance behind its sunny exterior. From the very first ukulele strum of “I LOVE THIS BEACH,” the listener is dropped into Moon’s idyllic paradise—one informed as much by his Georgia roots and summer pilgrimages to the Florida coast as it is by his commitment to radical optimism. It’s not just escapism for escapism’s sake—it’s music made with intention, pulling listeners into a headspace of peace, healing, and light. Produced alongside Los Angeles-based hitmaker Danny Majic (OneRepublic, Galantis) and co-written in part with rising star David J, the album sparkles with top-tier polish without ever sacrificing its authenticity. Whether it’s the irresistible groove of “SANDBAR,” the tender nostalgia of “YOU, ME & A BEACH,” or the subtle heartbreak behind “SANDCASTLES,” Moon walks the line between carefree fun and thoughtful reflection with ease. Some highlights on the album include “SANDBAR,” which is a certified summer anthem, but what song on this album isn't? Think Pontoon  meets Uptown Funk  by way of the Gulf Coast. Funky guitar lines, punchy beats, and a loose, infectious vocal delivery make it one of the album’s most instantly replayable cuts. The track “KING OF THE ISLAND” is a heartfelt, multi-generational collaboration with Moon’s father, Cris Cowan. It’s whimsical, warm, and full of family pride. There’s real emotion in hearing the two harmonize on a track filled with mermaids, margaritas, and magic. The album’s sequencing is smart and fluid. Mid-album gems like “SEA FOREVER” and “GOOD ONES” bring romantic, reflective energy without losing the album’s buoyancy, while the album's lead single “BOAT SONG” could easily be a radio favourite with its blend of pop hooks and backwoods swagger. Whereas the track “SANDCASTLES” is perhaps the most poignant moment on the album, this slow-burning ballad uses beach imagery as a metaphor for life’s impermanence. “We're all castles in the sand holding onto time / They don't ever last, but we still build 'em to the sky,” Moon sings, reminding us to live life to its fullest, even when the horizon feels uncertain. Meanwhile, “SOMETHING IN THE WATER” leans into gospel-tinged uplift, offering a spiritually soaked track that anchors the album’s more introspective arc, while still leaning heavily into his pop sensibilities. But the real magic comes with the album's final track, a cover of Jimmy Buffett's 1977 hit single “MARGARITAVILLE.” You know, covering Jimmy Buffett is no small task, but Moon pays tribute with reverence, blending his breezy vocal style and subtle hip-hop-adjacent production with Buffett’s iconic storytelling. It doesn’t reinvent the song, but it anchors AMERICAN PALM  in a lineage of beach-life escapists and storytellers. While rooted in country, AMERICAN PALM  is genre-fluid. Nylon-string guitars mingle with steel drums, acoustic strums are underpinned by warm trap beats, and the waves—yes, literal waves—lap at the edge of the mix. But it all feels organic, not forced. Moon’s signature is unmistakable: a sonic cocktail of beach-country, Southern hip-hop, and heartfelt singer-songwriter storytelling. Niko Moon’s belief in the power of positive music is not just a mission—it’s a movement. Through the Happy Cowboy Foundation , his water brand Happy Himalayan , and now the American Palm  beach-inspired clothing line, Moon is turning his artistic ethos into tangible change. But the album never feels like a commercial; it feels like an invitation. One that says: kick off your shoes, breathe in the salt air, and remember what matters. AMERICAN PALM  is Niko Moon’s most cohesive and compelling work yet—a vivid, sun-drenched celebration of love, life, and legacy. It’s escapist, yes, but it’s also restorative. A soundtrack for both the soul-searching traveller and the weekend wave-chaser, AMERICAN PALM  cements Moon’s place as country’s leading beach philosopher. Pack it for your next road trip—or just press play, close your eyes, and let the tide take you there. Find out more from Niko Moon: nikomoon.com  |   facebook.com/nikomoonmusic |   instagram.com/nikomoon |   twitter.com/nikomoon |   tiktok.com/@nikomoon |   youtube.com/@nikomoon

In a summer already heavy with stacked metal tours, Born of Osiris brought an inferno to Winnipeg’s Park Theatre on July 3, 2025, alongside The Browning, Convictions, and local band Book of Ghosts. The show marked yet another milestone for Winnipeg’s thriving metal community: a near sold-out night of djent, deathcore, electronicore, and emotionally-driven metalcore that left ears ringing and souls stirred. Book of Ghosts. Photos by Samuel Stevens. The night opened with Winnipeg’s own Book of Ghosts, who wasted no time ripping through a six-song set that blended groove-heavy breakdowns, slick guitar work, and a gritty vocal delivery. Opening with the crushing track “Reborn,” they immediately ignited the pit. Highlights included the punchy, riff-driven “Everyman” and fan-favourite “Divided,” which had the crowd chanting along and wanting more. Closing with the chaotic energy of “Retro,” the band proved why they’re one of the city's most promising heavy acts. Convictions. Photos by Samuel Stevens. Ohio’s Convictions brought a mix of crushing heaviness and emotional vulnerability. Their self-described “aggressive worship” sound translated beautifully live, opening with the apocalyptic “The End is Neigh.” Frontman Michael Felker shifted between brutal growls and heartfelt clean vocals with a raw urgency. Tracks like “Hurts Like Hell” and “Metanoia” hit especially hard, balancing introspective lyrics with devastating breakdowns. “The War That Followed Me Home” and “Teeth” were among the night’s most powerful performances, but it was “The Price of Grace” that sealed their set with a deeply affecting tribute to loss and healing. The Browning. Photos by Samuel Stevens. The Browning took the energy to an entirely different dimension with their fusion of EDM, industrial beats, and pulverizing metalcore. Opening with “WAKE UP” and “FED UP,” their set was a non-stop barrage of high BPM chaos, strobe lights, lasers, circle pits, and immense bass drops. The futuristic “HIVEMIND” and mosh-favourite “Carnage” had the floor moving relentlessly around. But perhaps the most unexpected moment came with their cover of Eiffel 65’s “Blue (Da Ba Dee)”—a moment of nostalgic absurdity that somehow made perfect sense in the chaos. Fans moshed, danced, and sang their lungs out. Born of Osiris. Photos by Samuel Stevens. Headliners Born of Osiris arrived with a mission: to melt faces and minds with their signature blend of progressive metalcore and cosmic synths. Opening with “Open Arms to Damnation” and “Bow Down,” the band tore through a mammoth sixteen-song set that showcased their technical prowess and deep discography. Standing in on lead guitar was Fallujah's Scott Carstairs, and he was in peak form, delivering rapid-fire arpeggios on “Elevate” and “Ascension” with robotic precision, while vocalist Ronnie Canizaro’s gutturals and shrieks pushed the limits of human vocal endurance. Newer tracks like “Torchbearer” and “A Mind Short Circuiting” felt massive live, while older staples like “Brace Legs” and “Empires Erased” brought longtime fans into an absolute frenzy. The band closed with the one-two emotional gut punch of “Rosecrance” and “Machine,” a reminder of how their blend of chaos and atmosphere remains one of the most unique in modern metal. The July 3 show at The Park Theatre was a reminder of how diverse and emotionally potent the heavy music scene has become. With genre boundaries blurred and each band bringing something entirely different to the table—from Book of Ghosts’ hometown fire to Born of Osiris’ interstellar scale—this was a night to remember for Winnipeg metal fans.

Flooding’s new EP, object 1,  set for self-release on July 11, 2025, is a revelation in dissonant intimacy—a compelling exploration of lust, longing, and vulnerability that pushes the band’s sonic and emotional boundaries further than ever before. Helmed by guitarist, vocalist, and songwriter Rose Brown, with bassist Cole Billings and drummer Zach Cunningham, the Kansas City-based trio continue their alchemy of the soft and the severe, this time filtering their noise-drenched post-hardcore roots through the glint of pop sensibility. Where previous efforts like 2023’s Silhouette Machine  built a reputation on jarring transitions between ambience and brutality, object 1  retains the catharsis but smooths the edges just enough to let a new kind of clarity through—both melodically and thematically. Brown has traded some of her spoken word delivery for haunting vocal hooks, casting herself not just as a narrator but as a magnetic presence pulling listeners deeper into the emotional undertow. The band's EP opens with “complete detail” and is angular, driven by slow, jittery riffs and percussion that stutters just on the edge of collapse. There’s a twitchiness to it, as if desire itself is making the structure of the song tremble. It feels less like a composition and more like a mood unravelling in real time. Following is the track, “your silence is my favorite song,” a slow-burning track that toys with restraint. Brown’s soft vocals shimmer over glacial guitars, fragile yet loaded with immense tension. When the full band finally crashes in, it doesn’t feel like a rupture—it’s a release, a confrontation with the quiet pain that lingers in emotional distance. But the standout track of the entire EP is undoubtedly “depictions of the female body,” where Flooding reaches their most honest and emotionally complex terrain. The song builds with layers of feedback and hypnotic rhythm, while Brown delivers one of her most vulnerable performances to date: “I'm sick and I know it / but it's hard letting go of it / I tried to forget her.”  These lyrics hit like a confession made in the dark; they're unflinching and aching. It’s a moment that highlights Flooding’s ability to articulate the contradictions of womanhood, desire, and despair without diluting the rawness that defines them. object 1  is more than just an evolution for Flooding—it’s a transformation. While rooted in slowcore and noise rock, the band doesn’t adhere to any genre as much as they use it as a springboard. Each track feels sculpted by instinct rather than tradition, reflecting the band’s deep commitment to letting feeling dictate form. Rose Brown’s declaration that “sexual fantasies are a form of hope” becomes the emotional nucleus of this record. These songs are not escapism, but confrontation—blurry snapshots of yearning, power, and decay. There’s a seductive volatility in how Flooding marries feedback squalls with hushed melodies, pop ambition with harsh truths. On object 1 , softness is not weakness—it’s another form of force. Check out more from Flooding: Linktree | Instagram

Progressive metalcore juggernauts Born of Osiris return with Through Shadows , set to be released on July 11, 2025, their seventh full-length effort and arguably their most dynamic and focused album since 2011’s The Discovery . Released via Sumerian Records, the record fuses the band’s hallmark blend of djent-laced riffing, virtuosic synths, and philosophical lyricism with a newfound emotional resonance and cohesion, elevating their sound for a modern era of metalcore. From the moment “Seppuku” opens the album with an atmospheric swirl of electronic sound bytes and machine-gun riffs, Through Shadows  reveals itself as a fully realized sonic odyssey. The track seethes with technical complexity and spiritual anguish, channelling themes of self-sacrifice and rebirth. It’s a powerful declaration that Born of Osiris is back with sharpened intent. The album's lead single and title track, “Through Shadows,” captures the essence of the album’s emotional arc—lush layers of orchestration underlie brutal breakdowns and sweeping choruses. Vocalist Ronnie Canizaro’s snarling growls are in perfect harmony with the blistering chugging guitars, a hallmark that’s matured impressively over the years. The accompanying music video further explores the lyrical metaphor of emerging from psychological darkness into clarity. “The War That You Are” and “Inverno” tread into more introspective territory, combining philosophical musing with mechanical precision. The former touches on internalized conflict, while the latter draws inspiration from seasonal desolation, set against one of the most cinematic backdrops the band has ever written, driven by an immensely grooving bassline. The following tracks like “A Mind Short Circuiting” and “Torchbearer,” show Born of Osiris at their most technically dazzling, but never at the expense of feeling. The rhythm sections, anchored by drummer Cameron Losch’s polymetric wizardry, propels the two songs with mechanical tightness, while Lee McKinney’s (his final album with the band) and Nick Rossi's guitars remain as intricate and emotive as they've ever been. A standout moment arrives with the song “Activated,” which features Spencer Chamberlain of Underoath. Chamberlain’s tortured screams and post-hardcore energy blend surprisingly well with Born of Osiris’ digital and technical chaos, making the track a highlight of both experimentation and catharsis. Lyrically, Through Shadows  leans heavily into the duality of struggle and ascension. “Dark Fable” conjures mythic imagery to comment on the stories we tell ourselves to survive. Whereas the album's closing track, “Blackwater,” is the most progressive song on the record, it wraps the album in a sense of cyclical rebirth, ending not with finality, but with reflective stillness. With Through Shadows , Born of Osiris has found a compelling balance between evolution and core identity. The album is both a return to form and a forward leap, loaded with blistering technicality, introspective lyrics, and grandiose melodies. It’s the sound of a band refusing to stagnate—refining their craft while pushing themselves into deeper, darker, and ultimately more transcendent territory.