OUT NOW - LISTEN HERE Today, two-time GRAMMY® Award-winning record-breaking global superstar Sabrina Carpenter ushers in a new chapter with her single “Manchild” via Island Records - listen here . Sabrina wrote “Manchild” alongside her frequent collaborator, Amy Allen and also joined forces once again with Jack Antonoff for the single. Both GRAMMY® Award winners, Amy and Jack, previously worked with Sabrina on Short n’ Sweet.   This new single and chapter follow a revolutionary year for Sabrina, which saw unparalleled success. Sabrina released her groundbreaking album last August, Short n’ Sweet, which topped the charts worldwide and had one of the biggest global debuts of 2024. Upon release, the album’s opening track, “Taste,” captured #1 on Spotify’s US chart, dethroning Sabrina’s own “Please Please Please” and making it the 3rd song off her album to hit #1. 'Short n' Sweet also became the 1st album with 4 Pop Airplay No. 1’s since Taylor Swift. In addition to topping the charts, all three singles off the album, "Espresso" (2.2 billion), "Please Please Please" (1.4 billion), and "Taste" (1 billion) entered the coveted Billions Club on Spotify. The album as a whole garnered Sabrina six GRAMMY® nods as a first-time GRAMMY® nominee and won two awards for her GRAMMY® debut. Sabrina took home the “Best Pop Vocal Album” award for Short n’ Sweet along with “Best Pop Solo Performance” for the album’s lead single, “Espresso.” She also made her debut on the GRAMMY’s stage with a medley of her smash singles “Espresso” and “Please Please Please.” Following the GRAMMYs, Sabrina released Short n’ Sweet (Deluxe), which featured five additional songs, including a duet with global icon Dolly Parton on “Please Please Please” and “Busy Woman,” which Sabrina debuted live on her sold-out headlining arena tour.   On a global scale, Sabrina made history by becoming the first-ever female artist to occupy the entire top three of the UK Singles Chart, with "Taste," "Please Please Please," and "Espresso" holding the top positions concurrently. She also set a new record for the most weeks at #1 by a female artist in a single year on the Official UK Singles Chart, amassing 21 weeks at the top spot. To add to the trend of setting unprecedented milestones, she also became the first international artist to receive the Global Success award at The BRITs.   This fall, Sabrina will return with a second sold-out North American leg for her highly acclaimed Short n’ Sweet Tour, which kicks off October 23rd in Pittsburgh and will hit arenas in New York, Nashville, Toronto, and Los Angeles. Sabrina will have a five-night run at Madison Square Garden in New York and a six-night run at Crypto.com Arena in Los Angeles, where the tour will wrap on November 23rd. The second leg follows the incredibly successful 33-date sold-out North American leg, which wrapped last November, and the sold-out European leg, where additional shows were added in four cities due to demand.   Last month, Sabrina attended her third MET Gala in a custom Louis Vuitton look. She also appeared on SNL earlier this year for their 50th anniversary special, where she sang “Homeward Bound” with Paul Simon and starred in a remake of the fan favourite “Domingo” sketch. Sabrina made her SNL debut as the musical guest for the season finale last May. She recently graced the cover of Vogue US for the first time - see the cover/read the feature here .  ABOUT SABRINA CARPENTER : Two-time GRAMMY® award winner, Sabrina Carpenter, has enchanted an audience of millions as a singer, songwriter, actress, and style icon. With her music, she has delivered one anthem after another on stage and in the studio, earning multiple gold and multi-platinum certifications, and performing to sold-out crowds worldwide. On-screen, she has generated mega-fandom through starring roles on television and film. She is signed to Island Records, where she debuted her acclaimed Gold-certified fifth studio album, emails i can’t send , which appeared on many “Best Of 2022” lists, including Rolling Stone and Billboard. The album features her hit single “Feather,” which went #1 at Top 40 Radio, earning Sabrina her first #1. Her sold-out emails i can't send tour took her to North America, Europe, Asia and Brazil, and she recently served as direct support for Taylor Swift in Latin America, Australia, and Singapore on the Eras Tour. In April, Sabrina made her Coachella debut and was one of the most talked-about artists of the festival. Ahead of her Coachella debut, she released her single “Espresso,” which quickly climbed the charts. Upon release, Pitchfork declared “Espresso” as "in pole position to be this year’s song of the summer,” and The New York Times heralded the single as the song ready to “propel her to the next level”. Since its release, “Espresso” has gone on to reach #1 on the UK & Australian singles charts, Top 5 in the US, and #1 on Spotify globally, where it reached over 200M streams within its first month. Her second single, “Please Please Please,” was released in June and shot straight up to the top of the charts. The single hit #1 on Spotify’s Global and US charts, #1 on Apple Music, and debuted at #2 on the Billboard Hot 100 before claiming the #1 spot a week later and went #1 at US Pop Radio. Sabrina made her Saturday Night Live debut in May on the season finale, where she performed “Espresso” and “Feather/Nonsense.” In August, she released her highly anticipated sixth studio album, Short n’ Sweet . The album was instantly met with an outpouring of critical acclaim from the likes of the New York Times, Rolling Stone, Pitchfork, Variety , and many more. The album debuted at #1 on the Billboard 200, making it the 3rd biggest first week debut in the US in 2024, and became only the second album that year to spend its first three weeks atop the list. Short n' Sweet also topped the charts around the world, reaching #1 in UK, Canada, Australia, Spain, and France. The album earned Sabrina an impressive six GRAMMY® nominations as a first-time nominee. Short n’ Sweet took home the GRAMMY® Award for Best Pop Vocal Album and Sabrina also won the “Best Pop Solo Performance” GRAMMY® Award for the album’s lead single “Espresso.” She made her debut at the 67th GRAMMY® Awards with a captivating performance of “Espresso/Please Please Please.” Last Fall, Sabrina wrapped the 33 date North American leg of her monumental sold-out Short n’ Sweet Tour and recently wrapped the sold-out European leg. Later this year, Sabrina will return for a second North America leg that includes six shows at  Crypto.com Arena in Los Angeles and five shows at Madison Square Garden in New York.

Alicia Moffet’s long-awaited third studio album, No, I’m Not Crying , marks a triumphant return for the Canadian singer-songwriter. After a two-year musical hiatus that gave her space for introspection and reinvention, Moffet emerges with a body of work that is richer, braver, and more emotionally charged than anything she’s released before. Set for release on May 30, 2025, via Cult Nation/Sony Music, the record doesn’t just showcase her evolution—it embodies  it. Where both her 2021 debut album, Billie Ave.,  and her 2022 album Intertwine hinted at potential, No, I’m Not Crying  fully delivers on it. Backed by a new creative team—most notably producers Jason Brando (Charlotte Cardin), Sam Avant (Beach Season), and Harper Gordon (Kenny Beats, Vince Staples, Mick Jenkins, Roy Woods) —Moffet harnesses a bolder alternative-pop sound laced with R&B textures and raw lyrical candour. From melancholic slow burns to defiant anthems, this album pulses with an emotional duality that feels both intensely personal and universally resonant. The opening track and lead single, “Choke,” is a mission statement. Born from the ashes of an earlier version called "Emergency Room," the final product is a sonic punch to the gut—it's haunting and unapologetic. Its piercing lyrics (“ So did it taste sweet? / Do you feel complete? ”) sting with betrayal and sarcasm, balancing bitterness with the kind of clarity that only comes from survival. “I don’t actually wish for anyone to choke,” Moffet quips, “but if they were to stub their toe a few times…” The song sets the tone for an album built on reclaimed power. “Fake” takes a sharp jab at digital toxicity, confronting the dehumanizing gaze of online scrutiny with self-aware sarcasm. Its brutally honest lyrics (“ I'm just another pretty girl without a brain ”) turn mockery into fuel, while synth-laced, pulsating bass production accentuates its seething energy. Moffet doesn’t just call out the haters—she interrogates the systems that continues to feed them. But it's not all edge and attitude. Tracks like “Lay Your Light” and “Hotel W” reveal a softer, more introspective side of her that translates into powerful pop ballads. The former, a soul-baring number about feeling seen in a healthy relationship, is one of the album’s standout moments, where Alicia has a moment to let her sultry voice soar to new heights. It’s stripped-back yet vocally powerful, channelling vulnerability into strength. Lyrics like “ You shine so bright there’s just no hiding / It’s like the moon and sun colliding ” glow with poetic intimacy. "Hotel W" explores lost love, but also the resilience to push forward. The song is also a ballad that builds and builds before a massive bang at the end lets out Moffet's frustrations. With lyrics like "From tattoos to rings, I’d do anything to have you back under me blowing my wings," it's clear how much she longs to return to this person, yet wants to continue moving forward without them. “Indemne,” a French-language offering (translated means “Unharmed”), adds a poignant layer of emotional nuance as one of the album's most immense ballads. It's sung entirely in her native tongue, the track offers a moment of quiet resilience—a reminder that healing doesn’t always need to be loud. Elsewhere, “Tired of Me” and “Mr. Right” flirt with self-doubt and relational disillusionment, the later also hinting at a sapphic love, " I’m too pretty to cry over boys who don't know how to please / Maybe I’m Mr. Right and the whole time they’ve been wrong for me / I’m too pretty to try and act like I love what I see / Maybe I’m Mr. Right, and this whole time I needed a queen." W hile the album's final two tracks, “Who Do You Call” and “Colder,” explore emotional estrangement with atmospheric production and contemplative lyrics. Each track bleeds into the next with cohesion and purpose, constructing a narrative arc that mirrors the highs and lows of self-discovery. Thematically, No, I’m Not Crying  is about shedding the layers people have projected onto Alicia Moffet—whether that’s as a public figure, a mother, a partner, or a pop star—and stepping fully into her own truth. It’s an album that defies genre boundaries as much as it does emotional restraint. She’s not just telling us she’s grown up—she’s showing us, beat by beat, lyric by lyric. Ultimately, No, I’m Not Crying  is a fearless, genre-fluid meditation on identity, self-worth, and emotional survival. It's an arresting, cathartic leap forward from an artist finally in command of her voice. With her new album, Alicia Moffet proves she’s no longer playing the game to please anyone but herself—and we’re lucky to be invited into this next chapter. Be sure to pre-order and pre-save No, I'm Not Crying HERE . Find out more from Alicia Moffet: Website | Instagram | TikTok | YouTube

How would you describe your music to any person who may have never heard it before? Alexander: Well, that's a question we get asked a lot. Especially people who are far away from heavy metal. Usually, we answer like this: A mad hurricane of heavy metal, classical music and electronic gothic. What's the significance of your band's name? A: That old story. At the very beginning of the project, the whole group of us rented an apartment near a very famous club in St. Petersburg. At that time, both local and world metal bands performed in this club. This club was located in the building of the Arctic and Antarctic Research Institute and was called 'Arktika'. The name suited our concept, and other options were not even considered. What are your musical influences? A: Oh, well, that's a lot of genres really. The main musical influences are traditional heavy music styles, classical music, and electronic gothic. What are your musical inspirations? A: It could be anything: a movie, a book, a computer game, or some historical event. What's the album about? A: Our second album won't have an overall concept as such. We stuck to the old script and wrote songs about what we like, without any general concept. On the new album, we will definitely go to the next level, and there will be a lot of interesting surprises. What's something you hope people take away from the new songs on the album? A: The tracks from our album will make our listener think about many serious things. Which songs on the album were the most fun to write, and which were the most challenging to write? A: Well, we don't have any fun songs, per se. Not yet, anyway. The hardest songs were the war songs. Especially in today's context. What did you allow yourself to do creatively for this song that you haven’t in the past? A: Acoustic guitars and clean vocals. And we lightened up some of the tracks. We hadn't done that before. Do you have any favourite song or songs off the new album? A: No. Songs are like your children. You love them all the same. What's the new single about? A: About the war. Very heavy and tragic story of a soldier killed in battle and communicating with his daughter from the other side of the world. What's something you hope people take away from the new single? A: Realizing how scary war is. What did you allow yourself to do creatively for this song that you haven’t in the past? A: It's a ballad song. We've never done a ballad. 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? A: There's no such thing. I can think of music in any place at any time of the day. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? A: “The Arctic Dreams” is the fifth song on our album. Because this song is the quintessence of our concept. If you could perform a show this very second anywhere in the world, where would it be? A: Some summer festival has already started. Is there any particular venue(s) or city/cities that comes to mind? A: Something in Europe. You have to look at the festival schedule. What do you currently have planned for the remainder of the year? A: Concerts in the fall. We need to finish the album and finish the music video. If your music was a type of food, what would it be and why? A: [Laughs]. Very interesting and cool question. I think it would be a pleskavica with all the extras...Except for the urnebes. Pleskavica is the national Serbian food. It is a chop cooked over an open fire on a grill grate. There are many types of it and it is served with different side dishes. It symbolizes our versatility, which has a rigid base. Urnebes is a spicy sauce made from cheese with a bunch of completely uncompoundable seasonings. The word Urnebes itself translates from Serbian as “chaos, disorder.” We don't need that in music. What's the funniest thing that's ever happened to you while performing? A: Well, it's no secret that we use a playbook. Recently, we finally started to give concerts in a new lineup. And here at the soundcheck, the laptop with the playbacks didn't work. But it wasn't funny at all. Thankfully, there was a backup. What's the most random thing that has ever inspired you to write a song? A: It was a random and scary thing - the suicide of an acquaintance Thanks for the time today, Alex. Is there anything else you may want to add that I didn't cover before you go? A: Thank you for the interesting questions. Lastly, we would add for your readers: never surrender! Check out more from Arctic Dreams: https://arcticdreamsofficial.com https://www.instagram.com/arcticdreamsofficial https://www.facebook.com/arcticdreamsband https://arcticdreams.bandcamp.com https://www.youtube.com/@arcticdreams231 https://music.youtube.com/@arcticdreams231 https://soundcloud.com/arctic-dreams https://vk.com/arcticdreams https://www.tiktok.com/@arcticdreamsofficial https://twitter.com/ArCTiC_D_Metal https://open.spotify.com/artist/6ZC3z4AJSysc3E8w5qZ9UL https://music.apple.com/rs/artist/arctic-dreams/1608650502 https://www.reverbnation.com/arcticdreams

LISTEN TO "WILD ONES" ON ALL DIGITAL PLATFORMS  HERE. WATCH THE VIDEO "WILD ONES"   HERE . Following the unexpected return of the  original Alice Cooper Group , the band unveils their second single:  "Wild Ones,"  a blistering, riff-fueled homage to youthful rebellion and the raw energy that made them legends. Inspired by the iconic 1953 film  The Wild One  starring Marlon Brando, the track captures the same defiant spirit that once shocked middle America and defined a generation. With snarling guitars, pounding drums, and Alice’s unmistakable snarl front and center, "Wild Ones" isn’t just a song, it’s a statement. Reuniting five decades after their rise to fame, the band channels the chaos, danger, and cool of their early days, a time when rock was feared, eyeliner was scandalous, and every show felt like a revolution. "Wild Ones" is the sound of the Alice Cooper Group with their engines roaring, still loud, still dangerous, and still not asking for permission. "The Revenge of Alice Cooper"  is a high-voltage journey into vintage horror and classic '70s shock rock, capturing the sound, energy, and mischief that made the original Alice Cooper band legendary. In a truly special moment, the album features a posthumous appearance by Glen Buxton, the band's original guitarist who passed away in 1997, through an unreleased recording that seamlessly blends the past with the present on  "What Happened To You,"  featuring his original guitar part. As if that wasn’t enough – two rare bonus tracks are exclusively included in the box set and limited smart format: a long-lost 1970 version of “Return of The Spiders,” recently unearthed after 50 years and newly mixed by Bob Ezrin, plus “Titanic Overunderture,” a powerful blend of vintage recordings and brand-new parts. Alice, Neal, Michael, and Dennis reunited with their producer Bob Ezrin in an old-school recording studio in Connecticut, rekindling the magic from the 70s. This album is a celebration of friendship, nostalgia, and the timeless sound that solidified Alice Cooper as a rock icon. Fans can expect a powerful and nostalgic experience that bridges the gap between the band’s storied past and their vibrant present. From the venomous bite of "Black Mamba" to the rebellious charge of "Wild Ones," and the soft, haunting melodies of "See You on the Other Side, " every track feels like a rock ‘n’ roll classic. "The Revenge Of Alice Cooper"  is going to be released on  July 25, 2025,  on  earMUSIC  in a wide variety of formats and limited vinyl colours.  Also available as a limited box set and as a limited art print (smart format), featuring exclusive access to two bonus tracks from the start, plus the full album automatically delivered as a high-definition download on release day. PRE-ORDER THE ALBUM “THE REVENGE OF ALICE COOPER”  HERE. About The Alice Cooper Group: The original Alice Cooper group - Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass), Neal Smith (drums), and Glen Buxton (guitar) - redefined rock in the early 1970s, blending raw, hard-hitting music with shocking theatricality. With Bob Ezrin at the helm, they pioneered shock rock, delivering rebellious anthems, dark storytelling, and over-the-top stage shows featuring guillotines, snakes, and macabre theatrics.   Albums like  Love It to Death  (1971),  Killer  (1971),  School’s Out  (1972), and  Billion Dollar Babies  (1973) turned them into superstars, producing legendary hits like “I’m Eighteen,” “Elected,” “School’s Out,” and “No More Mr. Nice Guy”. Their mix of hard rock, glam, and horror made them one of the most influential and controversial bands of their era, leaving a permanent mark on rock history. Alice Cooper has sold countless millions of records worldwide and shaped rock history forever. Inducted into the Rock & Roll Hall of Fame in 2011, their music remains as powerful and relevant as ever. Now, with  The Revenge of Alice Cooper , the original band reunites for one more epic chapter, reclaiming the sound and legacy that made them legends. Find out more from Alice Cooper: Website  |  Facebook  |  Instagram  |  YouTube  |  TIkTok

Fifteen years deep into their evolution, Orthodox  return with A Door Left Open , set for a June 6, 2025, release through Century Media, is a sonically expansive, emotionally unravelling statement that sets a new benchmark not only for the Nashville quartet but for modern metallic hardcore at large. With their fifth studio album, the band don’t so much smash through the door as much as they leave it swinging ominously, letting dread crawl in from both sides. Produced by Randy LeBoeuf (Jesus Piece, Kublai Khan TX, Dying Wish), A Door Left Open  refines Orthodox’s unholy marriage of nu-metal textures, hardcore brutality, and metalcore precision. But it does more than refine—it reimagines. The chaotic rhythms, signature whiplash riffs, and Adam Easterling’s thunderous vocals have never sounded sharper, more focused, or more unrelenting. Opening with “Can You Save Me?”, the band plunges the listener into a realm of vulnerability and violence. Easterling’s voice is a pillar of controlled rage—less unhinged than previous releases, but all the more commanding for its clarity. Throughout the twelve-track barrage, the frontman moves with brute force, shedding metaphor in favour of visceral truths. His performances on tracks like “Will You Hate Me?” and “Step Inside” are emotionally charged moments of catharsis, driven by a recognition that “life will kick your ass, whether you want it to or not.” The album’s singles serve as entry points into the varied but tightly constructed world Orthodox have built. “Commit to Consequence,” featuring Comeback Kid’s Andrew Neufeld, is a metalcore sledgehammer—a bulletproof anthem both musically and thematically. “Searching for a Pulse” goes further still, folding groove-metal’s sludgy swagger into a searing modern framework, capped by a blazing solo from new guitarist Ben Touchberry. Inspired by Easterling’s recurring dream of a burning home, it channels powerlessness into sheer musical force. Elsewhere, “Godless Grace” and “Body Chalk” capture the band’s trademark rhythmic disarray—chugging, stuttering riffs that spiral and implode with deliberate chaos. Mike White (drums) and Shiloh Krebs (bass) anchor the madness with shifting time signatures and dense low-end patterns, offering structure to the album’s whirlwind momentum. Austin Evans’ guitar work remains one of Orthodox’s most unique weapons. His left-handed, upside-down playing technique and harmonic-heavy flourishes shine on cuts like “Dread Weight” and “Sacred Place,” the latter of which the band has already declared a career-defining song. And it’s hard to argue otherwise—it’s a scorched-earth anthem that evokes the loss of stability and the transformation of once-familiar places into haunting memories. Collaboration continues to push boundaries as Boundaries frontman Matt McDougal injects venom into “Blend in with the Weak,” a furious declaration of identity and resistance. The biggest surprise comes on “One Less Body,” featuring none other than Mastodon’s Brann Dailor. A guttural gang vocal shout of “WHAT THE FUCK?!”  precedes one of the record’s most atmospheric, haunting moments—Dailor’s clean vocal outro gliding like a ghost over the ashes Orthodox leave behind. And yet, for all its heaviness and chaos, A Door Left Open  is not merely about destruction; it’s about aftermath, reckoning, and reluctant acceptance. The conceptual thread tying these songs together, the uncanny feeling of your reality being subtly and profoundly shifted, never loosens. The band mirrors that unease not just lyrically but structurally. No two tracks settle into a formula; no riff overstays its welcome. Every song feels like an uninvited guest sitting in your living room, familiar but unwelcome. As the light from the house cuts into the night outside, A Door Left Open  doesn’t slam shut when it's done. Instead, it lingers. Echoes. Makes you wonder what got in or what managed to escape. Orthodox have swung the door wide open, and what’s inside may just be their magnum opus. Check out more from Orthodox: Website |  Facebook | Instagram | Twitter

On May 28, 2025, The Park Theatre in Winnipeg played host to a powerhouse night of Canadian rock as The Blue Stones kicked off a two-night stand with support from The Darcys. The intimate venue buzzed with anticipation as fans packed in tight, ready to be treated to a dynamic mix of alt-rock grit, synth-driven pop, and soulful blues. The Darcys. Photos by Samuel Stevens. Opening the night was Toronto duo The Darcys, who’ve evolved far beyond their earlier art-rock roots into a glossy yet emotionally potent synth-pop outfit. Their setlist showcased this metamorphosis perfectly, opening with the shimmering "Dreaming" before diving into the darkly infectious "I'm Starting to Think I'm Bad at Parties," which had the crowd grooving despite its self-deprecating lyrics. Mid-set highlights included the brooding "1986," a melancholic anthem brimming with retro textures, and "Shangri-Lost," which saw the band layering shimmering synths over pulsing beats with effortless cool. Closing out with the urgent "Black Diamonds," The Darcys left the stage having turned casual listeners into captivated fans. Their blend of glitz and introspection made them the perfect foil for what came next. The Blue Stones. Photos by Samuel Stevens. The moment The Blue Stones took the stage, the energy in the room shifted. The Windsor-based duo—Tarek Jafar and Justin Tessier—proved once again that two people can sound like a full-throttle storm. They opened with the slinky groove of “Your Master,” immediately casting a spell with Jafar’s velvety vocals and fiery guitar work. The night’s setlist was a tightrope walk between hard-hitting blues rock and more expansive, emotionally resonant tracks. Songs like “Come Apart” and “Don’t Feel Right” flexed their raw power, while “Be My Fire” and “Magic” showcased their ability to craft swaggering, radio-ready hooks without sacrificing soul. A special shoutout goes to “Happy Cry” and “Jesse James”—both of which saw Jafar navigating between sultry falsettos and snarling riffs, while Tessier’s drumming added a thunderous backbone that had the crowd moving in waves. “Grim” and “Healing” brought a darker intensity, but it was “Falling Leaves” that provided one of the night's most soaring, melodic highs. Fan-favourite “Black Holes (Solid Ground)” was a volcanic eruption of sound, leading into a blistering encore stretch that included “Let It Ride,” “Rolling With the Punches,” and the soul-baring “Don’t Miss.” The final song, “Shakin’ Off the Rust,” was pure catharsis—anthemic and defiant, a perfect closer that left the room vibrating with energy. Night one of two at The Park Theatre was a reminder of just how strong Canada’s rock scene continues to be. The Darcys offered mood and movement, while The Blue Stones delivered a knockout performance brimming with power, passion, and precision. For those lucky enough to return for night two, there’s no doubt it’ll be just as electric, if not more.

How would you describe your music to someone who’s never heard it before? Musically, I’d say my sound blends nu-soul and nu-jazz with ethnic elements and electronic touches, like synths and textures. I think the label "nu soul–nu jazz" fits it quite well. Conceptually, I’ve always been drawn to esoteric themes and different ethnic traditions, so I try to bring that into the music. Lyrically, my songs are often very personal and inspired by my own experiences, but I try to write in a way that allows anyone to connect and interpret them through their own lens. What’s the significance of your musical moniker? It’s nothing too wild, honestly. "Nauci Gold" was just the name I used on social media before starting the project. "Nauci" is a nickname my family and friends have always used for me. What are your musical influences? As I mentioned, I'm heavily influenced by nu-soul, nu-jazz, afrobeat, and ethnic music. If I had to name a few artists, I'd say Chief Atunde Adjuah, Yazmin Lacey, D’Angelo, Jino Inagaki, José James, Bilal, Erykah Badu, Fela Kuti...and the list goes on. I listen to a huge range of styles—from what I just mentioned to hardcore, metal, Latin music, rap...almost everything. What are your musical inspirations? I'm really inspired by artists who have a strong personal voice—those who truly stand apart from the rest. I admire creatives who don’t follow trends blindly and bring something different to the table, no matter the discipline. In my opinion, they’re the ones with the most interesting stories to tell. If given the chance, what musician(s) would you like to collaborate with? It would honestly be a dream to work with any of the artists I’ve mentioned, but if I had to choose one right now, I’d probably say Christian Scott, Chief Atunde Adjuah. He’s a huge inspiration. But really, all of them have shaped my sound in one way or another. Ask me again tomorrow, and I might name someone else from the same list! [Laughs]. What’s something you hope people take away from the new song(s)? With "Dancing Gods," the single I just released, I wanted to offer the first glimpse into my upcoming EP, The Days We Left Behind . I hadn’t released music for a while, and I felt this track was the perfect way to show the new direction my sound is taking. One of the inspirations behind the song is the god Shiva, who represents both creation and destruction. That duality, when applied to the things we love, felt like a message I needed to tell myself. Sometimes what we love can hurt us, but we can’t live without it. And this song reminds me that, most of the time, the good things love brings us still win the battle. Which songs on the album were the most fun to write, and which were the most challenging? Whenever I write new music, I try to push myself, experiment more, and give something beyond what I’ve already done. Even though I usually need a bit of time rehearsing the new songs before feeling completely comfortable performing them live, this process helps me grow as an artist. I think that’s why my sound keeps evolving, and that’s something I really value. What’s the new album about? The Days We Left Behind is, in many ways, about nostalgia. The years since my last EP have been a bit strange, and I’ve spent a lot of time longing for things and people from the past. This EP reflects that feeling, but also how all of that should ultimately push us forward. Each track tells its own story, but as a whole, it’s a reminder to look back with love, but to celebrate that we’re still moving ahead. Do you have any favourite songs to perform live? It could be your own music or even a cover. Any reason why? I really care about live shows. Whenever I can, I prepare visuals to help tell the story behind the songs. If the venue allows it, I also work with lighting and everything surrounding the performance. I like to think of concerts as a journey, so honestly, the song I enjoy the most changes depending on the day and how the audience connects with the music in that moment. If you could perform a show this very second anywhere in the world, where would it be? Is there any particular venue(s) or city/cities that come to mind? If I had to pick a few cities, I’d say London—ever since I lived there, I’ve dreamed of playing at KOKO. That venue is definitely a goal of mine. I’d also love to perform in Los Angeles, which holds a special place in my heart from my time living there. Paris and Tokyo are also on the list, and going back to Mexico would be amazing too. Honestly, any city would be incredible—and if the venue has some history or a unique atmosphere, even better! [Laughs]. What do you currently have planned for the remainder of the year? For the rest of the year, the plan is to release a few more singles to introduce The Days We Left Behind , and then drop the EP itself. I’m also incredibly excited to start performing it live. Thanks for the time today. Is there anything else you may want to add before you go? Just a big thank you, of course, to you for the conversation—and to anyone reading this interview. I hope you connect with my music, and hopefully, we’ll see each other at a live show sometime soon.

Stream “Between The Lines” Here Alt-pop singer-songwriter, Dela Kay, has officially released her latest single, “Between The Lines.” A soul-searching, guitar-laced track that marks a bold new chapter in her sonic evolution. “It talks about how unusual and confusing peace can feel,” says Dela Kay. “Reading ‘between the lines’ to self-soothe can sometimes turn into self-destruction. But in my case, my overthinking ended up being a strong intuition. The line between the two isn’t always easy to see.” Originally written in July 2024 at collaborator Nick Cozine’s East Nashville home, “Between The Lines” explores the psychological push and pull of vulnerability, intuition, and self-sabotage in relationships. “It’s definitely a vibe I haven’t done before,” Dela Kay shares. “It’s moodier, built around vibey guitar lines, and it might actually be the first song I’ve released with a guitar solo—which is dope!” Co-written by Dela Kay, Rikki Jo Randall, and Nick Cozine, produced by Stefano Pigliapoco and Nick Cozine, and mixed and mastered by Pigliapoco; “Between The Lines” dives into the tension between emotional safety and perceived threat—highlighting the anxiety that can creep in even during moments of calm. Dela Kay also partnered with Working Holiday, a Nashville-based creative team known for their recent work with Medium Build, to design the single’s visuals and artwork. “They’re incredibly talented creatives, and I’m so happy I got to work with them on this song.” With “Between The Lines,” Dela Kay invites fans into a new emotional and sonic space, blending atmospheric textures with raw honesty. “A note to my fans: always listen to your gut,” she adds. “When things go quiet and anxiety settles—what does your heart tell you? That’s the truth.” MORE INFO: Dela Kay, who hails from the vibrant music scene of Nashville, TN, draws inspiration from artists such as The Maine, Maggie Lindemann, Paramore, and Avril Lavigne. “The One” follows the success of her debut EP, Falling Into Place, with singles that have amassed almost 1M streams collectively, and secured a spot on Shazam's Best New Music Apple Playlist. Dela Kay, who identifies as a songwriter first and foremost, believes that the past year of her career has been her most authentic to date. With a commitment to continue releasing singles throughout the rest of this year, she is determined to leave a lasting impression and make her mark on the music industry with her unique voice and perspective. At the start of Dela Kay’s career in 2014, her electro-pop style began to emerge through a collaboration with Grammy-winning singer/songwriter and producer, Femke Weidema; which eventually led to her first electro-pop/European-infused single release, “9 out of 10.” Named by Earmilk as an artist who was gifted “with a rich, distinctive vocal style” for her 2018 release of “Make You Mine,” Dela Kay went on to continue releasing singles and garnering hundreds of thousands of streams. In 2019 Dela Kay released “All My Love” through Sony Music, which ended up charting 49 on the top 150 global artist charts for Digital Radio Tracker as well as in the top ten for the Top Independent Charts. After a brief hiatus, Dela Kay marked her return by debuting a new, more alternative sound in 2021 with the release of “The Worst Part,” via Wonderland Magazine, and has been releasing this style of music ever since. Check out Dela Kay online: INSTAGRAM  |  TIKTOK  |  SPOTIFY  |  YOUTUBE  |  TWITTER  |  FACEBOOK

On a warm Tuesday evening in Winnipeg, a rare kind of magic unfolded at The Park Theatre. With only five days’ notice, Australian folk troubadour Ziggy Alberts and rising multi-instrumentalist Steph Strings transformed a spontaneous pop-up gig into an unforgettable night of storytelling, soul, and sing-alongs. Part of Ziggy's ongoing 2025 world tour, the May 27, 2025, show sold nearly to capacity despite being announced just days prior—a testament to the strength of his grassroots following and Winnipeg’s hunger for heart-driven music. Steph Strings. Photos by Samuel Stevens. Opening the night was Steph Strings, whose set was a captivating blend of technical prowess and emotional depth. With her stomp pedal, fingerstyle guitar technique, and earthy vocals, she filled the intimate venue with songs that felt both ancient and new. Her set began with “Antigone,” a haunting, poetic opener that showcased her ability to build tension and release with percussive rhythms. She paid homage to fellow Aussie Xavier Rudd with a soulful cover of “Follow the Sun,” drawing approving cheers from the crowd. Highlights included “Blood and Bone” and “Back at Me,” songs that married raw lyrical reflection with intricate instrumental work. By the time she closed with “Lion,” the audience was fully locked into her wave of sound, visibly moved and cheering her on like a seasoned headliner. Steph Strings may have opened the show, but she left like a mainstay—her name on everyone's lips during intermission. However, during her set, she did say she would be back soon for a Canadian headline tour of her own. Ziggy Alberts took the stage to an eruption of applause, opening with the fan-favourite “Days in the Sun.” Immediately, his signature blend of conscious lyrics, melodic guitar, and breezy charisma brought the room into his world—a space of nature, love, and deep introspection Ziggy Alberts. Photos by Samuel Stevens. From the tender “Hands I Can Hold” to the emotionally resonant “Where Does The Love Go?,” Ziggy’s set felt like flipping through a diary written on beach sand and backroads. A surprise moment came in his stripped-down, acoustic take on Avril Lavigne’s “Complicated,” which he performed with a cheeky grin and sincerity that made it his own. A standout feature of the night was the B-stage set, where Ziggy brought things even closer to the crowd, physically and emotionally. Here, he performed “Learn Yourself,” his wildly popular song “Gone (The Pocahontas Song),” showcasing his ability to channel empathy and nostalgia in equal measure. Before launching into “Simple Things,” he joked about the Winnipeg Folk Festival and encouraged fans to lobby for his return to the fest—an invitation the crowd responded to with whoops and laughter. Returning to the main stage for the final act, songs like “Heartbeat,” “Together,” and “Runaway” built to a quiet euphoria. Every lyric felt lived-in, every harmony mirrored by the audience like an old friend finishing your sentence. The encore—“Blessings,” “Love Me Now,” and the anthemic “Laps Around the Sun”—was a perfect closing trio. As Ziggy strummed his final chords, the crowd sang along with eyes closed, voices raised, and hearts wide open. This intimate, last-minute surprise show wasn’t just a stop on a world tour—it was a moment. The kind of night that feels like a secret you were lucky enough to be part of. Ziggy Alberts and Steph Strings didn’t just perform in Winnipeg—they connected with it. And if their goodbye waves and the crowd’s standing ovation were any indication, it’s a connection that’s far from over.

Synth-pop duo Paperwhite —the project of siblings Katie (singer/songwriter) and Ben Marshall (producer/songwriter)—continues their resurgence with the release of their latest single, " This Feeling ," out May 30 . Alongside the track, Paperwhite are also announcing their long-awaited sophomore EP, Reach , set for release this June. The project will feature standout singles "By Your Side," "Unfold," and "This Feeling," as well as two brand-new tracks. " This Feeling " is a shimmering synth-pop track that blends lush, layered production with moments of quiet spaciousness. Fueled by kaleidoscopic synths, dreamy textures, and a pulsing, magnetic beat, the track builds with a steady rhythm that moves between tension and release in perfect balance. At its core, the song is a reflection on uncertainty and inner resilience. " We all have those moments where the world feels unrecognizable and we’re not sure what’s coming next ," Ben and Katie share. " But there’s something inside of us that tells us to keep moving forward. Ultimately, 'This Feeling' is about trusting the voice inside that knows that there is still magic in the world ." Since their debut over a decade ago, Paperwhite have captivated fans and tastemakers alike, earning praise from Billboard , Vice , and Buzzfeed , and landing spots on numerous Spotify editorial playlists. The New York-based duo became blogosphere darlings, twice named Hype Machine’s Most Blogged Artist , and have shared the stage with the likes of Oh Wonder , SOFI TUKKER , and Great Good Fine Ok . After a brief hiatus, Paperwhite returned in late 2024, marking the start of a new chapter. Their upcoming EP, their first in nine years, stays true to their dreamy, synth-driven roots while weaving in organic textures and cinematic depth. Grounded in themes of self-discovery, perseverance, and quiet wonder, Paperwhite are crafting music that feels both nostalgic and entirely new.

Sixteen years into their storied career, Pennsylvania’s Rivers of Nihil have unleashed their most comprehensive and self-defining work to date with their self-titled fifth album. set for release via Metal Blade Records on May 30, 2025. Simply titled Rivers of Nihil , the record serves not only as a declaration of identity but as a reinvention—a simultaneous distillation of everything the band has been and a roadmap for what lies ahead. Following the departure of longtime vocalist Jake Dieffenbach in 2022, founding bassist Adam Biggs has stepped confidently into the lead vocal role. His performance on Rivers of Nihil  is nothing short of revelatory—guttural, dynamic, and deeply expressive. New guitarist and co-vocalist Andy Thomas (ex-Black Crown Initiate) adds an expansive melodic dimension, complementing Biggs’ brutality with soaring clean passages that are as emotionally resonant as they are technically impressive. Producer duo Carson Slovak and Grant McFarland bring clarity and cohesion to the album’s wide-ranging sonic palette, making space for the album’s raw heaviness, expansive atmospheres, and experimental flourishes to coexist without friction. Across ten meticulously crafted tracks, Rivers of Nihil  weaves a narrative of existential reflection, personal rebirth, and creative fearlessness. Opening with the previously released “The Sub-Orbital Blues,” the album wastes no time in signalling its intent. The track combines punishing rhythms with rich layers of melody and atmosphere, showcasing the band’s evolved songwriting and the powerful synergy between vocalists Biggs and Thomas. “Criminals,” another early single, is an early album high point—razor-sharp riffing and an unrelenting groove matched with lyrical depth that reflects on moral ambiguity and personal consequence. “Water & Time” marks one of the record’s boldest departures. Synth-laden and cinematically melodic, it feels like a step into the unknown without forsaking the band’s sonic DNA. It’s a song where Thomas’ clean vocals shine brightly, and the catchy synth hook—originally written as a standalone melody—becomes the track’s emotional spine, but it's the saxophone solo and duelling guitar solos that send the track home. It’s a testament to the band's willingness to evolve their always-evolving sound without compromising their identity in any way. Yet Rivers of Nihil  is far from a departure for longtime fans. Tracks like “Dustman” and “American Death” harken back to the technical brutality of The Conscious Seed of Light  (2013) and Monarchy (2015), with machine-tight drumming from Jared Klein and Brody Uttley’s signature spiralling fretwork. “Despair Church” and “Evidence” plunge into moodier, more meditative territory, evoking the introspective tone of The Work (2021), but with sharper focus and leaner execution. The record’s thematic climax arrives with “The Logical End,” a track that bridges past and future, pairing lush orchestration with pummeling crescendos. But it’s the closing title track—“Rivers of Nihil”—that leaves the deepest impact. Far from the nihilistic void the name might suggest, the song offers a hopeful, almost redemptive reflection on time and human fragility. It's a fitting conclusion: epic yet grounded, grand without losing intimacy. Throughout the entire album, the instrumentation is enriched by tasteful contributions from Patrick Corona (alto saxophone), Stephan Lopez (banjo), and Grant McFarland (cello), among others, used not as gimmicks but as tools to elevate the emotional and sonic stakes they brought with their self-titled record. In a genre often defined by extremes, Rivers of Nihil  finds transcendence in balance. It is aggressive yet introspective, progressive yet tightly composed, unflinchingly heavy yet rich with melody and feeling. It doesn't just encapsulate everything Rivers of Nihil has been —it reveals what they can be . Rivers of Nihil  is both a culmination and a new beginning. With its seamless fusion of technicality, melody, experimentation, and emotion, it stands as the band’s most cohesive and adventurous record to date—a self-titled milestone that feels truly earned. Check out more from Rivers of Nihil: Facebook | Instagram | Twitter  | YouTube

Sarah Tudzin, the GRAMMY-winning producer and creative spark behind illuminati hotties , has always existed on the fringes of indie rock's most daring territory—crafting music that is at once witty, chaotic, heartfelt, and boundlessly imaginative. On her newest EP, NICKEL ON THE FOUNTAIN FLOOR , out May 30, 2025, via Hopeless Records, Tudzin doubles down on her sonic fearlessness, offering five tracks that further cement her place as one of alternative music’s most inventive voices. Opening with the cosmic and kaleidoscopic “777,” co-produced with Jay Som’s Melina Duterte, Tudzin introduces the EP with a sprawling, multi-dimensional track that feels both immediate and transcendent. This is Tudzin at her most poetic and experimental. The song is as much a meditation on love and existence as it is a crunchy indie rock banger. “777 is catharsis, romantic gestures, shouting your love into the void,” Tudzin explains—and you feel all of that, as jangly guitar textures swirl around her playful vocals and dynamic production. It’s “crying on a well-tuned bicycle at midnight” music, and few can make that kind of sentiment feel real quite like Tudzin. From there, NICKEL  goes full throttle with “Wreck My Life,” featuring Stefan Babcock of Canadian punk rock band PUP. Originally a castoff from Tudzin’s 2024 full-length POWER , this track resurrects itself as a feral, shout-along anthem for anyone who’s ever seen the red flags and still hit the gas. The song crashes and claws with PUP’s signature scuzz-punk energy, but Tudzin’s lyrical nuance—equal parts sass and sincerity—makes it feel deeply personal. It’s cathartic and catchy as hell, the kind of track that makes you want to scream in your car with the windows down. "Bright Sun" shifts gears into introspective warmth, a radiant piece of sun-drenched indie pop with a bittersweet core. Over fuzzy guitar lines and airy percussion, Tudzin captures that fleeting feeling of clarity in the chaos of life. It’s bright without being naïve, hopeful without ignoring the shadows—a balancing act she’s always excelled at. There’s something cinematic here, too, like a montage of memories flickering just out of reach. The emotional centrepiece of the EP, “Hollow,” is a raw, slow-burning track that echoes with quiet devastation. Tudzin allows space to bleed through the production—echoes linger, breaths are held, and the silences feel as important as the lyrics themselves. Her voice, vulnerable and unguarded, delivers gut-punch lines about self-worth, longing, and the exhaustion of trying to hold everything together. It’s a ballad of emotional erosion—achingly beautiful and devastatingly human. Closing track “Skateboard Tattoo” feels like a perfectly chaotic bow on the project. It’s a playful, punchy, and oddly poignant exploration of fleeting youth, impulse decisions, and identity. There’s humour (as always), but also nostalgia and earnest reflection woven into the fuzzy riffs and gang vocals. It encapsulates the spirit of the EP: personal yet universal, grounded yet otherworldly. With NICKEL ON THE FOUNTAIN FLOOR , illuminati hotties once again sidestep expectations, delivering a project that’s as emotionally rich as it is sonically diverse. From genre-defying experiments to gut-level vulnerability, Tudzin proves, yet again, that no one is doing indie rock quite like her. These songs might not have found a home on POWER , but together, they form a constellation of their own—glittering, strange, and utterly unforgettable. Check out more from Illuminati Hotties: Facebook  |  Instagram  |  Twitter  | YouTube

On her sophomore EP, Adesso , set for release on May 30, 2025, via Tigris 33/UMG, Texas-based alt-pop artist Sophia Warren emerges with a cinematic, vulnerable, and emotionally defiant body of work that solidifies her as a rising voice in the genre. Following 2024’s Bloodstone , which introduced Warren’s keen emotional intelligence and ear for atmospheric textures, Adesso  deepens the self-exploratory lens with a collection of songs that feel both confrontational and compassionate. The title—Italian for “now”—is fitting: this EP is about presence, reclamation, and identity in real-time. Produced by Chris Coady (Beach House, Yeah Yeah Yeahs, Slowdive), the five-track EP trades in lush synthscapes, grungy guitar riffs, and a deeply introspective lyrical palette. With each song, Warren pulls back emotional layers, exposing herself with a bravery that feels less performative and more like a quiet revolution. This is art as self-examination, not just confession. Opening with the haunting pulse of “Static,” Warren captures the emotional paralysis that can accompany grief, self-doubt, and transition. The slow burn build and cavernous reverb set the tone for what becomes a five-part journey through the fog of personal reckoning. On the track, she sings quietly but powerfully, lost but searching. “GRIN” is more explosive, pushing Warren into a space of sonic rebellion. Angular guitars and echoing drums mimic the sensory overload of wearing a smile when everything inside feels broken. It’s the closest she gets to punk energy on the record—a cathartic scream under her breath. “Doltish” delivers a standout moment of bitter clarity. Here, Warren skewers performative relationships and internalized shame with poetic venom. There’s an Elliott Smith-esque fragility to her delivery, yet the production keeps it floating, hurt but never sinking. Whereas the track, “BOR,” slows the pace again, turning inward toward impostor syndrome and emotional fatigue. It’s the EP’s most minimal arrangement, letting Warren’s voice sit bare and close. She doesn’t rush to resolution—instead, she holds space for the ambiguity, the not-knowing, the painful in-between. Finally, “Purple” ties the project together thematically and sonically. A kaleidoscope of feelings—anger (red), sorrow (blue), and acceptance (purple)—the track is a poignant meditation on learning to live with one’s inner turmoil rather than trying to erase it completely. The swelling chorus feels like a hard-won exhale. What makes Adesso  so compelling isn’t just its polished production or its lyrical weight—it’s how the EP invites you to witness the often messy process of healing in real-time. It’s not a project that screams for attention but one that earns it through quiet resonance. Warren doesn’t offer solutions, but she does offer presence—her own—and encourages listeners to find space for theirs too. In an era oversaturated with overproduced gloss and emotional generalities, Sophia Warren’s Adesso  stands out as intimate yet vast, fragile yet powerful . It’s a testament to the strength of self-awareness and the artistry of emotional excavation. This is the sound of someone becoming, and it’s thrilling to hear it unfold. Sophia Warren isn’t just writing songs—she’s carving out space for vulnerability and truth. With Adesso , she’s proven that now is her time. Be sure to pre-save Adesso HERE . Check out more from Sophia Warren: Instagram | YouTube | TikTok

With  Lay Your Light , Alicia Moffet delivers one of the most powerful performances of her career. Her voice—both raw and controlled—reaches a new level of intensity, revealing an artist at the height of her craft, ready to fully embrace her truth. Just over a year ago, Alicia Moffet entered the studio for a period of open-ended exploration, without expectations or pressure. For six months, she and her team navigated through ideas and inspirations, in search of a direction that truly reflected her. In the midst of this intense creative process, a song emerged almost unexpectedly:  Lay Your Light . From the very first notes, Alicia knew she had tapped into something special. This song quickly became an anchor, a starting point for the rest of the album, and shines a light on the upcoming release of  No, I’m Not Crying —a profoundly sincere album, set to be released on May 30. This album represents an entire chapter of Alicia’s life, transformed into music. Each track will embody a visceral emotion, a lesson learned, a truth finally embraced. In this liberating song, Alicia shares the transformative power of a healthy relationship—one in which she felt seen, loved, and challenged. She reveals her vulnerabilities with courage and speaks to those who also dare to make peace with their shadows. I had never sung like that before. Each take brought me back to something very real, very raw. - Alicia Moffet Alicia’s voice is at the heart of this production: free, vulnerable, and powerful.  Lay Your Light  becomes an anthem of empowerment for all those walking toward a fuller version of themselves. With this song, Alicia sets the tone for her upcoming album  No, I’m Not Crying , set for release on May 30. This project—the most personal of her career—brings together songs written in a surge of truth and creative freedom, and promises to reveal an artist who is stronger, more vulnerable, and more radiant than ever before.   Lay Your Light  was the first song where I truly channelled that vulnerability. It’s where I began to reveal myself in a much more personal way, and the entire album was born from that moment. — Alicia Moffet   With  No, I’m Not Crying , Alicia Moffet begins a new chapter in her career, marked by a renewed sense of artistic freedom. Surrounded by a new creative team at Cult Nation—a collective home to bold, innovative talents like Charlotte Cardin and Lubalin—she joins forces with producers Jason Brando, Sam Avant, and Harper Gordon to shape a musical universe that is deeper, more mature, and more daring. This collaboration allows her to push her artistic boundaries and assert a stronger musical identity. Together, her management and creative teams are orchestrating a new phase in her career, driven by a refreshed vision and ambitious projects on the horizon. It was in this spirit of exploration that  Lay Your Light  was born. More than just a song, it’s a statement of intent: Alicia is no longer afraid to reveal her flaws or open herself fully to her audience. She skillfully navigates the duality of her emotions, moving between vulnerability and strength. With a production that is both stripped-down and powerful,  Lay Your Light  marks a significant evolution in her artistic journey. This second single sets the stage for an ambitious album, where each track tells a story of truth, carried by a rich sonic palette and heartfelt lyrics. I’ve always written when going through intense experiences. But this time, I wanted to go even further—to dare to say the real things, to look at myself unfiltered. - Alicia Moffet ABOUT ALICIA MOFFET: Alicia Moffet has established herself as one of the most prominent figures in contemporary pop in her home province of Quebec. Discovered as a teenager, she has evolved with authenticity and boldness, forging a path that is uniquely her own—far from the beaten track. Following the success of her debut album  Billie Ave.  (2021) and her EP  Intertwine  (2022), which have accumulated over 17 and 15 million streams respectively, Alicia is now entering a true artistic turning point with  No, I’m Not Crying . Over the years, Alicia has developed a distinctive approach, with spontaneity and sincerity at the heart of her craft. Through introspective and cathartic songs, she shapes a world where every emotion has its place. With millions of followers on social media, Alicia navigates the space between public image and artistic authenticity, proving that it’s possible to be both a media personality and an artist deeply committed to her creative process. Find out more from Alicia Moffet: https://www.aliciamoffet.ca

Mental Madness album out June 27, 2025, on Flatspot Records On June 27th, Canadian hardcore outfit Pig Pen will unleash their debut album Mental Madness through Flatspot Records . After making waves with the single “ Mental Mentality ,” the band - Matty Matheson (vocals), Wade MacNeil (guitar), Daniel Romano (guitar), Ian Romano (drums), and Tommy Major (bass) - are delivering the next splash with “ Rabid Beach .” The single is two chaotic minutes of grimy riffs, gruff vocals, and hammering rhythms. The song gets a video treatment with hand-drawn animation by artist Jesi Jordan , capturing rage and transformation. You can watch the video for “Rabid Beach” HERE and stream the track HERE . Mental Madness is available for preorder now through Flatspot Records here. After spending months passing along riffs and playlists filled with inspiration, the ten tracks on Mental Madness were written in a day and recorded the next. With a band made up of career musicians, the do-it-yourself approach for the album was a no-brainer, taking the wheel by self-recording and producing. The tracks were sent off to Arthur Rizk (Cold World, Fucked Up, Power Trip) for mixing and Grammy award-winning engineer Alan Douches for mastering. The album packs grit and bounce, combining elements of ‘80s hardcore with true rock and roll flair. The subject matter on Mental Madness sticks to themes that Matheson describes as “mental health shit” : topics like isolation, loneliness, and “letting your mind destroy you.” “You can be having a beautiful day, surrounded by friends,” Matheson explains, “and your brain can continuously ruin it. No matter how good or bad your life is, you can still hate yourself. I've got to ask myself why am I feeling the ways I'm feeling?” In other words, the record is about experiencing life, feeling all the feelings in the sunshine and the dark corners. Pushing through negative mindsets with positive energy and profound friendship, Pig Pen have created something that is not only a fun release but one that is set to be a landmark album in the genre. Mental Madness Tracklist: 1. Rabid Beach 2. Heat Wave 3. Pig Pen 4. Power Love Train 5. Mental Mentality 6. Highway 7. Venom Moon Rising 8. Problem Mind 9. Howl & Veil 10. XJXIXDX Find out more from Pig Pen: Instagram | Spotify

How would you describe your music to any person who may have never heard it before? Vincenzo: Well, I would say passionate, striking and authentic. What's the significance of your band's name? Vincenzo: It’s a funny story. I was travelling in Singapore in the peninsula of Rasa Sentosa, and in the room of my hotel, I found on the window the warning: "Due to monkey intrusion, please keep the balcony door locked at all times." At that time, we were just forming the band, and we were all enthusiastic about the name Monkey Intrusion, the crazy ape that intrudes into your mind to set your wild side free. What are your musical influences? Vincenzo: We have a rather mixed musical background. Marco Plesnicar (bass) and I (Vincenzo Reina, guitar and voice) grew up with prog and British rock like Led Zeppelin, Pink Floyd, Genesis, Dire Straits, David Bowie and Peter Gabriel. Enrico Goti (voice and guitar) and Marco Bertoli (drums) listened to lot of grunge and metal, Soundgarden, Queens of the Stone Age, Alice in Chains, Dream Theater and Megadeth. On top of that, our singer Sara Cova loves music from Argentina and Norway. What are your musical inspirations? Vincenzo: There are many, and for all of us, because practically we are all five composers. I start generally from the sound that generates the guitar, it can be a particular chord or a sound that suddenly resonates with a state of mind. Then the rest unfolds either quite naturally, or I look for a harmonic and rhythmic progression that moves my emotion,s thinking about a real or imaginary personal situation. 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. Vincenzo: Dave Grohl is one of the still-performing artist that we like the most, because of his infinite love towards rock music and its roots. Having him playing guitar, drums or singing a vocal part would be amazing. What's the album about? Vincenzo: Pussycats and Monkeymen collects the thirteen of the best songs we have written so far. The songs speak about the universe of emotions arising from personal experiences and dystopic scenarios at the border between reality and imagination. The tracks are very different from each other. For example "Ouverture" opens the album with a musical summary of the tracks; the hallucinated musical short story "Cicuta Weston" throws you in a Philip K. Dick imaginary; the syncopated rhythm of "Off Beat" invites you to find ourself again; "Lady Death" is desperate and rough; "Rio Portrait" is a bitter-sweet ballad which turns in an unexpected fierceness and returns to quietness; the 7:35 long mesmerizing track "Revolution" closes the album. What's something you hope people take away from the new songs on the album? Vincenzo: Emotions, whatever they are: joy, melancholy, amazement. In any case, a positive energy. All that is expected from a good rock album. Which songs on the album were the most fun to write and which were the most challenging to write? Vincenzo: " Dogs are eating my legs" has a funny story and was written in hours. One afternoon, I brought to Marco P. a chorus with odd lyrics, and Marco had the chords of a verse that were looking for a chorus. And they incredibly matched immediately. Writing the complete lyrics, about a man lost in his mental journeys, came very spontaneously. ‘Bad Love’ was very challenging indeed. After having completed the main part of the song, that already followed a slow process to get to the point we were satisfied, we wanted the song to continue with a drum crescendo and a voice solo. In studio we realized it was far too long and Marco P. invented a recited part that positively upset the song and introduced seamlessly the voice solo of Sara. What did you allow yourself to do creatively for this song that you haven’t in the past? Vincenzo: We strive to never have creative barriers, and when someone in the band says ‘this is not Monkey…’ or ‘we cannot go in this direction…’ even more so, we explore that path. We are also very picky in trying to dig into unusual ways to develop our musical ideas. I think this is the lesson of prog and grunge, which undoubtedly influences us. Do you have any favourite song(s) off the new album? Vincenzo: I think we all would all agree on "Bad Love," the most challenging one. Any habits, environments or even non- musical sources that help you reconnect with your creativity? Vincenzo: A good beer or a glass of wine indeed, but the most important thing is to be all in a good mood. If for someone it is not the good day, we just stop and try to get him back in a good mood. We think the music business can also be tough, but having fun and helping each other should always be at the core of being a rock band. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? Vincenzo: My favourite song to play live is ‘The brighter side’. It is the most energetic one, is quite varied, has amazing rhythmic and guitar parts and great backing vocals with three different voices. If you could perform a show this very second anywhere in the world, where would it be? Vincenzo: Rio de Janeiro. We were very pleased to discover that our music is appreciated in South America e.g. Brasil, Mexico, Colombia. Playing a gig open-air in Rio would be fantastic. Is there any particular venue(s) or city/cities that comes to mind? Vincenzo: If we are talking about a particular venue, it would be the CBGB in New York. It is legendary, and so many rock bands have contributed to build this legend by playing incredible concerts there. What do you currently have planned for the remainder of the year? Vincenzo: Play live as much as we can and continue to write songs for the new album. We are on a good path, and the new tunes we have so far are powerful. We love them. If your music was a type of food, what would it be and why? Vincenzo: Delicious barbecue meat with a lot of aubergines, peppers and all kind of dips. What's the funniest thing that's ever happened to you while performing? Vincenzo: Before playing "Dogs are eating my legs" open air, I greeted my dog, who was present in the crowd, and he jumped happily, proud to be at the center of the scene. What's the most random thing that has ever inspired you to write a song? Vincenzo: I was fidgeting with my daughter’s toy, a cylinder with the picture of the head, body and legs of three animals that you can combine to form weird creatures. It led me to the idea of the "Animal Twister," a villainous character who tries to manipulate you in every possible way. By the way, he was a real person I have had the misfortune to meet. What's the most useless talent you have and would you incorporate it into your music if you could? Vincenzo: I have a strong talent for nonsense. A bit more of dadaism in our music could help indeed. Thanks for the time today, Vincenzo. Is there anything else you may want to add that I didn't cover before you go? Vincenzo: Listen to our album Pussycats and Monkeymen . We hope you enjoy it! Thank you very much for the interview. Follow Monkey Intrusion on their socials: https://youtube.com/@MonkeyIntrusion-oh8xv https://spotify.link/7iyVkZmvxBb https://music.apple.com/it/artist/monkey-intrusion/1692368979 https://on.soundcloud.com/rPuqCBqKsPsaEjp6A https://www.facebook.com/monkeyintrusion https://instagram.com/monkeyintrusion?igshid=OGQ5ZDc2ODk2ZA== https://www.twitter.com/monkintrusion

For the first time in a decade, Finnish cello-metal legends Apocalyptica returned to Winnipeg, bringing their "Apocalyptica Plays Metallica Vol. 2 Tour" to the historic Burton Cummings Theatre. The night was a celebration of Metallica’s iconic catalogue, reimagined through Apocalyptica’s unique symphonic-metal fusion. Adding to the excitement, virtuoso guitarist Nita Strauss made her long-awaited solo debut in the city, delivering an electrifying opening set that left the packed audience in awe. Nita Strauss. Photos by Samuel Stevens Photography Nita Strauss wasted no time showcasing why she’s one of the most respected guitarists in rock and metal today. Opening with the high-energy instrumental "Momentum," she captivated the crowd with her flawless technique and commanding stage presence. Her set continued with "Our Most Desperate Hour" and "Summer Storm," each track highlighting her incredible speed and precision. Midway through the set, Strauss delivered a thunderous drum solo alongside her husband, Josh Villalta, during the song "The Quest," proving that the entire band was just as powerful as her guitar work. The real surprise of the night came when she welcomed vocalist Kasey Karlsen of Deadlands to the stage. With Karlsen on vocals, the set took an electrifying turn, featuring "Victorious," the heavy-hitting "Digital Bullets," "Dead Inside," and the anthemic "The Wolf You Feed." Karlsen’s ferocious delivery perfectly complemented Strauss' masterful guitar work, making for a truly unforgettable collaboration. Apocalyptica. Photos by Samuel Stevens Photography From the moment Apocalyptica took the stage, the energy in the theatre reached a fever pitch. Opening with "Ride the Lightning," the quartet proved why they have remained a must-see act for decades. Their cello-driven metal interpretations carried a level of intensity and grandeur that set them apart from any other Metallica tribute or cover act. "Enter Sandman" and "Creeping Death" followed, with the crowd singing along despite the absence of traditional vocals. The haunting power of "For Whom the Bell Tolls" resonated through the venue, while "Battery" and "The Call of Ktulu" showcased the band’s ability to balance raw aggression with classical elegance. A standout moment came with "St. Anger," a song often debated among Metallica fans, but Apocalyptica’s rendition gave it new life, emphasizing its deep, rhythmic intensity. "The Four Horsemen" and "Blackened" kept the adrenaline pumping, while "Master of Puppets" had the entire theatre on their feet, headbanging in unison. The emotional "Nothing Else Matters" provided a brief, breathtaking respite before the set closed with the explosive "Seek & Destroy." Of course, the night couldn’t end without an encore, and Apocalyptica delivered a spine-chilling performance of "One." The haunting cello melodies combined with the thunderous percussion made for a perfect finale, leaving the Winnipeg audience in absolute awe. For both longtime fans and newcomers, this was a night of musical mastery and metal redefined. Nita Strauss made a powerful first impression on Winnipeg as a solo artist, and Apocalyptica once again proved why they remain a groundbreaking force in the metal world. With a decade-long absence finally broken, Winnipeg metal fans can only hope it won’t be another ten years before Apocalyptica returns to shake the city once again.

Industrial music royalty descended on Winnipeg as The Squirrely Years Tour  brought Ministry, My Life With the Thrill Kill Kult, and Die Krupps to the Burton Cummings Theatre on Wednesday, May 21, 2025. The venue—normally known for its historic acoustics and velvet-draped elegance—was transformed into a throbbing time capsule of synths, sequencers, and snarling rebellion, serving up a night soaked in nostalgia, grit, and pure electronic aggression. Die Krupps. Photos by Samuel Stevens. Opening the night with a ferocious intensity, German industrial pioneers Die Krupps wasted no time plunging the crowd into their gritty blend of industrial metal. Kicking off with the machine-gun rhythm of "Nazis auf Speed," their set immediately had fists pumping and bodies vibrating. The crowd, though still filing in, responded with fervour to "Fatherland" and the pounding "To the Hilt." Their cover of Visage’s "Der Amboss" was a metallic reinvention, grounding the synth-pop song in growling bass and chrome-plated drums. Closing with "Bloodsuckers," Die Krupps made it clear: they weren’t just a nostalgic opening act—they were a wrecking ball of relevance. My Life With the Thrill Kill Kult. Photos by Samuel Stevens. If Die Krupps was the mechanical rage, My Life With the Thrill Kill Kult brought the depraved disco. With frontman Groovie Mann channelling occult cabaret energy, the set was a neon-lit descent into synth-funk seduction. "Shock of Point 6" and "A Daisy Chain 4 Satan" ignited the floor with tribal beats and breathy decadence. By the time "Sex on Wheelz" rolled in, the room was transformed into a gothic nightclub circa 1991. Backed by slinky female vocals and pulsing basslines by bassist Mimi Star, the band balanced camp and menace, climaxing with the devilish sermon "And This Is What the Devil Does." Their set felt like a possessed fever dream, and the crowd loved every wicked second. Finally came the time for Ministry to hit the Winnipeg stage. Not the bone-crushing industrial-metal titans of Psalm 69  fame, but the synth-driven incarnation of their earliest days—performing tracks off With Sympathy , Twitch , and their compilation, Twelve Inch Singles (1981–1984) —a treat for die-hards who’ve been begging for Al Jourgensen to revisit the band’s electro-pop/new wave roots. Clad in vintage yet sparkly threads and with a mischievous glint in his eye, Jourgensen delivered a career-redefining performance that was part reinvention, part resurrection. Ministry. Photos by Samuel Stevens. Opening with "Work for Love" and "Here We Go," Ministry’s set was full-on new wave theatre: bouncy synths, catchy hooks, and just enough sneer. "All Day" and "Just Like You" reminded the audience of Ministry’s early ability to straddle melody and melancholy. The rarely performed "Same Old Madness" and "I'm Falling" were especially poignant, drawing cheers from long-time fans who never thought they’d hear those tracks live. The crowd erupted for the beloved "(Everyday Is) Halloween," which still rings true as an anthem for outcasts everywhere. Then came the encore—a double shot of unexpected delight. Ministry launched into a pounding cover of Fad Gadget’s "Ricky’s Hand," followed by an ironic, synth-heavy rendition of Rod Stewart’s "Da Ya Think I'm Sexy?" that had the crowd dancing and laughing in equal measure. The Squirrely Years Tour was a revelation—not just a retro exercise, but a full-circle moment for industrial music. Ministry’s willingness to embrace their softer, synth-laced beginnings was both bold and refreshing, while Die Krupps and My Life With the Thrill Kill Kult proved that their legacies are still evolving. For a night that could’ve easily been about mere nostalgia, The Squirrely Years Tour  instead offered something much rarer: resurrection, relevance, and a reminder that the machines still have a heart—and a hell of a backbeat.

With their debut EP D.I.M.M. , rising K-pop group VVS arrive with a confident statement of intent, introducing themselves as a group unafraid to blur genre lines while leaning into attitude-heavy K-pop swagger. Released on May 19, 2025, via MZMC Inc., the fast-paced eight-track project balances its sleek production, playful bravado, and moments of polish that hint at a promising future. The EP opening track, “FREE (Intro),” sets the tone immediately, functioning less as a traditional song and more as a mood setter. Its atmospheric textures via piano and rising energy feel like the calm before a statement-making storm, easing listeners into VVS’s world before the EP kicks into full gear. That momentum carries straight into the second track, “TEA,” a sharp, confident track that thrives on its punchy delivery and biting charisma. The song leans into sass and self-assurance, with slick production that gives each vocal moment room to breathe while still hitting hard. “FACT$” follows as an even bolder flex, doubling down on themes of authenticity and status. The track’s rhythmic drive and assertive hooks reinforce VVS’s desire to be taken seriously from the jump, while maintaining a tongue-in-cheek bite to their songwriting. One of the EP’s standout moments arrives with “PURRFECT,” a playful yet polished track that highlights the group’s versatility. Flirty undertones and dynamic vocal shifts give the song an addictive quality, making it one of the most replayable entries on the record—especially behind the song's hip-hop elements. The brief “NEW PHONE (Interlude)” acts as a stylish transition point, stripping things back momentarily while keeping the EP’s confident narrative intact. Then follows the EP's title track, “D.I.M.M.,” which serves as the project’s centrepiece and as a mission statement. The track is bold, commanding, and undeniably catchy; it encapsulates everything VVS are aiming for: presence, confidence, and an explosive impact. The production feels glossy without being overwhelming, allowing the group’s personality to remain front and center. “TOUCH IT” brings a smoother, more sensual energy to the latter half of the EP, offering contrast while maintaining the project’s cohesive sound. It’s here that VVS showcase their ability to ride bassy grooves just as convincingly as harder-hitting beats. The closing track “SHINE (Outro),” wraps the project up on an uplifting note, leaving listeners with a sense of forward momentum rather than finality. Overall, D.I.M.M.  is a strong and stylish debut that introduces VVS as a group with confidence, identity, and clear artistic direction. While the EP is concise, it wastes no time making an impression, successfully blending bold statements with polished execution. If this release is any indication, VVS are setting the foundation for a future that’s loud, unapologetic, and impossible to ignore. Check out more from VVS: Twitter: https://x.com/VVS_mzmc Instagram: https://www.instagram.com/vvs_mzmc/ YouTube: https://www.youtube.com/@VVS_mzmc Facebook: https://www.facebook.com/VVSmzmc TikTok: https://www.tiktok.com/@vvs_mzmc

Winnipeg was treated to a night of emotional catharsis, powerhouse vocals, and stripped-down intimacy as the Love & Hyperbole Tour  made its stop at the historic Burton Cummings Theatre on May 19, 2025. Headlined by Alessia Cara with support from rising pop star Alicia Moffet and Jon Vinyl, the show was a dynamic showcase of vulnerability, growth, and undeniable artistry. Jon Vinyl. Photos by Samuel Stevens. Opening the night was the Toronto-based soul and R&B artist Jon Vinyl. His set saw him perform a twenty-five-minute set of original tunes, but it was he performed his hit single, "Addicted," when everyone in the audience finally felt comfortable enough to stand up, sway along, and sing every single word back to Jon. While Jon's set was on the shorter side, he had the Winnipeg audience primed for the following act. Alicia Moffet. Photos by Samuel Stevens. Second on the stage was Quebec-born singer-songwriter Alicia Moffet, whose eight-song set perfectly set the mood with an ambient blend of indie pop and electro-R&B. Her kicked off with the sultry "Mr Right" and "Choke," immediately capturing the audience with her smooth vocal delivery and moody production. “Lay Your Light” and “The Girl” revealed a more introspective side, as Moffet navigated themes of identity and emotional longing with grace. Standouts like “Tired of Me” and the hypnotic “Hotel W” showed her command of the stage, with fans visibly swaying and singing along. “Fake” and “Colder” closed the set on a melancholic note, proving that Moffet’s greatest strength lies in her ability to make emotional heaviness sound beautiful. If there was any doubt that she belonged in bigger venues, Moffet erased them in thirty flawless minutes. It came as a pit of a shock when she didn't perform one of her most-streamed songs, "Lullaby," during the set. However, her set featured songs exclusively from her forthcoming album, No, I'm Not Crying , which will be out May 30, 2025, via Sony Music/Cult Nation. Alessia Cara’s nearly two-hour set was a masterclass in songwriting, stage presence, and immense narrative storytelling. From the moment she launched into “Dead Man,” the crowd was hooked. Dressed in a mix of grungy elegance and casual charm, Cara delivered each song with emotional precision—making the Burton Cummings Theatre feel more like an open diary than a concert hall. Alessia Cara. Photos by Samuel Stevens. Hits like “Left Alone,” “Voice In My Head,” and “Run Run” were delivered with edge and angst, but it was the subtlety of “Subside” and “Drive” that highlighted her vocal control. Midway through the set, she picked up her electric guitar for a raw and vulnerable rendition of “Get to You,” signalling a more hands-on, stripped-back segment of the show. Perhaps the night’s biggest surprise came when Cara treated the Winnipeg crowd to a special performance of “All We Know” as a city-exclusive song, where she also stated it was the first time she played it in over six years, sparking screams and tears from longtime fans. Her ability to pivot from radio-ready anthems like “Wild Things” to deeply personal ballads such as “Out of Love” and “Somebody Else” demonstrated her emotional range and songwriting maturity. During her performance of “Clearly,” she picked up her custom acoustic guitar that exhibited her name and her signature logo on the fretboard, turning the track into an intimate conversation with the crowd. Even with a twenty-four-song main setlist, Cara never felt rushed—each transition, guitar switch, and lighting cue was deliberate and thoughtful. The encore featured just one song, “Here,” but it was all that was needed. The track that launched her career still resonates with as much bite and introspection as it did over a decade ago. The crowd sang every word back to her, bringing the night full circle. The Love & Hyperbole Tour  in Winnipeg wasn’t just a concert—it was a celebration of self-reflection, creative evolution, and the cathartic power of music. Both Alicia Moffet and Jon Vinyl proved they're some of Canada's most promising voices, while Alessia Cara cemented her place as one of the most honest and compelling storytellers of her generation. It was a night of feeling everything , and that’s exactly what the audience came for.