With Country Sides marking your 20th anniversary, what does this album represent for you at this point in your journey? This album is a band at the top of their game, twenty years into their career. A band that knows who they are, where they’ve been, how they like to work and keep things fresh, and how to build a creative world independently, completely outside of the music industry machine. What inspired the title, Country Sides ? We love the idea of bucolic imagery of the word “countrysides,” but by separating it into two words, it seemed to open up and have much more meaning. Sonically, the album leans into the country side of the band with lots of pedal steel. There’s obviously a play on sides as in A/B sides, but also it’s an interesting time in our country at the moment where everybody seems to be divided up into sides… My favorite interpretation, though, is the one that the album artwork portrays… The countryside is often the best part of the meal. Okra, mashed potatoes, cornbread… what’s better than that? The food symbolism resonates with us as a band that lives on the edges of the mainstream music industry. If you had to describe this album’s vibe in three words, what would they be? Listen For Yourself. What do you hope listeners take away after hearing the record? I hope listeners feel a sense of hope that they can take with them on this roller coaster of life, and I hope they feel more connected to each other, knowing we all have more in common than not. I also hope people see the beauty in committing to something bigger than yourself for the long haul — whether it be a band, a job, a marriage, or a friendship, there is beauty in seeing something through. After two decades together, how has your creative partnership evolved or changed? I think mutual respect has been the driving force that has given us longevity. We know that we’re better together, and over time, that mutual respect has led us to knowing how and when to give each other space, how and when to push each other further, and how to trust the other’s instincts as much as our own. Are there any songs on Country Sides that feel especially personal or meaningful to you right now? “Forever’s Not a Long Time” is still revealing itself to me and hitting me in different ways. It’s about commitment to each other, whether that means commitment to a marriage, a friendship, a band, or to our fellow citizens we may not see eye-to-eye with. How do you keep the spark and inspiration alive after so many years as a band? I think gratitude for what we have, knowing it could fall apart at any point, drives us to not take anything for granted and to keep pushing forward creatively. Inspiration is everywhere — the hard part is having the discipline to be still enough to notice it and write it down. I don’t know that we have it figured out, but I know that we’re still working hard to keep it alive. Is there a song you’re especially excited to play live on this upcoming tour? I’m excited to feel how crowds might react to “Pleasing People,” and I’m excited to see how we’ll open up some jams on “Forever’s Not a Long Time.” Looking ahead, what are you most excited for fans to experience: the new music, the tour, or something else? I’m most excited for people to hear the new music on record and then to come experience how those songs blossom into something else in the live setting.

There’s something beautifully disorienting about another cycle in the cosmic wash , the debut full-length from Brooklyn shoegaze outfit Ringing. Released March 20, 2026, via Julia's War Recordings and Signal//Noise Records, the record feels less like a traditional album and more like a weather system rolling in—slow, heavy, and immersive. Across ten tracks, bandleader Colton Walker and company craft a swirling, distortion-laced experience that blends shoegaze density with the restless introspection of modern indie rock. Originally recorded live in a single session in 2024, another cycle in the cosmic wash  thrives on immediacy. That decision gives the album a tangible pulse—moments stretch and collapse naturally, guitars bleed into one another, and drums carve space through the fog rather than dominating it. Yet the album’s real transformation happened afterward, when Walker scrapped the original lyrics entirely. What could have been a simple live document became a year-long process of reflection, rewriting, and rediscovery. The result is a record that sounds instinctual while still carrying the weight of careful emotional recalibration. Opening with “datamosh,” Ringing wastes little time establishing their sonic palette. Layers of smeared guitar tones create a drifting haze while subtle rhythmic shifts keep the track from dissolving entirely into ambience. It’s a fitting introduction to an album obsessed with tension between clarity and chaos. That theme continues straight into “pool 2,” where shimmering textures ripple over a hypnotic groove, giving the impression of movement through water—slow, refracted, and strangely calming. Mid-album highlights begin to sharpen the record’s emotional focus. “incandescent” stands out as one of the album’s most direct moments, lyrically confronting dissatisfaction with the way life has been unfolding. The instrumentation mirrors that realization: gentle melodic fragments eventually bloom into towering waves of sound, suggesting both vulnerability and release. Similarly, the album's most recent single, “rose/bud/thorn” pushes toward optimism without abandoning the record’s atmospheric heaviness, balancing fragile vocals against thick walls of guitar and moments of simplified instrumentation. The album’s most explosive moment arrives with “want2want2,” where slick, driving drums slice through monolithic distortion. Metallic guitar tones grind forward as Walker’s vocals wrestle with cycles of stagnation and the desperate urge to break them. The track gradually collapses into crushing riffs, delivering one of the album’s most cathartic sonic payoffs. Elsewhere, Ringing proves adept at pacing their soundscape. “moria” and “straylight bleed” lean into the band’s more expansive tendencies, stretching out their textures until melodies emerge like distant signals through static. By the time the album's penultimate track “3am” arrives, the album has settled into a late-night introspective haze—quietly melancholic yet strangely comforting. Ringing's debut album closes out with the track “delusion lake,” which feels almost meditative. The band lets the distortion breathe, allowing fragments of melody to surface and sink again. Rather than ending with a dramatic climax, the album dissolves gently, reinforcing its central idea: that emotional clarity often comes not in sudden revelations, but in slow cycles of confrontation, doubt, and renewal. For a debut album, another cycle in the cosmic wash  feels remarkably self-assured. Ringing’s ability to break apart dense walls of sound with moments of fragile melody gives the record a dynamic edge, while Walker’s lyrical revisions add a layer of personal honesty that anchors the otherwise dreamlike atmosphere. In the end, the album succeeds because it embraces contradiction. It’s heavy yet meditative, chaotic yet thoughtful, bleak yet quietly hopeful. Like the natural cycles it alludes to, another cycle in the cosmic wash  reminds listeners that even within distortion and uncertainty, there’s always the possibility of movement forward. Check out more from Ringing: Instagram | Bandcamp

How did the phrase “it took me falling” as the title first come to you, was it a lyric, a realization, or something that emerged later? The phrase “it took me falling” came into my head on a drive one day while I was listening to the songs we’d already selected to be on the EP. I had been grappling with what to call the project, but after listening to the storyline of the other tracks altogether, it was sort of a realization that it had taken me falling so many times in the past to end up where I am today. I had the idea to write a song in that theme called “it took me falling,” and I knew immediately that it would be the title track. What was the inspiration behind the EP cover? I had the opportunity to work with my amazing friend and photographer, Maggie London, on the creative direction for the EP visuals. We talked a lot about the story behind the project and the themes I wanted to convey. We had a twelve-hour shoot where we tried so many different options and explored the different visual “extremes” of the project. The photo that ended up being the cover was one of the last shots of the day, in the set we’d deemed the softest. I think that picture ended up being the cover for a few different reasons. It feels sort of cinematic and romantic, but the expression I’m making still has that bit of longing to it. I like that the photo sort of looks like someone who has just fallen to the ground and gotten up. It’s a little bit of all of the emotions of the EP. Was there a certain order you placed the songs on the EP? I really enjoy making a track list and organizing a project into an order that I feel best tells the story. That was certainly the goal and intention with it took me falling . It starts at the end of my last heartbreak before moving into the story of falling in love in a new way. It feels chronological and complete when you listen from top to bottom. Your music moves between intimate ballads and high-energy alt-rock. How did you approach balancing those dynamics on this record? I’ve always said that I feel and write about things in somewhat extreme ways. It’s rare that I feel like I have a good segway sonically between those extremes, so I think I’ve learned to just let them exist as is. That being said, there’s not a ton of balancing of the dynamics on this project. It’s a lot of really high highs and super soft moments. The contrast can feel stark at times, but it’s how I felt in the moment when writing these songs. When you sat down to write the EP, did you start from a feeling, a lyric, or a sound? I almost always started from a feeling or a lyric when it came to writing the songs on this EP. I was writing about this experience as it was actively happening, so a lot of it felt like journal entries of moments and feelings I wanted to capture. Sometimes it started with just a phrase, while other times I’d written the lyrics before I’d even gone to the songwriting session. There were definitely moments where I knew I wanted certain sonic elements to accompany those lyrics and feelings, but I do tend to start with words. How do you usually know when a song is finished emotionally, not just musically? I know a song is emotionally finished when I can't add anything else that better tells the story I’m trying to convey. Even on super simple songs like “Unsteady,” I know to put the pen down once it says everything I set out for it to. Sometimes it’s tough, because I do love words so much, and it’s easy for me to start adding more than the song needs. It’s a bit cliché, but it truly is just a “feeling” that happens when the song is done. You just know when it feels right. Was there a track that felt especially difficult to write? I’d say “Not Used to You” was one of the more difficult songs to write, as it was the very first song I wrote for this project. I knew what I wanted to say, but I also wanted it to come across as fun and sonically very upbeat and structured. It was a lot of finding my footing when it came to writing that song, but I love how it turned out. What made you decide that “Cruel and Unusual Punishment”, “Up the Stairs,” and “Unsteady” were the right songs to introduce the EP? Each one of those three songs is sort of a mirror to one of the currently unreleased tracks on the project. I chose those particular songs to introduce the EP because I think they give the best taste as to what the scope of emotions are throughout the record. You get a little bit of everything between them. What do you hope listeners take from the EP? I hope anyone who listens to the EP comes out of it feeling ready to fall. I think it’s very easy to go about life with our walls up. I’ve definitely been guilty of that myself. This project is about the good that can come from letting yourself love—and maybe even lose in the process—because I believe that’s the only way to end up where you’re supposed to be. Which song are you excited for fans to hear from the EP? This is tough because I truly can’t wait for fans to hear all of the songs on the project! I am pretty stoked for people to hear “Not Used to You” though, simply because it’s so different than anything I’ve released in the past. It’s so fun, and I am really excited to see how people feel about it. Check out more from Caroline Romano: Website  | Facebook  | Instagram  | Twitter  | TikTok  | YouTube

The Canadian Academy of Recording Arts and Sciences (CARAS) announced today that The JUNO Awards will return to Winnipeg, MB in 2027, bringing Canada’s Biggest Night in Music back to a city known for its rich creative spirit and cultural impact for the third time. The JUNO Awards were previously held in Winnipeg in 2014 and 2005.  2027 JUNO Week will take place from April 1-4, 2027, culminating in The 56th Annual JUNO Awards Broadcast, airing live on CBC TV, CBC Gem, and globally on CBC Music’s YouTube from Canada Life Centre in Winnipeg. 2027 JUNO Week will be delivered with the support of the Province of Manitoba, the City of Winnipeg, Winnipeg Economic Development & Tourism, and the 2027 JUNOS Host Committee. For first access to JUNO Awards Broadcast ticket on-sale information and updates, sign up at junoawards.ca/winnipeg .  “We are proud to bring The JUNO Awards back to Winnipeg in 2027 and celebrate the extraordinary talent that continues to emerge from this vibrant and creative community,” says Allan Reid, President & CEO, CARAS/The JUNO Awards . “There’s a wonderful pride in this city that will be on full display for the entire country to see!” Winnipeg has long held a distinctive place in Canada’s musical landscape. From internationally celebrated artists and songwriters to its thriving live music venues and festivals, the city continues to be a place where artists across genres come to create and collaborate. The city’s creative spirit is also shaped by the rich cultural traditions and artistic influence of the Indigenous peoples of this land. Hosting The JUNO Awards will further spotlight Manitoba’s dynamic arts community while welcoming artists, industry leaders and fans from across the country. “From Neil Young to Chantal Kreviazuk, the Weakerthans to Will Prince and Begonia, our province has always had an ear for good music,” said Manitoba Premier Wab Kinew . “From community stages to world-class arenas, artists from this province have helped shape the soundtrack of Canada. Hosting the JUNO Awards in Winnipeg is a chance to celebrate that incredible talent, and showcase our vibrant arts community. We’re proud to support an event that shines a national spotlight on Manitoba’s artists.” “Manitoba has a proud and diverse music community that contributes significantly to Canada’s cultural identity,” says Nellie Kennedy, Manitoba Minister of Sport, Culture, Heritage and Tourism . “Bringing The JUNO Awards to Winnipeg will generate meaningful economic impact, while highlighting the artists and creators who make our province such a driving force in Canadian music.” “Winnipeg has a long and proud connection to Canadian music,” says Scott Gillingham, Mayor of Winnipeg . “We’re the hometown of modern Canadian greats like William Prince, Begonia, The Bros. Landreth, Jocelyn Gould, and Big Dave McLean — artists who continue to put Winnipeg on the international stage. We’re excited to welcome The JUNO Awards back in 2027 and showcase our city’s incredible talent and vibrant music community.” JUNOS has been touring Canada for over 20 years, generating an economic impact of up to $17 million for the host city and serving as a catalyst for local businesses, tourism and the broader creative economy. The JUNO Awards have travelled coast-to-coast, celebrating music in cities including St. John’s (2002, 2010), Ottawa (2003, 2012, 2017), Edmonton (2004, 2023), Winnipeg (2005, 2014), Halifax (2006, 2024), Saskatoon (2007), Calgary (2008, 2016), Vancouver (2009, 2018, 2025), Toronto (2011, 2021, 2022), Regina (2013) and Hamilton (2015, 2026). The 55th Annual JUNO Awards , produced by Insight Productions (A Blue Ant Studios Company) , will air live across Canada at 8 p.m. ET/5 p.m. PT on CBC TV, CBC Gem, CBC Radio One, CBC Music, CBC Listen , CBCMusic.ca/junos and will stream globally on CBC Music’s YouTube channel on March 29. Tickets are still on sale and available at ticketmaster.ca/junos .  Find out more about the JUNO Awards: Official JUNO Awards website: www.junoawards.ca    Instagram: @TheJUNOAwards X: @TheJUNOAwards Facebook: @TheJUNOAwards

Philadelphia emo outfit Sweet Pill return with a striking sense of purpose on their sophomore album Still There’s A Glow , out March 13, 2026, via Hopeless Records. Following the breakout success of their 2022 debut, Where the Heart Is , the band faced the daunting challenge of translating relentless touring momentum into something equally meaningful in the studio. Rather than rushing the process, Still There’s A Glow  emerges from introspection, burnout, and the kind of personal reckoning that reshapes not only a record, but the people behind it. Frontwoman Zayna Youssef has always been the emotional center of Sweet Pill’s music, but here her songwriting reaches a new level of vulnerability. The album reflects a pivotal period in her life—turning thirty, navigating depression, and beginning therapy—resulting in a body of work that oscillates between brutal self-critique and cautious optimism. The concept behind the title perfectly encapsulates the record’s emotional arc: even after a fire burns out, a small ember remains. That ember—resilience, hope, and self-awareness—fuels the album’s powerful thirteen tracks. Musically, Still There’s A Glow  expands the band’s already dynamic sound. Recorded with producer Matt Weber and mastered by Dave Downham at Gradwell House, the album captures the explosive energy that has made Sweet Pill such a compelling live act while also allowing more space for texture and restraint. Guitarists Jayce Williams and Sean McCall weave intricate riffs that shift effortlessly between mathy precision and soaring emo catharsis, while bassist Ryan Cullen and drummer Chris Kearney anchor the songs with tight, propulsive rhythms. The result is an album that feels as explosive as it does thoughtful. The record opens with “Sunblind,” a fitting introduction that sets the tone with shimmering guitars and emotional urgency. Early standout “Shameless” follows with the kind of melodic punch that highlights the band’s ability to balance vulnerability with hook-driven songwriting. Lead single “No Control” serves as one of the album’s defining moments. Driven by urgent guitar work and Youssef’s soaring vocal performance, the song confronts self-destructive impulses and the feeling of spiralling without boundaries. There’s a confessional rawness here that feels almost uncomfortable in its honesty, yet it’s precisely that exact transparency that makes the track so powerful. The title track “Glow” leans into dreamy introspection, exploring denial and the seductive haze of ignoring life’s warning signs. The band allows the atmosphere to breathe, building around Youssef’s reflective lyrics and layered vocal textures. It’s a subtle shift that reveals Sweet Pill’s growing willingness to experiment with pacing and mood. Perhaps the most striking metaphor arrives on “Slow Burn,” where Youssef compares destructive habits to a cigarette—each inhale offering fleeting satisfaction while slowly consuming the person holding it. The track captures anxiety and overthinking with dizzying intensity, its restless instrumentation mirroring the feeling of being trapped inside one’s own spiralling thoughts. Elsewhere, songs like “Smoke Screen,” “What the Devil Is Selling,” and “Makes Me Sick” continue the album’s theme of confronting uncomfortable truths. Their titles evoke imagery of fire, decay, and illusion—symbolic of Youssef tearing down old versions of herself. Meanwhile, the pair of tracks, “Rotten” and “Jinx,” deliver some of the album’s most visceral moments, blending biting lyricism with the band’s signature mix of post-hardcore energy and melodic finesse. The emotional climax arrives in the album’s final stretch. “Tough Love” and “Holding On” feel like the moment of reckoning—the difficult realization that change requires both accountability and patience. The former track mirrors these realizations with slower, stripped-back instrumentation and a change in Youssef's usual vocal delivery. Whereas the album's closing track, “Letting Go,” acts as a quiet release, ending the record on a note that feels less like resolution and more like acceptance. What makes Still There’s A Glow  resonate so deeply is its authenticity. The album doesn’t pretend growth is easy or linear; instead, it captures the messy process of confronting one’s flaws and choosing to move forward anyway. The decision to scrap an entire album’s worth of demos and rebuild the record collaboratively ultimately pays off, resulting in Sweet Pill’s most cohesive and emotionally potent work yet. With Still There’s A Glow , Sweet Pill prove that their breakout success was no fluke. The album feels bigger, more confident, and more emotionally layered than its predecessor, and their EPs, too, showcasing a band that has matured both musically and personally. It’s the sound of a group pushing through burnout, doubt, and pressure—only to emerge stronger on the other side of it all. Like the ember in its title, Still There’s A Glow  burns quietly but persistently, illuminating the path forward for one of emo’s most exciting modern voices. Check out more from Sweet Pill: Twitter  |  Instagram | TikTok

On their sophomore album Somewhere, In Between… , UnityTX double down on the explosive hybrid sound that has defined their rise. Released March 13, 2026, via Pure Noise Records, the Dallas four-piece's second full-length builds on the raw aggression of their 2023 debut, Ferality, while sharpening the band’s identity as one of the most uncompromising voices in the modern rap-metal resurgence. From the opening seconds, Somewhere, In Between…  wastes no time establishing its ferocious tone. “Sabotage” crashes in with jagged riffs and industrial electronics before melting into the chaotic swagger of “Heinous,” a two-song opener that feels less like a warm-up and more like a full-force collision. UnityTX have always thrived in the space between genres, but here the band lean fully into the tension of that in-between territory—where metal breakdowns collide with hip-hop rhythms and volatile vocal delivery. Frontman Jay Webster—also known as SHAOLIN G—anchors the album with a performance that is both feral and deeply personal. His delivery shifts effortlessly between rap cadences, shouted hooks, and hardcore bark, capturing the anger and determination fueling the record’s core themes. That emotional weight is particularly evident in tracks like “Paranoia” and “Ready 2 Die Pt. 2,” where Webster’s vocals carry a simmering sense of exhaustion with industry expectations and public scrutiny. Recorded once again with renowned music producer Andrew Wade, the album sounds bigger and more refined without losing the grit that made the band so compelling in the first place. The production allows the electronics and hip-hop beats to breathe alongside the metallic crunch of the guitars, creating an atmosphere that feels both claustrophobic and explosive. Midway through the record, UnityTX show their range without sacrificing intensity. “Body Roc” flips the band’s aggression into a rhythm-driven club anthem, leaning into its hip-hop influences with infectious swagger. Meanwhile, “Enjoy Tha Show” stands as one of the album’s most thought-provoking moments, with Webster reflecting on identity, criticism, and the pressure to conform—issues that resonate far beyond the music industry. Elsewhere, the band’s frustration with the system that surrounds them becomes a driving force. “Fuck Tha World” and “STFU” channel that anger into blunt, cathartic bursts of energy, capturing the feeling of being constantly judged in an era where every move is dissected online. Rather than wallowing in that negativity, the songs transform it into motivation—a sonic middle finger to anyone who doubts the band’s place in the scene. The album’s closing stretch pushes the chaos to its breaking point. “Contempt” drips with tension before exploding into the violent finale “Crash N Burn,” a fitting closer that leaves everything smouldering in its wake. It’s the sound of a band refusing to soften its edges, choosing instead to embrace the messy, unpredictable path forward. What makes Somewhere, In Between…  compelling isn’t just its genre-bending ferocity—it’s the sense of reclamation behind it. Webster has described the record as a return to what UnityTX sounded like before industry expectations began shaping their approach. That spirit of defiance runs through every track, giving the album an urgency that feels authentic rather than manufactured. Ultimately, Somewhere, In Between…  captures UnityTX at a pivotal moment: frustrated but focused, angry but determined to evolve. The album’s fourteen tracks pulse with discontent, resilience, and the refusal to fit neatly into any one box. In a musical landscape where rap-metal has been enjoying a renewed surge in popularity, UnityTX aren’t just riding the wave—they’re reminding everyone they helped build it in the first place. Check out more from UnityTX: https://unitytxroc.com/ https://www.instagram.com/unitytx/ https://www.tiktok.com/@unitytx https://x.com/UNITYTX https://www.facebook.com/UnityTX/

At just twenty-one years old, Toronto-based singer-songwriter Lia Pappas-Kemps arrives with a debut album that feels remarkably self-assured. Winged , set for release on March 13, 2026, via Coalition Music, is a delicate yet emotionally potent introduction—one that positions Pappas-Kemps as a striking new voice in the alternative singer-songwriter space. Built on vulnerability, poetic lyricism, and slow-burning instrumentation, the ten-track record captures the quiet but seismic moments of growing up, loving deeply, and learning when to let go. Pappas-Kemps first turned heads with early singles like “Jinx” and her debut EP, Gleam (2024), but Winged  expands her artistic scope without losing the intimacy that defined those early releases. The album feels cinematic in its restraint; it doesn’t demand attention through bombast but rather draws listeners inward with patience and emotional precision. Her songwriting channels the confessional spirit of artists like Joni Mitchell and Alanis Morissette while echoing the modern indie sensitivity of Soccer Mommy and Alvvays—yet Pappas-Kemps ultimately carves out a voice that feels distinctly her own. The album opens with “The Hunches,” a quietly gripping introduction that establishes the emotional tone of the record. Sparse guitar and thoughtful pacing allow Pappas-Kemps’ voice to sit front and center, immediately drawing the listener into her introspective world. From there, the album's second track, “Reservations,” builds on the album’s themes of hesitation and emotional uncertainty, with evocative chord progressions that echo the restless push-and-pull of relationships. One of the album’s standout moments arrives with the ethereal acoustic ballad “Revolving Doors.” The song captures the disorienting cycle of leaving and returning in relationships, its spacious arrangement allowing each lyric to land with clarity. Pappas-Kemps’ delivery is hushed yet deeply expressive, giving the track a weight that lingers long after it ends. Another highlight is the more rock-based tune, “Two-Step,” which subtly shifts the album’s energy with a more rhythmic momentum while maintaining the same emotional transparency. It’s one of several tracks that demonstrate her ability to balance delicate storytelling with engaging melodic structure. The album’s emotional centrepiece may well be “Towers,” a tender guitar-driven track that originated from a demo recorded with her cousin in Montreal. The song explores the fragile tipping point of a relationship—the moment when you realize something meaningful may be slipping away. Rather than dramatizing the moment, Pappas-Kemps approaches it with a quiet urgency, her voice hovering over propulsive guitar lines and airy production that amplify the feeling of trying to hold onto something already fading. Mid-album tracks like “Eight Chambers” and “Wound Up and Coiling” deepen the record’s introspective tone. The former leans into lesser-layered instrumentation, more so acoustic guitar-driven numbers, while the latter is more layered with drums and bass, suggesting emotional complexity without overwhelming the album’s intimate atmosphere. Meanwhile, “Orchid” introduces a softer, almost dreamlike moment that highlights her melodic sensibilities. Later tracks “Moths” and “How do I get to you?” close the album on a reflective note. These songs feel like emotional aftershocks—less about the moment of heartbreak itself and more about what remains afterward. There’s a sense of quiet acceptance woven through their melodies, reinforcing the album’s overarching theme of transformation. Throughout Winged , Pappas-Kemps proves she understands the power of restraint. Her songwriting doesn’t rely on grand gestures; instead, it thrives in subtle details—an evocative lyric, a carefully placed chord change, or the tremble in her vocal delivery. This approach gives the album a timeless quality, reminiscent of the introspective singer-songwriter records that shaped earlier generations while still feeling rooted in contemporary indie sensibilities. For a debut, Winged  feels remarkably complete. It captures the fragile, confusing beauty of emotional transition with honesty and elegance, marking a major step forward for Pappas-Kemps as both a songwriter and storyteller. If Winged  is any indication, Lia Pappas-Kemps isn’t just another promising newcomer—she’s an artist with the potential to become one of alternative music’s most compelling voices in the years to come. Check out more from Lia Pappas-Kemps: Instagram | TikTok

Dreampop/shoegaze singer-songwriter Novulents released their new album, VOL. 3 , on February 13, 2026, via Universal Music. The album includes singles “new low,” “rip,” “evil eye,” and “sacrifice”. What’s something about this album that listeners might miss on a first listen? Novulent: I would say they might miss the storytelling aspect of it. The storytelling of the entire album. Until recently, my dedicated fans have started to realize how personal VOL. 1 and 2 is. From the cover art to the simple names of the songs. Some songs are less wordy but vague, and others are more wordy and more specific. Just the overall tone that I have throughout different projects that I've made. They're just now realizing that these aren't just random songs that I'm putting together in a collection; it's an actual story. Someone who doesn't know who I am won't pick that up until they re-listen to it. Look at the album from start to finish and see that it tells a story. Do you see the album as one continuous piece or a collection of moments? Novulent: I would say it's a mixture of both because all these albums, from a writing standpoint, are coming-of-age movies but in music form. I thought of it as writing a script, having a beginning, middle, rising climax, and proper ending. When it came to certain songs, like in the middle, it was song by song. Building the actual album itself, I was like, I could start it off this way or this way. Then, depending on how many songs I have, I'd re-listen to them and be like no, this song tells the overall story better than others. I'd scrap those and leave those alone. The songs that were released were the final piece. That's how it was building the entire album. How are essential visuals — music videos, cover art, etc. — created to build a world within your music? Novulent: They are heavily important. I would say without the aesthetic that I have, over 70 percent would be gone. Because of how influenced I am with movies, I am very particular that visuals matter. The colors that you use for certain shots, the way certain things are portrayed to the tone of your voice, and the way you sing. They all invoke a particular emotion. That will lead to an understanding of whatever you are listening to or are watching. I'm very picky about that. Sometimes that leads to delays at points, but I personally believe you can't rush any sort of creative art form and you just have to authentically let it flow out the way it is. When it came to VOL. 3, the green tones, the old iPod camera, the DIY spikey headphones on the table top are all intentional. It's supposed to feel at home. Vol. 3 feels like a continuation but also a shift. What part of yourself were you most intentional about revealing on this album that listeners haven’t heard from you before? Novulent: its more vulnerable in my own personal situations. For example, “scars” is a relatable song. It purposely doesn't have a lot of detail. You don't know the details of the song actually being made. Whereas compared to “new low,” it feels more like an actual conversation. A more detailed look into my life. Especially “rip,” where all of it is basically an inner monologue in my head. With “evil eye” having the movie narrator's perspective, of course, vampires aren't real, but over-exaggerating the idea of a parasitic relationship using vampire motifs. That was on purpose. With "sacrifice" being another inner/ outer monologue and thoughts that I have outloud. Going forward I'm learning to be more open about particular events and details about the songs that I write. When someone listens to your music, what do you hope they feel? Novulent: I hope that they feel comfort. I am self-aware that I stutter on my words a little bit. I have so many thoughts running through my head, trying to convey them has always been a struggle. Even when comforting people, I know I'm not the best type of person to do so. The idea of music being that comforting device has always been my go to. With the amount of people who have told me in passing, random people online, and my own fans, that a particular song comforted them during some situation. Or has always comforted them or brought this sense of warmth, has always been a goal of mine. Music honestly saved me, no matter how many artists have said that. So many songs helped me express my emotions and regulate them in ways that even talking to people wouldn't be able to do. Especially when you are isolated, and you feel you are isolated because of the emotions that you feel. So that is my ultimate goal when it comes to any of my music: to have this comforting feeling. Check out more from Novulent: Instagram   | TikTok

Caroline Romano continues her steady rise in the alt-pop world with her latest EP, It Took Me Falling , which will be self-released on March 13, 2026. The six-track EP leans into vulnerability, reflection, and the beauty of learning through heartbreak. Following the momentum of her earlier releases over the last few years—including the 2022 debut album Oddities and Prodigies  and her subsequent EPs A Brief Epic  (2023) and How The Good Girls Die (2025)—Romano’s newest project feels like a turning point: the moment where confusion begins to transform into clarity. At its heart, It Took Me Falling  explores the messy but meaningful process of self-discovery. Across the EP’s six tracks, Romano unpacks the emotional trials that come with chasing love, purpose, and identity. Rather than framing those struggles as setbacks, she presents them as necessary steps toward something brighter. The record captures the fragile space between heartbreak and healing, offering listeners a deeply personal yet widely relatable narrative about trusting life’s unpredictable path. The EP opens with the previously released single “Cruel and Unusual Punishment,” a track that showcases Romano’s knack for pairing biting lyrical honesty with polished alt-pop production. The song’s emotional push-and-pull sets the tone for the rest of the project, capturing the frustration of loving someone who keeps you in a cycle of uncertainty. It’s dramatic, catchy, and emotionally charged—exactly the kind of balance Romano has excelled at in her songwriting. Next up comes the track, “Up the Stairs,” which builds on that momentum with a slightly more atmospheric approach. The track feels introspective, almost cinematic, as Romano reflects on emotional distance and the quiet moments where relationships begin to fracture. Her sultry vocal delivery carries a raw vulnerability over the softly strummed acoustic guitar, strings, and punchy drums, making every lyric land with weight and reinforcing her ability to turn intimate experiences into universal storytelling. One of the EP’s newest offerings, “Not Used to You,” adds another layer to the emotional journey. The song captures the strange, hollow feeling that follows the end of something meaningful—the moment when someone who once felt like home suddenly becomes unfamiliar. Musically, it leans into Romano’s full-blown pop sensibilities, blending pulsing synth instrumentation with vivacious electronic textures. “There It Is” acts as a moment of realization within the record’s narrative arc. The track carries a sense of acceptance, as if Romano is finally acknowledging truths she once tried to avoid. Its reflective tone bridges the earlier heartbreak with the emotional growth that defines the latter half of the EP. Perhaps the most delicate moment arrives with “Unsteady.” Built around plucky guitar lines and understated production, the song unfolds like a quiet confession. Romano’s vocals feel particularly intimate here, capturing the fragile excitement that comes with allowing yourself to fall in love again. As she explains, the track is about discovering how love can make someone feel “soft and brave and terrified and happy” all at once—a complex emotional mix that the song conveys beautifully. The EP closes with its title track, “It Took Me Falling,” which ties the entire project together. The song serves as both a conclusion and a revelation: the understanding that every heartbreak, every misstep, and every uncertain moment ultimately leads you closer to where you’re meant to be. It’s reflective without feeling heavy, offering a sense of optimism that lingers long after the final note. Romano has long shown an ability to shift effortlessly between misty-eyed ballads and fiery alt-rock moments, and this EP highlights that versatility perfectly. While the project leans toward introspective storytelling, it never feels one-dimensional. Instead, It Took Me Falling  thrives on emotional nuance, capturing the highs and lows that come with growing up and learning to trust the unknown. With each new release, Caroline Romano continues to refine her voice as both a songwriter and storyteller. It Took Me Falling  feels like the sound of an artist stepping into a new phase—one defined not just by heartbreak, but by the understanding that those difficult moments often lead to something meaningful. In the end, the EP delivers a powerful reminder: sometimes you have to fall before you can truly find where you belong. Check out more from Caroline Romano: Website  | Facebook  | Instagram  | Twitter  | TikTok  | YouTube

February 21, 2025 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 21, 2025 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 21, 2025 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

February 20, 2026 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

How do you fill a bond with the crowd and create a shared universal emotional space? Sarah: I would say half of it is what I attempt to do, and the other half is the people who come to the shows. They bring the sweetest, most divine energy that I have ever experienced. I've been constantly surprised by how kind people are at my shows. There are moments where people really dig in and are energetic. Then there are moments that feel so intimate and peaceful. I don't feel like I'm curating that. I think the people who are coming are choosing to do that, or they are naturally really peaceful, beautiful people. I feel very thankful for that. I do my best; every night on tour is very different. I'm always gauging energy. I get such an adrenal rush on stage. I love touring. I want people to come into this world. My team and I spent so much time creating a visual world to step into. The tour is no different of a place to do that. Is there a song on the EP that you're especially proud of from a production standpoint? Sarah: "Lonely Touch” is my favorite song. I'm very proud of that song. That is the first song I wrote for this ep. The production, I felt so bad for my collaborator, Jake, who also mixed it. We packed so much into that song, I was like, don't even think about getting rid of anything in that song. I'm proud of that one. Sometimes I love listening to music that is quiet, ambient, folk, but also sometimes I love noise and being drowned out with sound. The outro for "Lonely Touch” is just packed with so much. Many instruments and sounds at full volume. I was really proud of it when we made it because it felt like this amazing sonic representation of what I felt in this song, which is this unrelenting desire or yearning that you can't separate yourself from. To have production that could surround you and make you feel that, and for it to be this unstoppable wall of sound. I felt we really accomplished that. What do you hope listeners feel when they hear this new music for the first time? Sarah: This is a tough question for me. I want people to take what they want from the music. I don't want to prescribe a specific experience. If people find relief from the music that's already beautiful. If they go to the music to let out sadness or anger, I'm okay with that. I'm just grateful people feel anything towards the music at all. This EP in particular is about impermanence, it's about understanding that you can still feel euphoria or catharsis even if something won't last. My hope is that people will feel even a bit of that when they listen. I feel like I don't have a right to tell people how to feel when they listen to my music; it's entirely individual. Do you have a favorite lyric on the EP? Sarah: Yeah, I have a lot of favorites. There's a lyric about the comedown from desire and pursuing something or someone and feeling this change in emotion. There's a lyric that goes “ I can't deny something between us changed, I felt the sea, and now I'm standing in the drain.” I just really like that. I don't know exactly why I like it, and I like singing it. What was your favorite part of working on your project? Is there anything you're scared to put out into the world? Sarah: For the second part, it's definitely hard. This EP I'm writing very literally about certain life experiences. The only fear I have is maybe being too honest or talking very literally about situations. I don't really fear that, though it's just part of it. It's a fear, but I'm also kind of excited to have people hear the music. Collaborating with Jake, who we live in the same neighborhood in New York, was just so much fun. I feel like he is a collaborator whom I magically found, and he understands my brain and how I like to work. It was fun to track out our ideas. There's a first stage in production where everything kind of sounds like shit for a few days. Then there is a beautiful period where things come together and feel really magical. That is the whole point for me: when you hear something that goes from ugly and raw to being alluring and interesting, it takes shape. That was my favorite part of the process. If “Fleeting” could send a message to “Escaper,” what would it say? Sarah: There's a lot of different mantras about time passing. There's an underlying message on this EP of let the future reveal itself to you, or people reveal themselves to you. I think this EP will probably tell my first album that it's very okay to want to escape into different realms and be somewhere else. But to just allow the future to reveal itself. Follow Sarah on her socials: Instagram | TikTok

The Carnal Nature Tour stormed into the historic Burton Cummings Theatre on March 4, 2026, delivering a stacked night of modern rock and metal that steadily escalated from gritty rock-rap swagger to explosive arena-ready anthems. Headlined by Nothing More and supported by Catch Your Breath, Archers, and Doobie, the evening proved to be one of the most dynamic touring packages to pass through Winnipeg so far this year. Doobie. All photos by Samuel Stevens. Kicking off the night, rap-rocker Doobie brought an unexpected but welcome energy to the crowd. Blending his unique storytelling with rap swagger and hard rock edge, he immediately grabbed the audience’s attention with “Until I Get to Heaven.” Tracks like “Worth a Shot” and the rebellious anthem “Krazy MF” set the tone for a set that was both raw and charismatic. One of the standout moments came with a gritty cover of Danzig’s “Mother,” which drew cheers from the early crowd as Doobie delivered it with the same snarling intensity as the original. Songs like “Early Bird Gets the Whiskey” and “Stone Cold” leaned into his outlaw persona, while “Nikki Sixx” paid tribute to the larger-than-life rockstar lifestyle associated with Nikki Sixx of Mötley Crüe fame. Closing with “Beauty in the Boogeyman,” Doobie left the audience energized and ready for the heavier sounds that would follow. Archers. All photos by Samuel Stevens. Next on the stage, Wisconsin metalcore outfit Archers wasted no time raising the intensity. Opening with their song “Made for Love,” the band immediately showcased their knack for balancing soaring choruses with crushing breakdowns. “Drag Me Out” and “Say This Sober” highlighted the band’s emotional core, while newer favourites like “The Dirt” and “Making Eyes” demonstrated their polished songwriting and growing confidence on stage. Frontman Nathanael Pulley's energy was contagious, constantly urging the Winnipeg crowd to move and sing along. By the time they reached “Never Enough” and the anthemic “Bitter,” the audience had fully warmed up. Their set closed with a powerful rendition of “Perfect Strangers,” leaving many in the crowd discovering a new favourite band before the night was even halfway through. Catch Your Breath. All photos by Samuel Stevens. Texas rockers Catch Your Breath took the stage next and immediately proved why their popularity has surged in recent years. Opening with the aggressive “Savages,” the band launched into a tightly paced set that blurred the lines between alternative metal and modern hard rock. Songs like “Deadly,” “Dark,” and “Ghost Inside the Shell” carried massive sing-along hooks that echoed throughout the theatre. The emotionally charged “Lost” and “Good in Goodbye” brought a melodic contrast, giving fans a moment to sway before the energy ramped up again. The crowd erupted during “Y.S.K.W.” and the explosive “21 Gun Salute,” while “Dial Tone” and “Shame On Me” closed the set with a huge thunderous final punch. By the time they exited the stage, the Burton Cummings Theatre felt more like a pressure cooker than a seated venue. When Nothing More finally emerged on stage, the atmosphere reached a fever pitch. Opening with “HOUSE ON SAND,” the band instantly filled the theatre with their signature mix of philosophical lyricism and thunderous instrumentation. Frontman Jonny Hawkins commanded the stage with relentless energy, leaping across risers and engaging with fans throughout the pit. “ANGEL SONG” and “Let ’em Burn” followed with massive crowd participation, while “IF IT DOESN’T HURT” and “Don’t Stop” kept the adrenaline flowing throughout the venue. Fan favourite tune “Go to War” transformed the theatre into a choir of voices, while the atmospheric “FREEFALL” showcased the band’s ability to shift between explosive and introspective moments. Nothing More. All photos by Samuel Stevens. Midway through the set, the band delivered a wildly creative instrumental showcase. During the extended drum, guitar, and bass solo, bassist Daniel Oliver joined guitarist Mark Vollelunga and Hawkins in a jaw-dropping moment where all three performed simultaneously on a single bass guitar—a spectacle that had the crowd roaring. The set continued with “SPIRITS,” which was the night’s fan-voted song—other choices included a Nine Inch Nails cover and Mr. MTV—followed by emotional highlights like “Jenny” and the heavy-hitting “STUCK.” One of the evening’s most heartfelt moments came during “Fade In/Fade Out,” when Vollelunga shared that he was born in Winnipeg and lived in the city until he was four years old—a revelation that earned an enormous hometown-style ovation. As the set pushed toward its finale with “Ocean Floor,” the energy inside the theatre never wavered. The band closed the night with the explosive anthem “This Is the Time (Ballast),” leaving the crowd shouting every word as the final chords echoed through the historic venue. From Doobie’s rebellious swagger to Archers’ melodic intensity, Catch Your Breath’s modern rock anthems, and Nothing More’s electrifying headline set, the Carnal Nature Tour proved to be a perfectly curated lineup. Each act brought something unique to the stage, building momentum throughout the night until it culminated in a powerful and unforgettable finale. For Winnipeg fans, March 4th was more than just another tour stop—it was a reminder of how powerful live music can be when four very different artists come together to deliver one unforgettable night.

There are only a few bands in modern metalcore that have balanced technical precision and emotional introspection quite like ERRA have. Since their emergence in 2009, the Alabama-bred group has built a reputation for fusing blistering heaviness with shimmering atmosphere, creating songs that feel equally cerebral and visceral. On their sixth studio album, silence outlives the earth , which will be released on March 6, 2026, via UNFD, the band pushes that duality even further—delivering a record that’s both devastatingly personal and expansively philosophical. From the opening moments of “stelliform,” silence outlives the earth  establishes itself as a record caught between worlds. The track swells with ambient textures before erupting into the intricate guitar work and pummeling rhythms that have long defined the band’s sound. Yet even in its heaviest moments, the album carries a dreamlike quality, as if every crushing riff is floating in a vast sonic atmosphere. That balance between aggression and introspection has always been central to ERRA’s identity, and it’s heightened here by the interplay between vocalist J.T. Cavey’s ferocious screams and guitarist/vocalist Jesse Cash’s soaring clean melodies. Cavey’s delivery brings a visceral urgency to songs like “gore of being,” while Cash’s melodic hooks add a sense of weightless clarity, creating an emotional push and pull that keeps the album constantly in motion. One of the record’s most striking qualities is its thematic depth. silence outlives the earth  grapples with the topics of existence, grief, and humanity’s place in a chaotic world. The album was shaped by deeply personal experiences—including the loss of a parent—but its lyrics remain intentionally open-ended, allowing listeners to project their own meanings onto the songs. That approach is especially evident on “black cloud,” a track that channels the emotional gravity of loss without ever explicitly naming it. Instead, it captures the lingering feeling of grief—something universal, yet intensely personal. Musically, the band continues to evolve their progressive metalcore foundation. “further eden” introduces a brighter tonal palette, leaning into pentatonic melodies and lighter textures that feel almost euphoric compared to the band’s usual intensity. It’s a refreshing shift that showcases ERRA’s willingness to experiment without abandoning their core identity. Elsewhere, tracks like “echo sonata,” “lucid threshold,” and “spiral (of liminal infinity)” deliver the intricate musicianship fans expect, weaving together dazzling guitar leads, atmospheric synths, and bone-crushing breakdowns. The production—once again handled by Daniel Braunstein—is crisp and expansive, allowing every technical flourish and atmospheric layer to breathe while still maintaining the sheer power of the band’s heavier passages. The album’s final act is particularly ambitious, however. The closing trilogy—“i. the many names of god,” “ii. in the gut of the wolf,” and “iii. twilight in the reflection of dreams” marks a dramatic tonal descent into darker territory. Beginning with the ominous weight of “i. the many names of god,” the record shifts from existential contemplation into something more foreboding and introspective. The trilogy builds in intensity, culminating in a haunting finale that feels both catastrophic and strangely peaceful—like staring into the void and finding clarity within it. Throughout silence outlives the earth , ERRA demonstrates a remarkable ability to capture emotional complexity without sacrificing their technical prowess. The record feels alive, constantly shifting between past and future, destruction and rebirth, silence and sound. It’s an album about being suspended in the in-between—the liminal spaces where life changes and meaning is formed. Fifteen years into their career, ERRA are still evolving, still searching, and still finding new ways to articulate the chaos of the human experience. With silence outlives the earth , they’ve crafted one of their most immersive and emotionally resonant records yet—a reminder that even in the loudest moments of our lives, the quiet aftermath often speaks the loudest. Check out more from ERRA: https://errastore.com/ https://www.facebook.com/Erra.music https://www.instagram.com/erraband https://x.com/erra_band

February 16, 2025 Whittier Park - Tente Rivière Rouge Photos by Samuel Stevens Photography

Alt-pop’s ever-evolving firestarter Charlotte Sands returns with Satellite , her most expansive and emotionally resonant project to date. Arriving on March 6, 2026, her brand new album finds the LA-based artist stretching the boundaries of her genre-blurring sound while doubling down on the radical honesty that built her fiercely loyal fanbase in the first place. Born from what Sands describes as “a search for meaning, identity, and self-worth,” Satellite  feels exactly like that: suspended between gravity and freefall, orbiting heartbreak and hope in equal measure. It’s a record about drifting—through love, through self-doubt, through reinvention—and learning to trust the quiet pull that brings you back home to yourself. From the jump, the title track “Satellite” sets the tone with shimmering synths and a slow-building intensity that mirrors emotional isolation. Sands positions herself as both the observer and the participant in her own life—watching from a distance, yet desperate to reconnect. The production is sleek but never sterile, layered with punchy percussion and soaring melodies that feel tailor-made for festival-sized sing-alongs. The album's lead single, “one eye open,” follows immediately after with sharp edges and sharper truths. It’s high-energy and hook-heavy, but its core message cuts deep. Tackling the moment you realize love has started to feel like survival, Sands captures the exhaustion of mistaking control for care. The chorus explodes with catharsis, a declaration of independence wrapped in arena-ready rock polish. It’s empowerment without cliché, but it's both hard-earned and self-aware. Where “one eye open” reclaims power, “Afterlife” leans into surrender. The track is euphoric yet haunting; it explores love in its most eternal form. Sands’ vocals glide over electrified production, delivering a chorus that feels destined to echo back from thousands of voices. It’s romantic without being naive—grounded in the idea that some connections feel written into the fabric of the universe itself. But Satellite  doesn’t romanticize everything. “back to you” unfolds as a slow-burning confession about losing yourself in someone else’s orbit. Beginning delicately before detonating into an emotionally charged climax, it captures the frustrating loop of ignoring red flags and mistaking anxiety for butterflies. Sands excels here in the tension between vulnerability and bite. Similarly, the following track, “neckdeep,” channels desperation into controlled chaos. Both equally gritty and urgent, the track documents the realization that you’re no longer a priority—and the emotional whiplash that follows. It’s angsty without feeling regressive, but it's refined enough without losing its raw edge. Mid-album cuts like “HUSH” and “half alive” lean into atmospheric textures, balancing punchy production with introspective lyricism. Meanwhile, tracks such as “water me down” and “None of My Business” showcase Sands’ knack for writing lines that feel like journal entries ripped directly from the page and sharpened into weapons, but in a way that's intimate and yet universally relatable. The album's closing track, “Sunday,” offers a moment of fragile clarity. While not the only stripped-back tracks on the album, it's one of the most reflective; it feels like the exhale after the storm—a reminder that healing isn’t loud. It’s subtle. It’s slow. It’s choosing peace over chaos, even when chaos is the most familiar. Since her 2018 debut single “Phantom Pain,” Charlotte Sands has racked up US Top 40 chart placements, over 300 million global streams, and a Heavy Music Awards win—all while remaining a fiercely independent artist. She’s shared stages with titans like My Chemical Romance, 5 Seconds of Summer, and YUNGBLUD, and headlined tours that proved her electrifying live presence is no studio illusion. Yet what makes Satellite  feel like a true milestone isn’t just its polish or its hooks—it’s the clarity of vision. Sands remains completely hands-on, from her signature bright blue hair and Y2K-inspired aesthetic to her self-designed merch and creative-directed visuals. That autonomy bleeds into the music. Every beat, every lyric, every crescendo feels completely intentional. Satellite  doesn’t just expand Charlotte Sands’ alt-pop universe—it solidifies her as one of the genre’s most compelling voices today. It’s an album about losing yourself and finding your way back, about love that feels infinite and relationships that need to end, about the chaos and the calm coexisting in the same breath. In orbit but never untethered, Charlotte Sands proves she’s not drifting aimlessly—she’s charting her own constellation. Pre-save/pre-order  Satellite here: https://charlottesands.com/pages/satellite?view=satellite Check out more from Charlotte Sands: Website  /  Instagram  /  TikTok  /  X  /  Facebook  /  Spotify  /  Apple Music  /  YouTube

Brooklyn trio Endearments have always worn their hearts on their sleeves, but on their debut full-length, An Always Open Door , they trade immediacy for introspection—and come out all the stronger for it. Out March 6, 2026 via Trash Casual, the nine-track record captures a band not just reliving the past, but reexamining it with hard-won clarity. Following the emotional urgency of their EPs Father of Wands  (2021) and It Can Be Like This (2023), principal songwriter Kevin Marksson steps back from the wreckage of a failed marriage and the fragile hope of a new relationship, revisiting those memories with renewed curiosity rather than raw reaction. The result is a record that feels expansive—sonically lush and thematically reflective—while still anchored in the kind of lyrical candour that’s made the band a quiet force in Brooklyn’s competitive indie scene. Produced by Abe Seiferth (known for his work with Nation of Language and Car Seat Headrest), An Always Open Door  leans into dreamy synth textures without losing the bite of guitar-driven catharsis. The album fine-tunes Endearments’ balance between ‘80s synthpop shimmer and late-’90s emo vulnerability, widening their sonic palette while sharpening their emotional focus. Opening track “Summersun” sets the tone with a slow-burning swell. Anjali Nair’s wall-of-sound guitars cascade in waves, while Will Haywood Smith’s drums push the song toward a cathartic bridge that mirrors its theme: the ache of moulding yourself to someone else’s expectations. When the instrumentation briefly drops out before surging back in, it feels like a gasp for air—a yearning to be seen as you truly are. “Marianne” follows with nervous energy, capturing the liminal uncertainty of new love. Marksson’s blitzing inner monologue spirals through longing and self-doubt, conjuring the jangly romanticism of Camera Obscura and the aching urgency of The Pains of Being Pure at Heart. The song’s bright, surreal atmosphere mirrors the emotional vertigo of wanting someone who feels both near and impossibly distant. The album's lead single, “Real Deal,” is the album’s emotional gut-punch. Built on a saturated tapestry of layered guitars and a white-knuckle rhythmic drive, it explores the slow decay of a relationship where one partner becomes little more than a prop in the other’s romantic fantasy. The mythological nod to Apollo and Daphne underscores the song’s thesis: obsession with the idea  of love can erase the humanity of the person in front of you. Its stripped-back refrain lands with devastating clarity. Elsewhere, An Always Open Door  widens its lens. “Saline” pairs maximalist percussion with shimmering synth undercurrents, evoking shoegaze textures and big-beat propulsion. The pair of tracks, “Bank Lights” and “People,” wrestle with the topics of social facades and private insecurities, while the tune “Woolgathering” drifts into dreamy contemplation, allowing Marksson’s lyrics to hover in the hazy space between memory and revision. The track “Frances Ha”—likely a nod to the movie with the same name—captures restless ambition and romantic idealism with cinematic flair, blending down-to-earth vulnerability with widescreen instrumentation. Whereas the album's closing track “Your Knight” offers neither fairy-tale resolution nor total despair, but something more mature: an acceptance that love, like identity, is always evolving. Throughout the record, additional textures are sprinkled in—including guest vocals from Liv Price and guitar contributions from Chris Croarkin—adding a few dimensions without overcrowding the emotional core of the album's nine tracks. Every swell, every shimmering synth line, feels entirely intentional. An Always Open Door  is a fitting title. Rather than sealing off the past, Endearments leave it ajar—letting light in, even when it reveals uncomfortable truths. It’s a debut that feels lived-in yet forward-looking, trading youthful urgency for nuanced reflection. In doing so, Endearments prove that sometimes the bravest thing a band can do isn’t to shout louder, but to look back and listen. Check out more from Endearment: Website | Instagram | Bluesky | YouTube | Spotify | Apple Music | Bandcamp

The Death Above Life Tour made a thunderous stop in Winnipeg, Manitoba, Canada, at the historic Burton Cummings Theatre on the evening of February 28, 2026, delivering a night that blurred the line between precision and pure chaos. Featuring Sweden’s modern death metal titans Orbit Culture alongside the crushing force of the blackened deathcore outfit Ov Sulfur and the rising heavy hitters Atlas, the trio lineup of modern metal acts promised devastation, and it absolutely delivered. Atlas. All photos by Samuel Stevens. Opening the evening, Atlas wasted no time setting a dark, brooding tone. Launching into “Tower,” the Finnish metalcore outfit immediately established a cinematic atmosphere, layering crushing riffs with soaring, melancholic melodies. “Coven of Two” and “Anodyne” further showcased the band’s ability to balance vulnerability with sheer heaviness, their sound echoing beautifully through the theatre’s ornate interior. “I Whisper Your Name Like a Curse” was particularly gripping live, its emotional weight amplified by the rawness of the performance. Tracks like “Uni” and “Ukko” leaned into the band’s Nordic roots, blending haunting ambience with punishing breakdowns that drew early crowd movement. Closing with “Salt and Sulfur,” Atlas left a lasting impression. They're a band that thrives on contrast, seamlessly shifting between fragility and ferocity. Ov Sulfur. All photos by Samuel Stevens. If Atlas warmed the crowd up, Ov Sulfur detonated it. Opening with the punishing “Endless//Godless,” the Las Vegas-based blackened deathcore outfit turned the theatre floor into a churning sea of bodies. Frontman Ricky Hoover commanded the stage with an imposing presence, his gutturals cutting through the mix with surgical precision. “Seed” and “Stained in Rot” delivered relentless sonic punishment, while “Befouler” and “Death Ov Circumstance” escalated the intensity even further. The band’s performance was tight and uncompromising. The band's blast beats thundered, their breakdowns hit like wrecking balls, and the crowd responded with deafening roars. “Wither” and “Forlorn” injected a sinister groove into the set, while “Vast Eternal” felt massive within the theatre’s acoustics. Closing with their song “Evermore,” Ov Sulfur left the audience completely breathless, having transformed the seated venue into something closer to a warzone than a theatre. By the time Orbit Culture took the stage, anticipation had reached a fever pitch. Opening with the tour’s namesake track, “Death Above Life,” the Swedish quartet immediately demonstrated why they’ve become one of modern metal’s most talked-about acts. Their sound, both equal parts groove metal, melodic death metal, and cinematic grandeur, felt colossal once again in the Burton Cummings Theatre. “The Storm” and “The Tales of War” had fists pumping and heads banging in unison, while “North Star of Nija” and “Saw” delivered crushing, down-tuned riffage with machine-like precision. Vocalist Niklas Karlsson’s commanding presence anchored the performance; his seamless transitions between guttural growls and soaring cleans gave tracks like “From the Inside” and “Bloodhound” an added dynamic punch. Orbit Culture. All photos by Samuel Stevens. “The Shadowing” and “Open Eye” leaned into the band’s atmospheric side, creating moments of eerie calm before launching back into thunderous heaviness. “While We Serve” and “Hydra” were undeniable highlights, igniting some of the most explosive crowd reactions of the night. Closing with “Vultures of North,” Orbit Culture left nothing on the table. The final notes rang out as the crowd roared in approval, a true testament to a band operating at the height of their powers. The Death Above Life Tour stop in Winnipeg proved that heavy music not only belongs in historic theatres, but that it can thrive there. Each band brought a distinct flavour to the lineup: Atlas with their emotionally charged metalcore, Ov Sulfur with their unrelenting brutality, and Orbit Culture with their towering, cinematic heaviness. By the end of the night, the Burton Cummings Theatre felt less like a seated venue and more like sacred ground for modern metal. For Winnipeg’s heavy music faithful, it was a show that won’t be forgotten anytime soon.