LISTEN HERE  | WATCH HERE Alt-pop powerhouse Maggie Andrew returns with " How to Sing for Money ," an anthemic new single that’s as fun and energetic as it is raw, authentic, and emotionally honest. With this release, Maggie doubles down on her signature blend of bold hooks, tongue-in-cheek lyricism, and innovative production, once again proving her ability to push the limits of pop music. On " How to Sing for Money ," Maggie Andrew pulls back the curtain on the emotional toll behind the spectacle of stardom. Over a pounding beat and soaring ‘80s-inspired guitar riffs, her syrupy pop melodies dance atop razor-sharp commentary about the music industry's commodification of pain. But there’s also another layer of ache: a closer look at the lyrics reveals that Maggie is offering to teach the person who broke her heart—the same heartbreak she’s turning into pop songs!—how to cash in, too. And so, the 15-minutes-of-fame cycle begins anew. "How to Sing for Money" is as ironic as it is irresistible—calling out the absurdity of turning heartbreak into hits, and then doing exactly that with style to spare. “ It’s kind of funny how being an artist is mostly just singing about your misfortunes in life and people relating to them ,” Maggie shares. “ This song is written from the perspective of speaking to someone who did you dirty, and now they’re crawling back to you because you’re famous and make cool songs. So, you go ahead and teach them how to do it too .” Hailing from Nova Scotia, Maggie Andrew brings a creative and rebellious spirit to everything she does. Her musical journey began with a dream and a leap of faith. After sending her first song to her brother, artist and Olympic snowboarder Trevor Andrew, she was encouraged to fly to L.A. to turn her dream into something real. From there, she dove headfirst into the scene, collaborating with industry trailblazers like blackbear, Ash Riser (Kendrick Lamar, Ab-Soul), Doc McKinney (The Weeknd, Drake), and Yeti Beats (Doja Cat, SZA). With over 6 million streams and glowing praise from Rolling Stone , Billboard , and Alternative Press , Maggie has quickly become a standout voice in the alt-pop space. Over the past year, she won CBC Music’s Searchlight, headlined major stages at SOMMO Festival and the JUNO Block Party, performed at The Great Escape and BreakOut West, and received multiple awards, including back-to-back ECMA awards for African Canadian Artist of the Year (2024 and 2025), as well as Rock/Alternative Release of the Year in 2025. Maggie Andrew’s songs are rooted in lived experience, exploring relationships, womanhood, identity, and the pursuit of confidence through chaos. With a sound that’s vivid, fearless, and unfiltered, she continues to push pop forward on her own terms. Listen to "How to Sing for Money" on all streaming platforms: https://ffm.to/how-to-sing-for-money Watch "How to Sing for Money" music video: https://www.youtube.com/watch?v=xDOyfckjrJo Check out more from Maggie Andrew: Website /  Instagram / Facebook / Twitter / Spotify /  YouTube /  TikTok

On I Don’t Want to See You in Heaven , The Callous Daoboys transform their signature mathcore chaos into an unexpectedly poignant museum exhibit—quite literally. Imagined as a future relic housed in the “Museum of Failure,” this conceptually meta but sonically unruly third full-length album turns the band's genre-defying mayhem into a reckoning with purpose, vulnerability, and permanence. It’s a record that somehow fuses the grindhouse charm of Celebrity Therapist  with an emotional immediacy that feels both new and terrifyingly real. The opening track, “I. Collection of Forgotten Dreams,” establishes the album's lore, but it's from the jarring second track,  “ Schizophrenia Legacy, ” The Daoboys plant their flag firmly in absurdist territory—frantic, theatrical, and borderline ridiculous—but with the masterful control of a band that’s honed their craft down to an artful science. Carson Pace’s vocal range veers from feral bark to post-hardcore melodicism, while an unnamed saxophonist adds an eerie, cinematic tension that elevates moments of calm into creeping anxiety. The dual-lead barrage of “Two-Headed Trout” and “The Demon of Unreality Limping Like a Dog” is a thesis statement in itself—equal parts Dillinger Escape Plan mathcore, Mr. Bungle weirdness, and 2000s nu-metal nostalgia. But where some bands use eclecticism as a crutch, The Callous Daoboys wield it like a scalpel. Every unhinged tempo shift, blast beat, or sudden clean vocal hook feels deliberate, not indulgent. “Lemon” stands out as one of the most melodically arresting tracks they’ve ever written, with its accessible pop harmonies deceptively dressed in chaos. It’s the kind of left turn that would feel like a gimmick in lesser hands, but here it feels like a natural (if emotionally harrowing) progression. This is matched only by “Distracted by the Mona Lisa,” a heartfelt declaration of artistic obsession disguised as a breakdown-laden ballad. When Pace croons his commitment to the band like a wedding vow, it’s unexpectedly gutting—a testament to their new focus on lyrical intimacy. Guest spots are used with precision. Orthodox’s feature on “Tears on Lambo Leather” injects hardcore venom into an already scathing critique of image culture, while “Body Horror For Birds” featuring 1ST VOWS, blends a jazzy breeze with haunting, ethereal vocals. The over twelve-minute-long album closer, “III. Country Song In Reverse,” with emo outfit low before the breeze, closes the album with a surprisingly sombre, introspective finale—a deconstruction of Americana, authenticity, and identity, all wrapped in a genre-defying death waltz. The Daoboys have always been maximalists, but I Don’t Want to See You in Heaven  is maximalist with meaning. There’s a sincerity here that slices through the ironic theatre. Even the absurdist song titles—“Douchebag Safari,” “Idiot Temptation Force,” “Schizophrenia Legacy”—serve a larger purpose: exposing the human instinct to memorialize our ugliest impulses under the guise of significance. Producer Dom Maduri (Silly Goose, GEL) captures the chaos without dulling it, delivering the most dynamic and dimensional Daoboys record to date. The mix feels alive, volatile, and visceral—like the album might combust if played too loud—and you should  play it loud. At its core, I Don’t Want to See You in Heaven  isn’t just about musical risk—it’s about legacy, and the irony of trying to preserve anything permanent in a world built on impermanence. The Callous Daoboys have always danced along the edge of a breakdown, but here, they dive headfirst into sincerity without losing their bite. Check out more from The Callous Daoboys: Website | Facebook | Instagram | Twitter

PRESIDENT ANNOUNCE SINGLE "IN THE NAME OF THE FATHER" OUT NOW VIA KING OF TERRORS/ADA — WATCH PRESIDENT  have revealed their single, " In The Name Of The Father ," the debut proclamation—a raw meditation on existential fear and the inevitability of death, referencing the "King of Terrors." Dark, unflinching, and deeply cathartic, it's the first glimpse into a world  PRESIDENT  are only beginning to reveal. "Something has been stirring. A growing noise, a ripple through the republic of the underground. We called. You listened. Your curiosity, your questions, your conversation… We have witnessed it all. Here, we make our first proclamation. 'In The Name Of The Father' This is the first crack in the surface. This is your PRESIDENT. We’'ll be seeing you soon. Godspeed" Operating at the intersection of heavy music, electronic experimentation, and cinematic atmosphere,  PRESIDENT  doesn't conform to the traditional structures of genre or identity. Prioritizing intent over image and shifting the spotlight away from those who have created this movement, firmly onto the music itself. BE AMONG THE FAITHFUL. Watch the video here or listen here . PRESIDENT  will make their debut at  Download Festival  on June 15 — Dogtooth stage 4:25 pm.  Get tickets here . Find out more from PRESIDENT: Website | TikTok | Instagram | Facebook | YouTube

Alessia Cara has returned to the spotlight with Love & Hyperbole , her fourth studio album, released on February 14, 2025, via Def Jam. Marking what she calls her "best work to date," this album is a refined, immersive journey through love’s complexities, heartbreak, and self-reflection, all wrapped in Cara’s signature blend of pop, R&B, and funk-inspired production and done in her confessional songwriting style. With fourteen tracks that explore vulnerability and confidence in equal measure, Love & Hyperbole  proves to be a defining statement in her already impressive discography. From the moment Love & Hyperbole  kicks off with the energetic "Go Outside!," it's clear that Alessia Cara has embraced an evolved sound that still feels authentically her. The album weaves together elements of funk—heard on tracks like "Run Run," and "Garden Interlude"—stripped-back acoustic moments ("Drive"), and soul-baring indie pop ("Clearly"). While "Dead Man," one of the standout singles, offers a brooding, bass-driven groove that captures the unravelling of a once-loving relationship, "Slow Motion" sees Cara experimenting with jazz textures, her sultry vocals floating effortlessly over minimal yet impactful instrumentals. Perhaps the most surprising moment of the whole album comes with "(Isn’t It) Obvious," featuring a striking guitar solo from the one and only John Mayer. With Yakob’s production guiding the track’s breezy R&B feel, the song’s warmth and lyricism reflect the undeniable pull of true affection: "Fears are only constellations, only glowing if we make them."  It’s a clever, evocative turn of phrase that showcases Cara’s continued strength as a lyricist. Collaborating with John Mayer was a dream come true for Alessia, and something she doesn't tend to do much, more so than collaborate on other artists' songs. "That was like the coolest thing ever," proclaims Alessia with a smile. "John Mayer is incredible, and he's one of my lyrical idols and musician idols, in general. Working with him was an out-of-body experience. Even now, when I hear it, I cannot believe that that's him and that it's my song that I'm hearing him on." Additionally, at first, Mayer wasn't sure if the guitar solo he was giving to the track was too long or not. Alessia jokes, "I feel like if he played for five minutes, I would have left it on." She continues, "He was reluctant at first to share that. He's like, 'Is this too much? Like, should I?' and I'm like, 'Are you kidding? Like, It's you! Can you please play on the whole song?,'" she laughs. "It was amazing. I loved him so much, and it was so fun to get to work with him and see how he works in person." In terms of collaborating with artists in the future, she hasn't ruled it out and has intentions of doing it a bit more. " In terms of collaborating with other people, it's always so fun to do that. I know I don't do that a ton. I kind of jump on other people's music more than I have people on mine. And I think that's just a result of me being a little shy and being afraid to ask people things. I do want to do that more in the future," she reveals. Since her 2015 breakout hit "Here," Alessia Cara has built a reputation for writing songs that capture the nuances of emotional highs and the lowest of lows. Love & Hyperbole  is no exception to this. "Fire" is one of the album’s most emotionally charged tracks, embodying the euphoria of deep, consuming love. "Fire" is actually the first love song Alessia has ever written without any fear attached to it, something she has become known for in her songwriting. "That to me is the first time I've ever written a love song without any sort of fear attached to it or any sort of negativity or stubbornness around it," she confesses. "I always feel like when I go to write love songs, there's always an angle of melancholy or fear, or I always have to put a negative spin on it because that's just how my brain works. I think this song feels super personal to me because it's the first time that I've written about love in a happy, free way without any inhibitions or fear of anything; it's just like a love letter. It's a lot more scary for me to talk about being in love in a lighter sense. I don't know how to explain it. It just feels more naked." Whereas, the track "Subside" delves into existential pondering, backed by acoustic guitars and a punchy drum beat. Cara’s ability to craft intimate yet universally relatable songs remains one of her greatest strengths. Tracks like "Nighttime Thing" showcase an impressive blend of lush string arrangements and groovy basslines, making it a standout moment on the record. Meanwhile, "Feels Right" seamlessly fuses indie pop, alternative rock, and R&B influences, reinforcing her knack for sonic versatility. Reflecting on the album’s creation, Cara shared, "Every project so far has felt like a step in the right direction, but this album felt more like a leap."  That leap is evident in the craftsmanship of Love & Hyperbole —a mature, self-assured, and deeply personal project that cements Alessia Cara as a dynamic force in modern music today. Closing out the album with "Clearly," an uplifting anthem built around summery acoustic guitars and a pulsating drum beat, the album ends on a note of hope and renewal. As she sings about mending relationships and finding clarity, it’s evident that Love & Hyperbole  is not just an album about love—it’s about growth, self-discovery, and the beauty in both the highs and the heartbreaks that come with it. Sonically, Love & Hyperbole is also what Alessia has stated as a leap ahead, keeping the sounds unapologetically her, while branching out to new territories. Love & Hyperbole showcases the unique blend of pop and R&B that new and old listeners have come to know her for, but intertwining elements of the 60s, 70s, and 80s rock, funk, and soul into the mix. She shares, "When I'm looking for a fresh perspective or fresh inspiration, I always tend to go back in time." So for Love & Hyperbole , Alessia dug into her love of Fleetwood Mac, and Stevie Nicks, Joni Mitchell, Otis Redding, Stevie Wonder, and more. "I love Fleetwood Mac, so I was listening to a lot of them, a lot of Stevie Nicks, a lot of Joni Mitchell, a lot of Otis Redding and Stevie Wonder...a lot of Billy Joel, Beatles, Bob Dylan, you know, just a bunch of legends," she says. A lot of the visuals, including the album's artwork include vibrant shades of red, these translate to the album in many ways to the song's overarching themes of love. "I have always related with colours and shapes and sort of whole universes to every song and every project of mine. I don't know if that's related to the thing I have called synesthesia, which always sounds fake and weird, but it's very true and real for me. I do have this thing where I see colours when I hear sounds," Alessia shares. "That's always helped be a catalyst for what I want the different album worlds to look like. The obvious answer would be love is, you know, we see the imagery of red when it comes to Valentine's Day and love." However, these reds throughout the visuals of Alessia's album do have symbolism that dives further past the music itself. "I also think red, especially that specific wine colour that's on the album cover felt very sophisticated and rich...the contrast of that, the warmth and the cool tones, are very indicative of what the album means to me, which is all about contrast and how we need contrast in life," she acknowledges. "It's the negative and positive working in tandem. It felt like the right thing to represent the music, and it just feels like how the album feels to me, this kind of like a rich, more sophisticated version of myself." While writing the album, Alessia hit the studio unlike what she had done before. In the past, Alessia would have to get into the studio with an idea or a song already done out of fear of saying something stupid in front of someone and the fear of wasting their time by doing so. "I'm mostly a very shy person, especially when it comes to writing and my songwriting. I'm very close to the chest, very precious about everything that I do,"  Alessia discloses. With the songwriting portion of Love & Hyperbole , Alessia broke out of her comfort zone in a drastic way and approached it with a new view. "The personal breakthrough for me on this album was just going in with a stranger and having nothing to say at first and just trying things in front of them and mumbling and saying stupid ideas or saying any idea, and if it was bad, it was bad...and just not being too precious about it and just allowing myself to write freely in front of someone else and not worry about wasting someone's time." On the production side of things, unlike her last record or two, she was able to jam, perform, and record with the musicians who performed the instruments on the record in person. Alessia shares, "The fact that I had the chance to record, I want to say, 90 percent of this album live with live musicians in the room. I was actually able to be there and travel to these places and work with these musicians in person. We had an orchestra, we had string players, a horn section, and a bunch of musicians that came in, and we got to feed off of each other's energy." She continues, "You get a different outcome when you're all in the room together. There's nothing quite like a bunch of people jamming. I feel like that's how music's supposed to be. So I'm really glad I got to do that for this album." With this latest album release, Alessia Cara has delivered a cohesive, resonant album that highlights her evolution as both an artist and a storyteller. Love & Hyperbole  is not just a collection of songs—it’s an experience that invites listeners into Cara’s world, where love is messy, beautiful, and, above all, deeply human. Stream Love & Hyperbole HERE Check out more from Alessia Care: TIKTOK  | YOUTUBE  | INSTAGRAM

On May 10, 2025, Niko Moon brought his These Are The Nights Canadian Tour to Winnipeg’s Burton Cummings Theatre, transforming the historic venue into a feel-good, Southern-infused beach party—which matched the heat wave the city was going through outside. With support from Saskatchewan-born country artist Kalsey Kulyk, the night was a celebration of optimism, laid-back grooves, and small-town pride, delivered with infectious energy and a big smile. Kalsey Kulyk. Photos by Samuel Stevens. Opening the evening was Canadian country singer-songwriter Kalsey Kulyk, whose warm voice and confessional songwriting made an immediate impact. Drawing from her own life experiences, Kulyk’s set struck a balance between vulnerability and resilience. Her charisma and quick wit between songs made her feel like an old friend. She proved to be the perfect introduction to a night rooted in authenticity and connection. When Niko Moon hit the stage, the energy in the theatre shifted. Kicking off with the upbeat “Night’s Still Young,” Moon set the tone for a night that promised good vibes only. Dressed in his signature flat-brimmed hat, grinning ear-to-ear, he exuded the kind of stage presence that makes you feel like you’re hanging out with your best friend on a summer night—beer in hand, bonfire burning. From there, he kept the crowd grooving with tracks like “Let It Ride” and the reggae-tinted “Paradise To Me,” before tipping his hat to country tradition with a crowd-pleasing cover of “Fishin’ In The Dark” by Nitty Gritty Dirt Band. His vocals remained effortlessly smooth throughout, and his band—tight, polished, and clearly having a blast—brought the laid-back instrumentation to life. Niko Moon. Photos by Samuel Stevens. Standouts throughout his set included “Easy Tonight,” “Coastin’,” and the introspective “Head Above The Water,” which added emotional depth to a set otherwise saturated with feel-good anthems. Fans cheered as Moon shared the stories behind songs like “Homegrown,” a hit he co-wrote for the Zac Brown Band, and “Better Days,” which he described as a reminder to stay hopeful in tough times. The mid-set highlight came with “Small Town State of Mind,” a track that had every voice in the theatre singing in unison, particularly resonant in a place like Winnipeg—a city with a deep appreciation for homegrown roots and hard work. As the evening wound down, Moon played “Boat Song” and “Money Can’t Buy,” both delivering messages of simple joys and rich-in-spirit living. Before launching into “Good Time,” his breakout hit, he declared, “There's been no sad songs tonight, right!?” —a mantra he kept to his word. The crowd jumped to their feet for the finale, hands waving and smiles all around, as Moon brought the night to a euphoric close. Niko Moon’s These Are The Nights show in Winnipeg wasn’t just a concert—it was a reminder to embrace the moment, dance when you can, and find happiness in the little things. Backed by a strong setlist, genuine storytelling, a positive outlook on life, and an unmistakable love for his craft, Moon proved himself more than a country artist—he’s a mood lifter, a party starter, and a beacon of positivity. Paired with Kalsey Kulyk’s heartfelt opening set, the night left Winnipeg glowing, long after the lights went down.

With her radiant debut album On The Phone With My Mom , Toronto-born, Brooklyn-based indie-pop singer-songwriter Maddie Regent delivers a soul-baring, shimmer-drenched meditation on the uneasy passage between girlhood and womanhood. Written and recorded alongside partner/producer Cade Hoppe in the intimacy of their home studio, the fourteen-track record is a stunningly cohesive and emotionally rich body of work, one that confirms Regent as a vital new voice in indie-pop. From the opening title track, "On The Phone With My Mom," Maddie sets the tone with a short instrumental piece. The album's second track, "Any Day Now," features her delicate vocals layered over soft synths, immediately inviting listeners into her internal dialogue. It’s not a conversation as much as a confessional—gentle, honest, and aching with the paradox of seeking comfort in the familiar while straining toward self-actualization. A major strength of the album lies in Regent’s ability to contrast sonic sparkle with emotional weight. Tracks like "Sleeptalking" and "Turtleneck"—both previously released singles—are lush with dreamy textures and irresistible hooks, but it’s in their lyrical heartache that the real power lies. On "Turtleneck," she captures the disorientation of heartbreak with quiet devastation: “It’s tempting to ground yourself in the memory of what was, rather than accepting what is,” Maddie shares. The track’s whimsical production only sharpens its underlying pain. One of the album’s most moving moments arrives with the track "Miss Virgo," a standout that delves into Regent’s past struggles with body image and her time in a recovery center at just seventeen years old. It’s her most autobiographical track yet—a poignant ode to the camaraderie and resilience forged in hardship. There's tenderness in her storytelling, recalling late-night chats, crochet sessions, and the comfort of Pretty Little Liars marathons. This song alone shows Maddie’s fearless ability to alchemize vulnerability into something breathtakingly human. Elsewhere, she continues to explore the discomfort of uncertainty with pop precision. "The Other Shoe" is a sonic explosion—frenetic and euphoric—about anticipating heartbreak and begging for closure, while "The Wolf" pulses with anxious energy as it recounts the fear of facing a former flame who feels more like a ghost. Both songs exemplify the album’s duality: hyper-catchy choruses built on sharp, reflective foundations. Regent’s lyrical world is populated by archetypes—the "Other Girls," the "Girl Inside Her Head," the "Black Sheep"—each one a mirror to different phases of self-perception. The recurring theme of identity is handled with poetic nuance. On "Fountain of Youth / Man Is A Knife," perhaps the album’s most daring track, she dissects the allure and danger of romanticizing womanhood too early and too often. It's a haunting, shape-shifting track that solidifies the album’s core thesis: femininity is both an armour and an ache. Closing with "Goodnight," Maddie Regent doesn’t opt for resolution but for quiet surrender. It’s a soft, almost lullaby-like closer solely on a piano and a very delicately finger-picked acoustic guitar, that leaves listeners with a sense of an emotional exhale. She doesn’t pretend to have all the answers, but she’s asking the right questions—and doing so with clarity, empathy, and artistic elegance. In On The Phone With My Mom , Maddie Regent offers a coming-of-age record that doesn’t just chronicle emotional growth—it embodies it. It’s nostalgic yet forward-facing, fragile yet defiant, and deeply personal while speaking to the universal experience of growing into oneself. With shimmering production, intimate lyricism, and an ear for irresistible melody, Maddie has crafted a debut that doesn’t just make a statement—it makes a home. Check out more from Maddie Regent: Website | Instagram | Twitter | TikTok | Facebook | Spotify | YouTube | Soundcloud

In what might will surely be remembered as one of the heaviest nights Winnipeg has seen in years, the Burton Cummings Theatre transformed into a cauldron of molten metal on Monday, May 5, 2025, as Machine Head, In Flames, Lacuna Coil, and Unearth descended upon the city for their 2025 North American Tour. The stacked lineup delivered an unforgettable showcase of metal's diverse subgenres, from metalcore to melodic death metal and groove-heavy brutality, all under one roof. Unearth. Photos by Samuel Stevens. Kicking things off was Unearth, the Massachusetts metalcore mainstays who wasted no time unleashing chaos. Their blistering six-song set was short but ferocious, opening with the crushing "My Will Be Done" and plowing through crowd favourites like "This Lying World" and the pit-stirring "Giles." Frontman Trevor Phipps commanded the stage with intensity, delivering a vocal onslaught that matched the relentless riffing of Buz McGrath. "The Wretched; the Ruinous" and "Incinerate" showcased Unearth's modern aggression, while set-closer "Black Hearts Now Reign" ignited the first major circle pit of the night—a brutal reminder that Unearth still goes as hard as ever. Lacuna Coil. Photos by Samuel Stevens. Italian gothic metal veterans Lacuna Coil followed, draping the venue in atmospheric darkness. The dual vocal dynamic of Cristina Scabbia and Andrea Ferro remains as captivating as ever, shifting seamlessly between haunting melodies and visceral growls. Kicking off with the pounding "Layers of Time" and "Reckless," the band’s set balanced newer material like "Hosting the Shadow" and "I Wish You Were Dead" with reimagined classics such as "Swamped XX." Scabbia’s charisma shone throughout, especially on "Oxygen" and the massive "Blood, Tears, Dust," while "Never Dawn" closed their performance with an industrial-tinged climax that left fans both mesmerized and screaming for more. In Flames. Photos by Samuel Stevens. With a long and storied career that helped define the melodic death metal genre, In Flames brought both legacy and evolution to the stage. Opening with the evergreen anthem "Cloud Connected," the Swedes reminded the crowd why they’ve remained vital over three decades. The set was a masterclass in balancing eras: blistering cuts like "Take This Life" and "Trigger" lit up longtime fans, while newer tracks like "Meet Your Maker" and "In The Dark" fit seamlessly into the mix. The band dug deep with "Coerced Coexistence" and "Bullet Ride"—a treat for fans of their early 2000s sound—before exploding into modern bangers "I Am Above" and "State of Slow Decay." The emotionally charged "My Sweet Shadow" closed their set with soaring solos and thunderous applause. Taking the stage as headliners, Machine Head delivered a set that was less a concert and more a ritualistic purge. With Robb Flynn leading the charge, the Oakland juggernauts turned the Burton Cummings Theatre into a warzone. Opener "Imperium" lit the fuse, followed by fan favourites like "Ten Ton Hammer" and the savage "Choke on the Ashes." Machine Head. Photos by Samuel Stevens. Flynn’s signature blend of ferocity and vulnerability came through on "Now We Die" and "Catharsis," while "Bulldozer" and "Bonescraper" were absolute sledgehammers to the chest. The band’s chemistry was locked in tight, particularly on "From This Day" and the seething "Davidian," where Flynn’s rallying cry of “Let freedom ring with a shotgun blast!”  had the entire venue roaring. After a brief exit, Machine Head returned for a thunderous encore of "Halo," a perfect closing hymn that spiralled through dynamic peaks and valleys before crescendoing in a final, cathartic wall of sound. The 2025 North American Tour stop in Winnipeg was more than just a concert—it was a celebration of metal in all its forms. Each band brought their unique brand of intensity, giving fans a night of unrelenting energy, genre-spanning power, and moments that will echo long after the amps have cooled. From Unearth’s incendiary start to Machine Head’s colossal finish, the Burton Cummings Theatre bore witness to a night of pure sonic warfare—and Winnipeg metalheads wouldn’t have it any other way.

As the 90s shoegaze revival continues to bloom in both familiar and feral directions, Austin’s Farmer’s Wife  reemerges with Faint Illusions , a five-track EP that sinks deeper into the mire of grunge-psych noir while clinging to their twisted fairytale roots. This isn’t a band interested in nostalgia for nostalgia’s sake—they drag the genre’s decaying corpse into the present, adorning it with silk ribbons, mouldy flowers, and whispered poetry. On Faint Illusions , the band sharpens their sound without sanding off its edges. If 2023’s There’s A Monster  was the haunted house at the end of a foggy lane, this new release is what happens when you dare to step inside. The walls breathe. The floorboards moan. It’s gorgeous, unsettling, and heartbreakingly tender. Opener “Dirty Shirley” bursts in with distorted glam flair before unravelling into something darker—layers of bending guitar and Molly Masson’s featherlight vocals cutting through the murk with a deliberate eeriness. There’s something inherently disorienting about the way the band balances weight and air: drums thud with funeral march intensity while guitars ring out like bells in a drowned cathedral. “Seethe” is the most rhythm-forward of the set—Valero and Jacob Masson giving the track a kind of ritualistic thump while the guitars swirl like smoke. It’s a slow-building fury, a song about simmering rage that never quite explodes, preferring to burn quietly under the skin. The EP’s standout, “Mildew,” is pure lyrical rotcore—a sensual ode to decomposition that walks the fine line between repulsion and romance. “ Tangled up in silk again. Cover me in your mildew… ” Masson croons, her voice as fragile as an attic-kept lace dress. It’s Farmer’s Wife at their most vivid: decayed imagery rendered with astonishing beauty, a sickly-sweet love song for lovers who bloom in the dark. Then comes “The Ballet,” the EP’s most theatrical and surreal moment. With lines like “ One pocket full of posies, one pocket full of meat, ” the band crafts a macabre nursery rhyme that shifts from dreamy waltz to frenetic collapse. Think Cocteau Twins meets Tool in a Lynchian cabaret. The EP's closing track, “Discount Roses,” is a masterpiece of contrast—part whimsical tale of love, part sci-fi allegory, and entirely gut-wrenching. The song’s strange tenderness is buoyed by a sense of impermanence. It floats like a ghost across the EP’s thematic terrain: love, death, rot, and rebirth. With Faint Illusions , Farmer’s Wife have not only solidified their standing as one of the most intriguing acts within Austin’s underground, but they’ve also carved out a space that few others occupy. It’s a realm where dream-pop beauty collides with gothic unease, where metaphors bite, and romance is as much about collapse as connection. There’s no doubt that this is an EP meant to be felt in your bones, not just heard. Check out more from Farmer's Wife: YOUTUBE | INSTAGRAM | BANDCAMP | SPOTIFY

Katie Lynch—under the moniker Theo Bleak—has always had a talent for crafting music that feels like reading a well-worn journal under cloudy skies. On her latest EP, Bad Luck Is Two Yellow Flowers , out May 15, 2025, via Polymoon Music, she continues her exploration of internal landscapes, but this time, through the imagined lens of a friend’s inner life. What unfolds is a spectral and emotionally candid five-track collection that drifts between dreamy introspection and aching revelation. From the first notes of opener "Peach Sky," Lynch reaffirms her strength as a musical diarist. Drawing from time spent on the Isle of Skye, the track captures the delicate transience of memory and emotion. Set against lush, reverb-soaked guitar tones and ambient, untuned piano textures, the song moves like the sky she references—soft, surreal, and fleeting. Her voice, breathy yet pointed, gives shape to half-formed thoughts and quiet realizations that linger long after the track ends. "Said Like A Poet" is the most biting entry on the EP. Beneath the surface of its ethereal arrangement lies a subtle venom—a self-aware critique of intellectual pretension and emotional repression. It’s an arresting juxtaposition: Lynch wraps her frustrations in the elegance of her songwriting, proving her thesis even as she deconstructs it. The chorus simmers with tension, building towards something unspoken but palpably close. With "Katie You're A Liar," Theo Bleak shifts into stark self-confrontation. The track is as much an act of vulnerability as it is a reclamation of narrative. It feels like Lynch staring into a cracked mirror, hearing voices that aren’t hers, but giving them a platform anyway. Minimalistic in its arrangement yet rich in emotional weight, it’s the sonic equivalent of standing in the rain and choosing not to run for cover. "Look Out The Window" captures the obsessive edge of desire—the kind of longing that becomes both habit and hindrance. The lyrics ache with overexposure, like sunburnt skin: raw, sensitive, impossible to ignore. Unlike the previous tracks, the production remains more profound with a full-blown backing band, but also haunting, allowing the emotional intensity to simmer rather than boil over. It’s a slow unravelling. Closing track "You Don't Want Me" brings the narrative to its inevitable end, a quiet, emotionally driven surrender that feels both devastating and oddly serene. There’s a sense of clarity here, a release that only comes after the storm has passed. Lynch doesn’t plead for understanding—she offers resignation with the grace of someone who’s lived through the ache and found a strange comfort in its familiarity. Throughout Bad Luck Is Two Yellow Flowers , Theo Bleak proves once again that her art is as much about what is unsaid as what is sung. She paints with negative space, shadows, and intuition, allowing listeners to find themselves within the fog. It’s a short record, only clocking in at just over thirteen minutes, but it's one that lingers long after it ends, like a dream you only half-remember but can’t quite shake. In a world of over-explained feelings and algorithm-optimized emotion, Theo Bleak offers something far more human—an unfiltered, tender excavation of connection, identity, and longing. Check out more from Theo Bleak: Instagram | Facebook | YouTube

Photo courtesy of David Barden Media. How would you describe your music to any person who may have never heard it before? M: I usually describe my music as alternative-folk, a little bit country, a little bit grungey. Often very Northern! What are your musical influences? M: My influences come from across the board really, predominantly folksingers like Neil Young and Bob Dylan, but also more modern alternative artists like Nirvana, Built To Spill, or Pavement - and even from like hip-hop and rappers like Mac Miller and Kendrick Lamar. I listen to a massive variety of music and it all influences my craft! What are your musical inspirations? M: Most of my music is written around my perspectives and experiences, that which I see around me and what I think about. There’s a lot of political and social commentary in my work - it’s the way I come to terms with all of it! 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. M: I’d love to work with an artist like Courtney Barnett or Phoebe Bridgers - their musical talent is astounding, and they seem to be committed to the art of making music. I think that I’d rather co-write a song than be a feature though! What's the EP about? M: My latest EP “a northern perspective” is a collection of seven songs that portray my experiences and outlooks upon living life in modern Britain as a 20-something. It’s a range of songs, varying from grunge to country to folk, flowing through the tracklist like the change of modern life. What's something you hope people take away from the new songs on the album? M: The most important thing to me is when someone is inspired by my music. That’s the best compliment you can ever receive! Which songs on the album were the most fun to write, and which were the most challenging to write? M: A lot of these songs kind of flowed really easily. There’s a few that took more time, for example with "unburnt," a political track that delves into the personal element of how your ideas can make you feel like you’re completely against the grain of modern ideas - some of the tracks are more upbeat, I swear! What did you allow yourself to do creatively for this song that you haven’t in the past? M: When it came to the production, I thought way more out of the box compared to in the past. I wanted it to be more dynamic, more atmospheric - some of the tracks are more moody and grungey than the ones I’ve done before. Do you have any favourite song off the new album? M: I think that "waterlines" will be always be a favourite. One of my oldest tunes! 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? M: I often just take a break from it! You can’t force it. It’s important to balance it with breaks, and you can always try and create something else that’s completely different too, for a different creative outlet. Do you have any favourite songs to perform live? Could be your own music or even a cover. Any reason why? M: I think my favourite song to perform live would be "pennine dream." It’s a modern folk song, talking about political and social ideology. I wrote it after writing my dissertation and it’s really a commentary on political issues. If you could perform a show this very second anywhere in the world, where would it be? M: The Webster Hall in NYC. Not only is it a legendary venue, but there’d be a lot of fun saying "Michael Webster returns to his home, Webster Hall." What do you currently have planned for the remainder of the year? M: I’ve got a bunch of shows booked in, and I’m looking to get even more recording done! If your music was a type of food, what would it be and why? M: Chips and gravy. Good Northern stuff.

Stream Here: Jacqui - ‘fries, bb’ Emerging R&B star Jacqui unveiled her new single " fries, bb" on May 9, 2025, via Beeline Records . The bewitching single premiered on acclaimed tastemaker publication CLASH Magazine . As an acclaimed singer, songwriter and producer with over half a million Spotify streams and counting, Jacqui burst onto the scene in 2022 with her debut EP Birthday. Only a year later, Jacqui embarked on a tour in Australia, and performed at SXSW festival in Sydney and opened two shows for R&B/soul icon slchld. She also made her debut at one of Thailand’s biggest festivals, Bangkok Music City in March 2025. This year, Jacqui’s touring schedule includes performances at iconic UK-based festivals The Great Escape Festival in Brighton on 15 and 16 May, and Focus Wales on 10 May. Jacqui’s music caught the attention of the Netflix series My Holo Love, which featured her 2020 single ‘White Clouds’, and more recently in 2025, her single ‘Sagwa’ was featured in the Amazon Prime series BUTTERFLY .  Jacqui has always had an affinity towards music since childhood. After relocating from her home in Korea (where she spends most of her time now), she was raised in China and then the United States. During her teen years a friend introduced her to Neo Soul and R&B royalty Erykah Badu , which awakened something in Jacqui , and ignited her lifelong passion. In college, Jacqui’s love for music was set off even further as she was exposed to a wider variety of genres, sounds and musical experiences. Jacqui’s balance of introspection, playfulness and depth within her production and songwriting creates a distinct neo-soul sound that has been likened to the alternative, soul-soothing sounds of FKA Twigs and  Mahalia, as well as her biggest inspiration Erykah Badu.  ‘fries, bb’ showcases Jacqui’s artistic capability in a valiant manner, from her cute and clever songwriting to the intention behind the slick yet schmaltzy production and R&B-infused instrumental arrangements. Jacqui’s silky voice steals the show and drips with flirtation, subtle intensity, and yearning.  Speaking about the single, Jacqui reveals, “‘fries, bb’ takes place in a late-night burger shop, ordering things when I am not even hungry, just because I want to spend more time with this person next to me. Still, no moves are made, and then it’s me saying “just so you know, I am into you.” I focused on creating a straightforward and aggressive (in a cute way!) sound that penetrates the whole song, which matches with the message I am carrying in this song. So that is why you will hear different types of distortion on my voice and the instruments.” Jacqui Upcoming Tour Dates: 10th May: Focus Wales (Wrexham) 15th May: The Great Escape (Korea Spotlight) 16th May: The Great Escape (The Orchard Showcase) Photo courtesy of Min Kim. Find out more from Jacqui: Website Instagram Facebook X TikTok Youtube Spotify

On American Dream Trajectory , New Jersey-born, Nashville-based singer-songwriter Sam MacPherson delivers a stirring debut album that solidifies his place among the most emotionally articulate voices in modern alt-pop and Americana-tinged indie rock. It’s a record that doesn’t shout for attention but quietly, powerfully demands it, track by track, lyric by lyric. MacPherson has built a reputation on heartfelt vulnerability and poetic introspection, and this debut full-length feels like a culmination of that journey. Executive produced by Thomas Lewis (Sam Fender) and crafted with a stellar team including Adam Yaron (Alex Warren) and Mark Broughton (James Bay, Sam Fender), American Dream Trajectory  is sonically rich and lyrically precise. The involvement of songwriters like Noah Levine ( Noah Kahan’s “Dial Drunk” ) and Sam Westhoff (Shaboozey, Dermot Kennedy) only deepens its emotional well. The album opens with the title track, “American Dream Trajectory,” a haunting meditation on intimacy, trauma, and hope. MacPherson’s voice—gentle, aching, unguarded—guides the listener through the struggle of trusting someone new with your rebuilt sense of self. The song is an early standout that sets the tone: expansive yet intimate, tender but never saccharine. Tracks like “Brace For Impact” and “August Always” showcase his deft ability to score moments of emotional turbulence with cinematic instrumentation—shimmering guitars and percussive builds that rise like tidal waves of memory. There’s a familiarity in these songs that’s comforting, yet they carry an unmistakable personal stamp. “I’m Not From Anywhere Else” and “Run Baby Run” tackle themes of identity and belonging with both heartland grit and indie polish, evoking a restless spirit caught between coasts and callings. There’s a Springsteen-esque undercurrent in the way MacPherson paints the backdrop—dive bars, long drives, fleeting moments of connection—framing personal aches within larger Americana mythos. The album’s emotional centrepiece, “Recover From,” is a slow-burning ballad that aches in all the right places. The studio version is gorgeously restrained, while the Asbury Park live cut adds a raw edge that captures the intimacy of his live performances. It’s the kind of song that lingers long after—one that understands heartbreak not just as loss, but as the slow realization that something meaningful couldn’t last. “Hail Mary” and “Joy Again” offer hopeful notes, subtly exploring healing without betraying the emotional heaviness that came before. “Love Is Always Bringing Me Down (Live)” brings the listener back to the roots—voice and guitar, live and unfiltered—reminding us that no matter how polished the production, MacPherson’s real power lies in how deeply he feels what he sings. Closing track “Whatever You Are” is a fitting farewell: wistful, unresolved, and gorgeously open-ended. Like much of the album, it doesn’t seek to give easy answers. Instead, it gives space to the questions we all carry. Sam MacPherson’s American Dream Trajectory  is a stunning debut that feels lived-in, quietly brave, and remarkably assured. It blends indie rock elegance with folk honesty and alt-pop accessibility, rooted in a distinctly American search for self and connection. Fans of Noah Kahan, Sam Fender, Dermot Kennedy, and definitely Bruce Springsteen will find a kindred spirit here, but MacPherson carves out his own lane—one that we suspect will only widen from here. Check out more from Sam MacPherson: Website:  www.sammacphersonmusic.com TikTok: @sammacpherson Instagram:   @sammacpherson Twitter:   @sammacpherson Spotify:   Sam MacPherson

LISTEN HERE Rising pop sensation, Maya Kuriel, has officially dropped her second single of 2025, "Alibi"—a brooding, cinematic anthem that fuses passion with peril. Released today, the track showcases Maya’s signature ability to turn intense emotion into immersive sonic experiences. "This song is for anyone who's ever chosen love over logic," says Maya. Produced by Gavin Hudner and co-written by Maya, Julia Joy Thompson, Gavin Hudner, and Peyton Incollingo, "Alibi" plunges listeners into a shadowy world where loyalty and secrecy reign supreme. With moody, atmospheric production and evocative lyrics, the song paints a vivid portrait of two lovers on the run—bound by a vow to protect each other at all costs. Imagine Bonnie and Clyde reimagined for the digital age: late-night getaways, new identities, and a relentless pursuit of freedom and love. "Alibi" follows Maya’s earlier 2025 release, "Dead Weight," a chilling and emotionally raw track that delves into the heavy toll of toxic relationships. While "Dead Weight" explored emotional entrapment, "Alibi" flips the script, celebrating a reckless yet unwavering devotion. With her genre-blurring storytelling and hauntingly emotional vocal delivery, Maya Kuriel continues to carve out a bold new space in the pop landscape. MORE INFO ABOUT MAYA: Born and raised in Seattle and now based in Los Angeles, Maya Kuriel is a first-generation Korean American artist redefining the landscape of pop music. She’s a sonic architect crafting a world where eerie synths, raw emotion, and grungy production collide. Maya embraces the underrepresented, carving out a space for Asian voices in a genre that’s long overdue for a shake-up. Her music drips with moody textures and cinematic tension, luring listeners into a hypnotic haze of haunting melodies and pulsating beats. Since her debut in 2020, Maya has amassed over 2.5 million streams across all platforms, captivating audiences worldwide with her powerful vocal melodies and introspective lyrics. With a voice that floats between ethereal beauty and unfiltered grit, she’s the storm brewing on the edge of pop’s horizon—one that refuses to be ignored. Find out more from Maya Kuriel: YOUTUBE | INSTAGRAM | TIKTOK | TWITTER

Singer-Songwriter Amelia Moore is set to release her new EP, he’s still just not that into you!, on May 9, 2025, via Republic Records. This new release is part two of the mixtape you dropped last year. Was a part two always in the plan, or did it naturally evolve into that? Amelia: I think it was always a thought in my mind. But the way that it has come together has been greater than I was hoping for it to be whenever I first started to put the tracklist together for the first project. I’m really, really proud of how this part two came out. All of the marketing and visuals going into it have been really fun to shoot. What can we expect from your upcoming EP, he’s still just not that into you! ? Amelia: Lots of honesty, lighthearted, silly me showcasing my personality more in my music and hopefully everybody’s fucking with it. What kind of fan reaction were you hoping for when you released "fuck, marry, kill"? Amelia: I definitely wanted people to be stoked that I'm starting to release music this year. "fuck, marry, kill" was my first single of 2025. I was hoping everyone would hear it and get excited for what's to come, and I'm thinking that's exactly what happened. You have a knack for creating catchy hooks and choruses. How do you know when you've created something that sticks? Amelia: When I can't get it out of my own head and I'm singing it on my way home. I work with a lot of my friends, and I'm lucky to even say that. I think a good way to make something catchy that you’re also going to love is fuck around with your friends and not take yourself too seriously. A good way to know if you made something that is gonna stick is that if it's sticking with you. You’ve had some huge moments already, like working with Timbaland and performing on Jimmy Kimmel. What’s something you’re still dreaming of doing that might surprise people? Amelia: Of course, my big, big major career goal for ten years from now is to play the Super Bowl. Which feels very far away right now, but I love to think about my big SuperBowl performance when I'm planning the shows I'm about to play, and kind of like "What is my version of playing the SuperBowl right now?" You have an incredible wide range of diverse credits for major artists such as XG, Polo G, UMI, ASTN, etc. How does your approach to songwriting change when it’s for yourself versus for another artist? Amelia: In a silly way, I think that writing for other artists can be easier because, as the writer in the room, I feel less attached to the artist's message as it's not my personal story. I'm just there to bounce ideas off the wall and play tennis with them. When I'm in sessions for my project, I take myself so seriously, and I'm analyzing every word and making sure it's perfect. Sometimes I need to lighten up on myself a little bit when I'm writing my own stuff. It’s funny you said ASTN, our song together, “next door” was originally not written as an Amelia Moore song. We wrote it as a pitch song. Sometimes you write things with other people in mind, and they end up fitting your project perfectly. Did you have any experiences or inspirations that helped you with the songwriting process? Amelia: Yeah, I think the only way I know how to write songs is from a really vulnerable place. A lot of my songs, even from my first project, were songs I had to write to get it off my chest. There are definitely some vulnerable moments on this mixtape too. So I'm excited for everybody to hear. What song are you most excited for people to hear on your EP, and why? Amelia: I think “see through it” because “see through” was such an impactful moment for me this past year, and I gained so many followers and listeners from that song. All of those people who have stuck around for this mixtape will hear it and will be like "Wait a second, I was there when this came out. This is something that is familiar to me and that I've heard before." I hope people are gonna freak out about it because I was when I wrote it. Of all the songs on he’s still just not that into you!, which was the most difficult to create or perfect? Amelia: There's a song called “that's all they really want,” which is a more sensitive and emotional song that was only difficult to get across the finish line because we wanted it to be perfect. We tried so many different versions of it, and I'm so proud of how the final ended up sounding. It's an interpretation of “Girls Just Want to Have Fun” by Cyndi Lauper. What’s one thing you’ve learned about yourself through your music journey so far? Amelia: That I'm stubborn. I'm a stubborn, stubborn girl. I've learned that throughout all the ups and downs and challenges that this career has put in front of me. I've learned that I'm a lot stronger than I thought I was. Which is a cool and sweet thing to know. 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? Amelia: The ocean, the beach, gotta go to the water and spend time with my friends. When I find myself in a creative rut, it means that I'm not living enough life to pull inspiration from. I just gotta go out and have fun.

On Even In Arcadia , Sleep Token—now under the wing of RCA Records for the very first time—take a bold yet seamless step forward in their already illustrious journey. The album expands upon the sonic mythology that has defined their meteoric rise while simultaneously deconstructing it, piece by piece. If 2023’s Take Me Back To Eden  was their grand flourish into the mainstream, then Even In Arcadia  is the descent into a more complex, introspective realm—still haunted, still divine, but cloaked in even more nuance. Opening track “Look To Windward” is a slow ignition, building tension with celestial textures and ominous restraint. It feels like a reckoning—a whispered prayer echoing through a ruined cathedral, before its mega explosive force takes hold and the band morphs pop and metal at their will. This sets the tone for what’s to follow: a record that explores dualities in sound, spirit, and identity. “Emergence,” featuring Bilmuri saxophonist/vocalist Gabi Rose, is perhaps the most surprising collaboration in the Sleep Token canon yet—then again, you never know what the band will come up with next. The track initially floats like a dreamy requiem with synths and bassy beat, before the band's progressive metal roots take center stage. As the song builds, eventually Rose’s saxophone bleeds through the veil, blurring genre boundaries in real time. It’s bold, unexpected, and absolutely intoxicating—a testament to the band’s willingness to never risk alienation in pursuit of their artistry. “Past Self” and “Dangerous” act as the emotional anchors of the record. Vessel’s vocals, as always, oscillate between fragile and ferocious, pushing the listener to confront their own reflections in lyrics soaked with longing and existential ache. These are songs that don’t just feel—they wound  gently, like pressing your fingers into a fading bruise. “Past Self” is a full-blown pop piece, whereas “Dangerous” follows suit, but as the track builds to its climax, the song takes a sonic shift into the realm of metal. If “Past Self” isn't the most talked-about track, it will undoubtedly be “Caramel,” and for good reason. It’s Sleep Token at their most chaotic and genre-defiant. What starts as a whisper of tenderness—just Vessel and the bare bones of melody—soon erupts into a whirlwind of pop, reggaeton, and deathcore. Yes, reggaeton . And it works . Maybe something only Sleep Token can pull off. The clash of styles might seem jarring on paper, but in execution, it mirrors the very theme of the song: the fragmentation of self under the weight of fame and fan expectation, especially of a portion of the fan base who try to out the band's real identities. An integral part of the band's identity is anonymity. It’s a sonic collage of a psyche unravelling. The title track, “Even In Arcadia,” is among the band’s most haunting moments to date. While it's just Vessel and a simple melody on piano, the choir-like harmonies and swelling electronics provide a gentle bed for Vessel’s existential lament, and his frustration is clear as day on the track. It reflects the classical idea that even in utopia, death and decay linger—a fitting metaphor for fame and the band’s struggle with anonymity. The closing violin arrangement juxtaposes the song's themes perfectly. “Damocles” is a slow-burning dirge, where tension smoulders beneath pristine surfaces. It's an elegant reminder that Sleep Token's heaviest moments are not always the loudest; sometimes, the most devastating weight comes in silence and suggestion. A song of introspection, Vessel tackles the opposite side of what he sings about on "Caramel." Vessels puts the spotlight on the threat within and his existential dread of losing his spot in the music scene, whether it's from abandonment, disbandment, or even simply when he's not prancing on stages as Vessel. This thread continues in “Gethsemane,” where biblical metaphor meets stark vulnerability in the album's sonically heaviest track, which still blurs genre to the fullest extent. “Provider” and “Infinite Baths” bring the album to a more spiritual close. The former channels the worshipful cadence of Sundowning -era hymns, while the latter feels like an ascension—layers of ambient textures dissolve into nothingness, but with a moment of absolute chaos to close out the record, leaving only a final breath of release. From a production standpoint, Carl Bown and his team (including Adam “Nolly” Getgood and Ste Kerry) deserve immense praise. The album is a masterclass in dynamic range and texture, where every layer feels intentional and deeply immersive. Whether it's the cavernous low end of a breakdown or the featherlight touch of a piano line, the mix serves the emotion first, spectacle second. Ultimately, Even In Arcadia  is not the most accessible Sleep Token album, but it may be their most important . It is brave in its experimentalism, honest in its lyrical excavation, and unapologetically complex. It is an album that trusts its audience to follow through the shadows, to sit with discomfort, and to find beauty in dissonance. Sleep Token has never asked for your understanding—only your surrender. With Even In Arcadia , that surrender feels more sacred than ever. Check out more from Sleep Token: Website | Instagram | Facebook | Twitter | YouTube

LISTEN HERE Nashville-based artist, songwriter, and multi-instrumentalist Sam Varga  returns with his poignant new single, " Long Way Back ," a raw, reflective track that dives into the emotional wreckage of staying too long in the wrong place. "Long Way Back" blends Sam’s emo-rooted honesty with stripped-down, Americana textures — including a touch of mandolin — that deepen the song’s introspective weight. It's a heartbreak story told in hindsight, where clarity only arrives once you're already lost. “ I was with someone special for a long time, but deep down, I always knew it wasn’t right ,” he shares. “One day, you wake up miserable, wondering how you got there. I think we’ve all been in something we knew wasn’t for us. The longer you stay, the harder it is to leave — and the longer it takes to find your way back. It’s like missing your exit on the highway and watching it disappear in the rearview, getting further and further away. Eventually, you have to tear yourself away to save yourself. ” Sam Varga is a Nashville-based artist blending his emo roots with Southern grit and singer-songwriter soul. Originally from Louisville, Kentucky, he came up in the city’s DIY emo scene, cutting his teeth on loud guitars, basement shows, and late-night chaos. At home, his parents filled the house with ’80s rock, Southern staples, and classic lyricists, giving him a rich musical foundation that laid the groundwork for his genre-blurring sound. That blend of raw punk energy and emotional storytelling forms the backbone of his sound, landing somewhere between alt-country and rock, woven with acoustic textures and dynamic instrumentation. Addictive, sharp, and self-aware, Sam's music is emotionally unfiltered, self-deprecating, and unflinchingly human. Whether he’s unpacking existential dread or offering hard-won hope, his songs are made for long drives, post-party spirals, and those fleeting moments when you just need everything to make sense for three minutes. His 2024 debut album Shadow Work carved out space on the emo-tinged edges of the country world, where steel guitars, emotional gut-punches, and punk spirit converge. Now, with "Long Way Back," Sam Varga pushes that sound further — deepening the alt-country edge without losing the vulnerability and urgency that sets his music apart. Listen to "Long Way Back" on all streaming platforms Follow Sam Varga online: Website Instagram TikTok YouTube Facebook Spotify

The Park Theatre was on fire on May 4, 2025, as the What Remains Tour rolled through Winnipeg, delivering a night of powerful anthems, unexpected turns, and resilient performances. Headlined by Pop Evil, the bill also featured sets from Devour The Day, Return To Dust, and Oni—each act showcasing a different shade of modern hard rock and metal, making for a genre-spanning experience the sold-out crowd won’t soon forget. ONI. Photos by Samuel Stevens. Opening the night with a wall of sound and intensity, Canadian progressive metallers Oni set the bar high. The band tore through a dynamic eight-song set, combining technical proficiency with brutal grooves. From the ominous opener “Silence” to the melodic closer “Spark,” Oni's fusion of djent riffs and electronic flourishes kept the crowd engaged for the thirty minutes they were on stage. “Control” and “Realign” were particular standouts, showcasing Jake Oni's vocal versatility and the band’s tight musicianship. For early arrivers, this set was a masterclass in modern metal complexity. Return To Dust. Photos by Samuel Stevens. Return To Dust brought a wave of emotion with their dreamy yet hard-hitting alt-rock/grunge sound. With a setlist stacked with atmospheric tracks like “Summer Rain” and “When You Look At Me,” the Los Angeles-based quartet offered a more melodic reprieve without losing momentum. “Face Down” and “Black Road” resonated especially well with the crowd, blending vulnerability with driving guitar work. The band’s chemistry was undeniable, and their energy helped bridge the gap between Oni’s technical assault and the heavier headliners. Devour The Day. Photos by Samuel Stevens. Tragedy struck early in Devour The Day’s set when vocalist Blake Allison blew out his voice during their opener “Respect.” The band was forced offstage temporarily, but instead of calling it quits, they returned with a revised set, performing an additional four songs, and an audience more than willing to step up to the plate. With fans singing nearly every word, what could’ve been a disaster turned into a deeply communal moment. Despite the adversity, the band powered through with spirit, earning massive respect from the Winnipeg crowd for their perseverance and humility. By the time Pop Evil took the stage, the Park Theatre was fully ignited. The Michigan rock veterans wasted no time launching into “Eye of the Storm,” kicking off a thunderous sixteen-song set packed with chart-toppers and new material alike. Leigh Kakaty commanded the crowd with charisma and heart, especially during the emotionally charged “Torn to Pieces” and fan-favourite closer “Footsteps.” Pop Evil. Photos by Samuel Stevens. The band’s energy was relentless their entire set. “Skeletons” and “What Remains” hit with particular weight, the latter doubling as a thematic centrepiece for the tour. Tracks like “Trenches” and “Let the Chaos Reign” brought mosh pits and fists in the air, while the encore—featuring “Torn to Pieces,” “Breathe Again,” and “Footsteps”—offered a cathartic ending to a rollercoaster night. The sound mix was crisp, the lighting was immersive, and Pop Evil delivered a stadium-worthy performance in the intimate setting of the Park Theatre. The What Remains Tour stop in Winnipeg was a showcase of passion, resilience, and sonic diversity. Even with unexpected vocal setbacks, the night proved that live music is about connection as much as performance. Whether you came for the shred, the emotion, or the anthems, this show had it all—and left the crowd buzzing well after the final chord.

Flatspot Records signs PIG PEN - Matty Matheson, Wade MacNeil, Daniel Romano, Ian Romano and Tommy Major Announce debut album Mental Madness out June 27th and share crushing first single + video “Mental Mentality” The plan was to start a band that was all longtime friends. The idea was to embrace the scene they grew up in. The result is Pig Pen . The band is made up of vocalist Matty Matheson (chef, restaurateur, and actor from FX’s The Bear ), guitarists Wade MacNeil (Alexisonfire, Dooms Children) and Daniel Romano , drummer Ian Romano (Daniel Romano’s Outfit), and bassist Tommy Major (Daniel Romano’s Outfit, Young Guv). The music is tough, harsh, intense, noisy, soulful - a blitz of pure hardcore energy. After warming up with a frenzied, sold-out show at Toronto venue Sneaky Dee’s in late April, Pig Pen now announce their recorded debut. Mental Madness will release on June 27th through pivotal hardcore label Flatspot Records , a home for many breakthrough acts including Speed, Scowl, and End It. The first song arrives in “ Mental Mentality ,” highlighted by stomping rhythms, breakneck riffs, and a raged vocals. Matheson delivers “I have the mental madness. I’m sick. I’m sick. I’m sick.” as a cathartic release begging to be screamed back to. The video for the song features live footage from recording in the studio and on stage at the band’s first show. You can watch it HERE and listen 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 is available for preorder now through Flatspot Records 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

With Between Us There Runs a Tether , out May 7, 2025, via AMUSE, New York soft-rock auteur Harrison Lipton returns not just with a sophomore album, but with a soul-bearing statement on healing, heartbreak, and identity. It’s a record that could have disappeared into the abyss of what-ifs, born from a 2021 breakup that sent Lipton driving cross-country, untethered and unsure. But instead, it materialized as a sprawling emotional landscape rooted in introspection, steeped in '70s soft-rock warmth, and grounded by a sense of community. Where 2018’s Loveliness  introduced Lipton as a lush-voiced R&B-influenced songwriter, Between Us There Runs a Tether  finds him leaning into the dusty romanticism of artists like Jackson Browne and George Harrison, reframed through a contemporary indie lens. The result is a record that feels deeply lived-in, weathered but glowing. The opening track, “On My Own,” sets the tone with hushed resolve and a quiet exhale of solitude that doesn’t mourn loneliness but almost welcomes it. This sense of calm contemplation runs through the whole album, even as the lyrics shift between regret and redemption. Tracks like “Letters” and “Nothing Holy” dissect emotional fallout with a tenderness that never veers into melodrama. Lipton is not begging for reconciliation—he’s turning the pages of his story, even the ones he’d rather forget. Standout track “Tether,” which features singer-songwriter Yot Club, blends melancholia with a subtle groove, channelling Lipton’s signature hushed falsetto over synth-laced dream-pop textures. It’s a wistful centrepiece, reaching for connection even as the rope frays. And later on, the album, “Do You Hate Me?” poses a raw question most wouldn’t dare say aloud, delivered with understated urgency that recalls Andy Shauf or early Sufjan Stevens. The emotional axis of the entire album all lies within “All For Granted,” written in one take, while holding back tears at his family piano in Connecticut—it's a song so honest it feels like you’re intruding while you listen. Yet Lipton’s genius is in the way he invites you to sit with him, never wallowing, but always processing. But the arc doesn’t end in sorrow. The final track of the album, “The End of the Line,” is a quiet triumph—both musically and thematically. It echoes the album’s title phrase for a second time, but this time with a quiet resolution: “ I chose the open road / and I’m alone again. ” It’s not just about letting go of a person, but about releasing the version of yourself that clung too tightly to what hurt. Production-wise, Lipton remained in full control, writing and producing the album entirely by himself. The engineering from Ian Bakerman and mixing by Steve Vealey help strike a balance between intimacy and sonic breadth, while Théo Quayle’s mastering ensures everything glows with analog richness. Subtle strings, brushed drums, and shimmering guitar lines elevate the project beyond bedroom pop into something more cinematic. It’s also a deeply communal record despite its solitary themes. Cameos from Yot Club and MICHELLE’s Layla Ku, plus contributions from friends like Ian Bakerman and Aidan Ludlam (booyah! kids), cement Lipton’s place in the NYC indie underground. The upcoming release show at Brooklyn’s Public Records—featuring Fetch Tiger and Sofia D’Angelo—feels less like a concert and more like a homecoming. Ultimately, Between Us There Runs a Tether  is not just about what connects us to others—it’s about what connects us to ourselves through time. It’s a panoramic view of the late 20s experience: grief, self-doubt, growth, and the quiet resilience to move forward. The record is a patient, poetic soft-rock gem. Harrison Lipton proves that sometimes the best way to heal is to sing it all out, slowly and softly. Check out more from Harrison Lipton: Website  |  Instagram  |  Twitter  |  Facebook  |  YouTube  |  Spotify

After five long years, Marina Sakimoto returns as Shunkan with Kamikaze Girl , a record that feels like coming home after getting lost in the city, heart bruised, but not broken. It’s her first full-length since 2019, and it doesn’t just mark her return—it redefines it. Kamikaze Girl  is both a reckoning and a resurrection, a stirring exploration of identity, longing, and emotional reconstruction set against the hazy backdrop of Los Angeles and Sakimoto’s ever-present duality. Produced by Alex Newport (whose credits include Death Cab for Cutie and The Mountain Goats) in the spiritual stillness of Joshua Tree, Kamikaze Girl  radiates a tension between fragility and fire. It opens with the brooding shimmer of “Hellbound,” a song that immediately establishes the album’s emotional stakes. “It’s a big thing coming,” Sakimoto warns, as reverb-soaked guitar lines stretch into the ether like neon memories. There's a sense of dreamlike disorientation, but her voice—sweet, pained, sure—cuts through the fog with surgical clarity. Think Lost in Translation  if it had a guitar-heavy soundtrack. The album’s sequencing feels purposeful, almost cinematic. “Sidekick” arrives like a montage of youthful misadventures—sharp hooks, jangly chords, and a sense of hope tinged with regret. Then there’s “Usual Suspects,” a chaotic anthem for overthinkers and lost souls. With a nod to It’s Always Sunny in Philadelphia 's iconic red-string conspiracy meme, the song captures the messy spiral of self-examination with a balance of grit and grace. It’s perhaps the most viscerally “emo” track on the album, featuring distorted guitars and a cathartic chorus that feels like a scream into the void—or maybe into your steering wheel at midnight. While Kamikaze Girl  never shies away from darkness, there’s light peeking through every crack. “I Did My Part Today” and “Arm’s Length” are quieter, both in their own ways; they're meditative moments that show Sakimoto’s lyrical precision. Each word is weighted, each melody line carefully etched into a raw emotional canvas. “Prettier,” meanwhile, is a slow-burning five-minute-long standout that showcases her evolution—a song that starts with vulnerability and the song builds and builds before ending in a full-blown catharsis. It’s the sonic embodiment of reclaiming power through self-acceptance. “Frogtown” and “Talk Is Cheap” conjure up lo-fi LA landscapes, with jagged riffs and a vocal delivery that vacillates between soft defiance and exhausted yearning; the latter is more subdued than the former. These two tracks don’t just sound  like the city—they feel  like it. There’s a sense of constant movement, constant searching. It's no surprise that Kamikaze Girl  was born out of aimless nights wandering LA; you can hear the ache of displacement in every note. The album's closing number, “Gilligan’s Island,” is beautifully ambiguous—melancholic and oddly comforting. It doesn’t resolve so much as it floats off into the dusk, leaving listeners with the sense that not all endings need answers. Sometimes, being caught in a moment is more enough. With Kamikaze Girl , Shunkan doesn’t just deliver a comeback—she crafts a triumph of vulnerability and self-exploration. Sakimoto’s songwriting is intimate without being insular, her voice both delicate and commanding. The production is lush yet never overwrought, allowing the rawness of her themes—identity, memory, loss, desire—to breathe at their fullest extent. Kamikaze Girl  is a record worth clutching to your chest. But more than that, it's a document of healing—messy, beautiful, and deeply human as it gets. Check out more from Shunkan: Instagram | Facebook | Twitter | Bandcamp | Youtube