Release Date: November 27, 2020 Genre: Pop-Punk, Punk Rock Label: Little Rocket Records Winnipeg pop-punk/punk rock quintet Elder Abuse has returned with their newest collection of music since their highly acclaimed 2017 debut album, Burnt. The Winnipeg band is made up of vocalist Alex Guidry, guitarist Michael Fardoe, guitarist Brandan McLean, drummer Max Power, and bassist Sean Kaye, and are steadily rising with every one of their releases. Elder Abuse has continued to be a staple in the Manitoba punk/pop-punk scene since their first appearance on a stage in Winnipeg circa 2012. Since making their live debut in the city, Elder Abuse has gone on to perform a slew of shows and since went on to release their 2014 debut EP Born to Lose, a split EP with Anchorless in 2016, and their aforementioned debut album Burnt in 2017. Forming some eight years ago, the band is made up of members that currently perform or have performed in a few other Winnipeg acts. These include such acts as Daggermouth, Ceilings, Waster, Nice Cops, Louser, and many more. The members of Elder Abuse pay homage to the 1990s style of punk rock by blending their loves of the sub-genres of skate punk, hardcore punk, and pop-punk into one distinctive mix. The new, stellar three tracks from Elder Abuse are a perfect example of these genres mixed into one, as they’re a substantial blend of fast-paced punk, infectious melodies, and intricate musicianship. The three new songs on Take It Easy are the band’s observations from this current apocalyptic-style world were living in with various narratives touching on a few different topics like getting older to more personal topics speaking on navigating their mental health. The title track opens the Take It Easy EP in a swift fashion. Featuring Chris Cresswell of The Flatliners and Hot Water Music delivering on guest vocals, the track is an immediate standout. Musically, “Take It Easy” is a fun track with its fierce pounding drums and wildly infectious melodies throughout its runtime. Guidry’s and Cresswell’s emotive vocals provide the final ingredient to the track. The following track on the album is “Morning Song.” I find that this second track is slightly more musically elaborate than the opening track, and “Morning Song” focuses more on the guitars than its predecessor. The song builds over time to come into its own and ending with a single, distinctive strum of a guitar chord. The third and final track is simply titled, “Bored.” While listening to this track -and of course the other two tracks- you’re left far from feeling bored. “Bored” is the perfect culmination to not only the EP but the band’s musicianship as it faultlessly combines their love of many sub-genres into one blistering track with the helpless sense of craving more than just these three new tracks from Elder Abuse. Take It Easy is chock full of Elder Abuse’s finest work to date. It’s a quick three-track EP that unfortunately comes up just shy of nine minutes in length. It’s surely just a taste of what Elder Abuse is brewing up for further release down the road. Stay in touch with the band by visiting their social media in the links provided below and make sure to stream and purchase Take It Easy come November 27th. Check out more from Elder Abuse: Facebook | Instagram | Bandcamp | Twitter

Release Date: December 4, 2020 Genre: Post-Hardcore, R&B, Pop Label: Spinefarm Records Every once in a while, an artist or band comes along that obliterates the mold, and New York City’s post-hardcore quartet VRSTY (pronounced Var-Si-Ty) is doing just that with their brand new EP, Cloud City. VRSTY made up of vocalist Joey Varela, bassist Javy Dorrejo, drummer Chris Cody, and guitarist Paul Gregory blend the stylings of R&B, pop, and metal into an exhilarating and unique mix. Unlike their previous releases, the six tracks -seven if you count the bonus remix track- on Cloud City don’t all appear on the surface as full-on post-hardcore anthems. However, the band’s love of pop and R&B are incorporated more blatantly than ever before. The band delved into its creative possibilities and reached for the highest potential they could achieve with the brand new EP. The songwriting evolution that is on display on Cloud City is unlike anything of their previous sets of work. Additionally, unlike their previous two EPs that were self-produced, Cloud City was produced by Andrew Baylis. Whose notably known for his work with Bad Omens and Sylar. VRSTY first made a stamp in the scene with their 2015 debut EP, Lights. That ended up leading the band to steady touring for a few years following. Ultimately, their 2019 follow-up EP, Blck -and its deluxe version- drove the band even further off the peak, as it ignited an immense fan response quickly after its release. VRSTY’s Blck EP drove a few of the band’s tracks, “YOU & I,” “Colorblind,” and “Nola” to accumulate over one million streams on Spotify, which is always inflating. Cloud City opens with the fitting track, “Massive.” The opening track begins with an intro that does not define the track. Eventually, it explodes with a colossal guitar riff and a gigantic bass line that has a distinctive groove to it. Overall, “Massive” has the familiar musicianship from VRSTY you may already know from the past five years. “Massive” is basically a lyrical middle finger to the people in the music industry who are too busy keeping you down, so they can get ahead of you. The third track, “Shameless,” kicks off with an enormous down-tuned guitar riff, which is almost djenty before the song takes a complete 360 and becomes a full-blown R&B blended track, before the song’s heaviness returns once again for the chorus. “Shameless” tackles the narrative between giving into the thin line of temptations and staying resolute. It’s written from the perspective of a guy who is falling in love with a girl. This guy would do anything for her, but she doesn’t have the best intentions in mind for the two. Tracks like “Pathos” display some of vocalist Joey Varela’s impressive vocal range, whereas the EP’s title track “Cloud City” is where the band’s new R&B/pop route shines the most. The majority of this track sounds almost like a song reminiscent of The Weeknd but sprinkled with a dose of that unapologetic VRSTY post-hardcore. Additionally, the chorus is an expansive work that’s all-around heavy, lathered in R&B/pop, but equally cinematic with its crazy electronic instrument arrangements. The final two tracks on Cloud City are two new versions of “Wilt.” The song is about a relationship where all the signs are wrong. You don’t listen to the red flags, thinking you know better. Ultimately, the relationship backfires in your face. The song first appeared on their previous EP Blck, and the first version is a fresh re-recording of the track. The second version is a remix with many notable differences. First, it’s more electronic-based pop versus its pop-rock sounding re-recording. Second, the remix features the pop-rock vocalist Gina Fritz, one half of the pop-rap duo Keyed Up, in a mirroring of the story from the female point of view of the story being told on the track. Cloud City demonstrates a creative decision in VRSTY’s constantly evolving songwriting that is absolutely going to pay off for the band in the end. This is just the start of a previously blossoming career for the band. I’m exceedingly interested to see what the members of VRSTY concoct on their future music releases. Please stay in touch with the band by visiting their social media in the links provided below and make sure to stream and purchase Cloud City when it’s released on December 4th. Check out more from VRSTY: Website | Facebook | Twitter | Instagram

Release Date: December 4, 2020 Genre: Alternative Rock Label: Seeing Red Records Ohio alternative rock quartet Mollo Rilla is set to release their sophomore album, Viva El Camino, the follow-up to their impressive 2019 self-titled debut album. Mollo Rilla’s core mission is one of musical freedom that effortlessly combines a large-ranging list of musical elements all the way from Latin to rockabilly, surf to hip-hop, and even all the way to the genre of disco. The band’s lyrical themes also focus on a large-ranging list of topics such as their feelings, their thoughts/beliefs on freedom, fantasy, faith, and love. The band’s brand new album was recorded at the Hobby Shop Recording Studio West in Los Angeles that lead them to enlist producer Andrew Murdock, who has some credits with Godsmack and Powerman 5000 to name a few, as well as renowned music engineer Bil Lane, who has worked with major hitters in the industry like Bob Dylan and Jackson Browne. Mollo Rilla’s main lyricist and songwriter Marco Ciofani is absolutely no stranger to the music industry. Ciofani was previously signed as a songwriter for Roundhill publishing that is located in Nashville, Tennessee. For a better part of a year, he went on to co-write many songs with fellow artists, including Lincoln Parish, a former member of the rock band Cage the Elephant. The frontman became disenchanted with his songwriting gig in Nashville and set his course back to his hometown of Cleveland, Ohio. This is when Ciofani -the band’s lead vocalist and guitarist- recruited the likes of keyboardist/vocalist Simeon Ruple, bassist/vocalist Austin Adams, and drummer/vocalist Joey Shannon to form Mollo Rilla in 2017. Fast forward another two years, they were ready to release their self-titled debut record. Viva El Camino starts with the six-minute bold opener, “The Raven.” Musically, it’s similar to the style of their debut album. A very progressive rock-style track that demonstrates the unapologetic stylings of Mollo Rilla. The following track, “El Camino” takes you on an uneasy feeling musical journey by spinning itself around every chance it gets. The album’s lead single, “Night Fang” tells a fictitious story about a band of troublesome misfits hunting down a mischievous werewolf. Once these misfits have tracked down the werewolf, the group discovers the werewolf is not what they imagined at all, and a raucous party breaks out. Essentially the track uses metaphors in a way to tell a story of never judging a book by its cover and that you should respect, celebrate, and appreciate other’s differences and accept those for who they are. Musically, “Night Fang” has one of the most infectious choruses on the entire album. The band continues to take swings from all sides, in an unexpected turn the following track, “Pendelum” features a heavy guitar riff, a thunderous bass line, and bounding drums, it’s quite reminiscent of a System of a Down track. Nevertheless, lyrically the track is a personal one for Ciofani. It touches on where he comes from and why he writes music. The fifth track on the album -that continues to go anywhere where the band’s creative minds take them- is simply titled, “Punk Song.” Which, it is just that, but in another surprising twist, it’s a rockabilly intertwined punk track. “Bliss” is a low-tempo ballad about love that features a twangy guitar riff and Ciofani’s falsetto on pure display. It’s unlike anything else on Viva El Camino. Another couple of impressive numbers on the band’s sophomore record Viva El Camino starts with another moderate tempo track, “Mike Angelo.” This track highlights hypnotizing guitar, a simple bass line, and a melody that sticks with you promptly on its initial listen. It concludes with what is genuinely my favourite -a mesmerizing saxophone solo. Following this number is the hard rock track, “Rage The Day,” that I believe each of the four members of Mollo Rilla had an adequate amount of time to shine. Viva El Camino comes to a close with the acoustic melodies of the track, “Let’s Go Pt. 2,” -part one of this track is featured a few tracks before. If you are looking for something comparable to bands such as Queens of the Stone Age or Kyuss, or just something experimental with no artistic boundaries, then Viva El Camino is an album for you. The ten songs on the album are pure, honest expressions from four artists from Cleveland, Ohio that do not want anyone telling them they can’t do something with their music. Their brand new album is pre-orderable now through Bandcamp. The link of which is provided below. Be sure to stay in touch with Mollo Rilla by visiting their social media -also provided below- and make sure to stream and purchase Viva El Camino come December 4th. Check out more from Mollo Rilla: Website | Facebook | Instagram | Bandcamp

Release Date: December 11, 2020 Genre: Acoustic Rock Label: Hopeless Records Originally, this year would’ve seen Bayside, the distinguished punk rock, pop-punk, and alternative rock band from Queens, New York, commemorate their twentieth anniversary of being a band. Alternatively, Bayside took to the recording studio earlier this year during their newfound time off in a way to keep their creative minds rolling. The band conjured up the third installment to their Acoustic series of releases. Their brand new EP, Acoustic Volume Three, features five songs. The first is a brand new track, while the remaining four tracks on the EP are acoustic reimagined versions of beloved fan favourites from their impressive, storied twenty years to date as a band. “We had no intentions of recording anything this year,” shares frontman Anthony Raneri about the unplanned EP. “We decided going into the studio and working on something was a safe way to stay creative, do what we love and also give the fans something special.” The opening, lead single on the new EP titled “Light Me Up” is the EP’s single brand spanking new song. The track is an acoustic ballad that is considerably upbeat through and through. “Light Me Up” celebrates the little moments of life that you may or may not have taken for granted until this tempestuous, long-drawn year. Even doing so by compiling fan-submitted clips in their happiest moments for the tracks music video, which can be viewed below. In addition to the new track “Light Me Up,” Acoustic Volume Three also features the four aforementioned quintessential Bayside songs that have been completely reimagined including, in order of the EP’s tracklist: “The New Flesh” off their 2011 album Killing Time, “Not Fair” off their 2016 album Vacancy, “Poison In My Veins” off Bayside’s 2004 debut album Sirens and Condolences, and finally, “Prayers” off their previous 2019 album Interrobang. Out of an unfortunate year came a bit of a blessing for Bayside by entering the studio to record Acoustic Volume Three. Instead of celebrating their twentieth anniversary on tour in front of their fans, the band is commemorating the fans by reworking their old classics for all who are waiting it out until live music can once again warm the hearts of fans worldwide. Please stay in touch with Bayside by visiting their social media in the links provided below. Come December 11th, make sure to stream and/or purchase Acoustic Volume Three. Check out more from Bayside: Website | Facebook | Twitter | Instagram

Release Date: December 10, 2020 Genre: Alternative Rock, Art-Rock Label: Independent The Toronto seven-piece art-rock outfit Tidal Wave has finally shared their brand new single, “Our Silhouettes,” after many release delays. Most of these delays that hit the band over the last nine months are a result of the continuing COVID-19 pandemic. The brand new single was formerly scheduled for release in March. Since, the band has remained hard at work on their songwriting and recording, and even tinkering around with their own well-defined sound. Lyrically, “Our Silhouettes,” tells a tale of a post-apocalyptic relationship that has now become undone. Tidal Wave’s new tune was self-produced by the band’s lead vocalist, guitarist, and pianist Connor Young. However, the band’s brand new single was mastered by Canadian music engineer Kristian Montano. “COVID really took its toll, but with it came a silver lining,” shares the band’s frontman Connor Young. “Losing work, and losing the opportunities to tour/play live has pushed us to focus on songwriting and the direction we wanted to take our sound.” Tidal Wave has been working diligently since 2018 working on new music. Now fans and others alike get their first taste of what the band’s been working on with the release of “Our Silhouettes.” The seven-piece is made up of an eclectic group of multi-talented musicians found in vocalist, guitarist, and pianist Connor Young, bassist Kyle T, guitarist, and backing vocalist Marcus Retterath, guitarist and bagpiper Marco Carboni, violinist Brittany Iwanciwski, drummer and synth player Mike Poisson, and finally, violinist and vocalist Joey Assaad. Each member of the band brings their own musical traits and exuberance to the band. All-in-all, it all merges to help the formation of their massive, artistic sound. Musically, “Our Silhouettes” opens with an entanglement of alternative rock and psych-rock with its warm, stunning synths and mesmerizing guitars that infect your brain the instant they hit your eardrums. The single is fresh and modern in the likes of Tame Impala but feels like something from the past resembling elements of Pink Floyd and more. The single runs five minutes and thirty-five seconds. However, on my initial listen and now many, many more listens following, the track does not feel its length, and additionally, it just makes you itching for even more tunes from Tidal Wave. “Our Silhouettes” is a simple taste of much more to come from this up-and-coming art-rock/alternative rock seven-piece musical collective from Toronto, Ontario. The track demonstrates widely intriguing songwriting that has a sense of dread -both in its lyrics and music- that is intertwined with a dose of upbeat exhilaration. This is just the start of a blossoming career for Tidal Wave. I’m unquestionably intrigued to see what the members of Tidal Wave formulate for their future releases. Please stay in touch with the band by visiting their social media in the links provided below and make sure to stream and purchase their brand new single, out now on all major music streaming services. Check out more from Tidal Wave: Facebook | Instagram | Spotify | Bandcamp

Release Date: October 9, 2020 Genre: Indie Pop, Folk Label: Oh My Records The Ottawa, Ontario-based American-Canadian singer-songwriter, multi-instrumentalist, and producer Akeem Oh (Ouellet) has released his brand new single, “School Girl.” The new single was written about a close friend of Akeem’s who is described as an ambitious artist herself, who’s making her way through the many challenges of early adulthood. The entire track was written, recorded, with all of its instruments performed, and finally, produced by Akeem himself. The single was mixed and mastered by Philip Shaw Bova (Feist, Bahamas) at Bova Sound Lab. “School Girl” is off his forthcoming EP set for release in 2021, and released off his Oh My Records imprint. Which is certainly sure to be a hit far and wide. His previous single “Winter Crush” was released two years ago and was well distinguished as well. “Winter Crush” was named one of the “Top 3 New Ontario Songs You Need To Hear” by the CBC. “Winter Crush” was also featured in the Ottawa Run Marathon campaign videos and his musical work has been featured in multiple television movies for the channels Lifetime, Hallmark, and ION Television. Musically, Akeem’s new single “School Girl” is a sincere indie-pop folk ballad featuring his signature calm, immensely emotional falsetto, subtle strumming of the guitar, slight layering of piano, a splash of backing vocal harmonies, and a touch of percussion to round it all out. All of which are performed by Akeem himself. Also, “School Girl” sounds like something of The Beatles and Paul McCartney. That in fact, Akeem draws many of his music traits from The Beatles, Paul McCartney, and other hard-hitting artists such as Beck and Iron & Wine. Check out more from Akeem Oh: Website | Facebook | Twitter | Instagram

Release Date: January 1, 2021 Genre: Rock Label: Independent The Washington, D.C. five-piece rock act One Way Out have shared their latest single, “Black Lungs (and a Broken Heart).” The five, young rockers continue directly where their 2019 debut album, Cosmic Beat, and their 2020 single, “Black Walls,” left off. Cosmic Beat was an album inspired by narrative-driven concept albums such as David Bowie’s 1972 classic, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, all the way to King Gizzard & the Lizard Wizard’s 2017 album, Murder of the Universe. The new single is the product of an entire year off with only songwriting and recording to occupy the members of One Way Out. “Black Lungs (and a Broken Heart)” has plenty enough grit to please any fan of rock ‘n’ roll, while still being able to hook its listeners with a chorus that rings inside your brain that you just simply never forget. Lyrically, “Black Lungs (and a Broken Heart),” portrays a telling story of the character the band has named the “Freedom Man,” who first appeared in the lyrics of the song of the same name on the group’s debut album, Cosmic Beat. The single was influenced heavily by concept albums from the past and present. “Black Lungs (and a Broken Heart)” tells the adventurous story of the Freedom Man coming to Earth in search of love, which results in the release of mass euphoria that causes numerous large gatherings of people to come together to listen to live music as an influence under the spell of love. One Way Out recorded their new single at Capitol Hill’s Ivakota Studios with music producer and engineer Ben Green. Green is best known for performing guitar in his band Fairweather and has produced, engineered, and mixed for many artists such as Benjy Ferree, Dennis Chambers, Ex Hex, to name a few. One Way Out was formed in 2012 by lead vocalist Josh Gaba, guitarist Jake Schaefer, and bassist Giulio Iacoviello. The following year, drummer Geist Topping joined the fold, while keyboardist Ari Rubenstein ultimately rounded out the lineup in 2015. One Way Out has evidently worked an unmeasurable amount to get to where they are today, both as musicians and as a band. The five-piece rock band has received four finalist nominations at Washington Area Music Awards, also known as The Wammies, under the Best Rock Album, Best Hard Rock Album, Best Hard Rock Artist, and Best Hard Rock Song categories following the release of Cosmic Beat. The band also toured East Coast America with fellow rockers Soraia and had plans to tour more extensively in 2020 before the COVID-19 pandemic upended the band’s plans. “There were a couple of hours we spent in the studio just making sounds with a screwdriver on a guitar and messing around with a theremin. These sounds can be heard in the intro and throughout the song, emulating the noise and chaos of a crash landing,” recalls guitarist Jake Schaefer. Musically, “Black Lungs (and a Broken Heart)” can easily be mistaken as a song from the most popular time for rock music in the 1960s and 1970s. The single melds together the use of acoustic and electric guitars that duet around Gaba’s voice. Rubenstein’s keyboards shine underneath it all, while some theremin and many unorthodox sounds are tossed in-between to give it that cherry on top. “Black Lungs (and a Broken Heart)” is reminiscent of the tunes from rock legends Led Zeppelin, The Doors, and even The Rolling Stones. The single is a modern take on what many have come accustomed to calling classic rock. There is also no way the band hides their influences out of their sound. At the forefront, the modern songwriting influences of King Gizzard & the Lizard Wizard, Oh Sees, and Tame Impala ring through the track additionally. The members of One Way Out also see The Eagles, David Bowie, James Taylor, and blues legends B.B. King and Muddy Waters as huge contributors to their sound and songwriting. “Black Lungs (and a Broken Heart)” is just a taste of much more to come from this young, up-and-coming rock band from the United States capital of Washington, D.C. The track demonstrates a widely intriguing songwriting technique of blending old and modern styles into one exhilarating ride over the track’s four minutes and fifty-eight-second runtime. This is just the start of a blossoming career for the five members of One Way Out. I’m positively fascinated to see what the band has up their sleeves for the foreseeable future. Please stay in touch with the band by visiting their social media in the links provided below and make sure to stream and purchase their brand new single, “Black Lungs (and a Broken Heart),” which is out now on all major music streaming services. Check out more from One Way Out: Website | Twitter | Facebook | Instagram | Bandcamp

Release Date: February 5, 2021 Genre: Indie Pop, Rock Label: Blanket Fort The American singer-songwriter Baby FuzZ, the alter ego of the accomplished Sterling Fox, is back with his latest album, Welcome To The Future (Season 1). Some years ago, Fox was on his way to being a major player in music with his songwriting within the pop music scene. He had written an assortment of hits with Britney Spears, Madonna, Lana Del Rey, Adam Lambert, Avicii, Adam Levine, Lindsey Sterling, and many others. However, shortly following the 2016 presidential election in the United States, he quit music abruptly and moved to Montreal. Fast forward to 2018, he reemerged under his current persona, simply known as Baby FuzZ, and began dropping singles off his 2019 DIY debut album, Plastic Paradise. Now, 2021 has come and has Baby FuzZ releasing his second album after dropping a few singles throughout the second half of 2020. To start, Welcome To The Future (Season 1) jumps all over the map with its sub-genres. It has a little bit of something for every listener. Baby FuzZ is a unique, immensely talented songwriter all across the board. Baby’s new album swerves considerably off course from his debut, with his songwriting talents highlighted more than ever on Welcome To The Future (Season 1). The seven-track rollercoaster of a concept album is set in a future dystopian America -where they too are in the throes of the COVID-19 pandemic. The majority of Welcome To The Future… was made while Baby was in quarantine in Los Angeles and it’s unquestionably an ode to bedroom-made music in whole. The album kicks off with the four-and-a-half-minute opening title track, “Welcome To The Future.” It immediately showcases Baby FuzZ’s shift to a more rounded pop direction from his previous album. “Welcome To The Future” is reminiscent of bands like fun. and A Great Big World, if they had set a song in a fictional future dystopian America that is polluted from the point of view of two suburbanites named Kevin and Karen and from Maggie, an orca that is struggling within a garbage-filled ocean. The opening track is quite the harrowing number that tackles a possible reality the earth could very well see. The following number, “Weekend Blues,” takes a bit of a turn musically with its full fledge emotion that tackles sadness/depression, and is loaded to the brim with an entanglement of trumpets and face hitting synths that drives deep into your ear and infects your brain. This brings us to the single, “Before Our Time.” A brazen rock track that Baby FuzZ wrote with singer-songwriter LP -and also features her. “Before Our Time,” tells a story about a friendship that occurs, as the title suggests, well before its time. The fourth track and album’s first single is a fun little number that not only has strenuous energy behind it, but it’s quite eccentric and has an infectious melody throughout its entire two minutes and thirty-two seconds. It’s best described as the “dark” version of Billy Joel’s “We Didn’t Start The Fire” but instead of touching on world issues, it touches on dying, with influences drawn from all the craziness and darkness going on in the world today. “We’re All Gonna Die!!!” is unapologetically alt. rock at its core, with all the shades of pop streaming through the cracks, and even features a punk rock section to give the song a huge bang to close it out on an astronomical level. “I’m Trying My Freakin’ Best” is just one of the final three tracks on Welcome To The Future (Season 1) and it’s a heartfelt, emotionally driven piano ballad. There’s a little bit of good old fashion rock sprinkled into it that gives it a huge standout mention. The penultimate track, “Hood Life,” tackles the long asked question, “What is it like to be living that good life…” and Baby does it with no ease with a mid-tempo pop tune. Last but not least, easily one of the album’s most ethereal tracks, this ambient saxophone riddled track is simply beautiful in its own kind of way. While the song is about dropping acid at a Dodgers game, the overall atmosphere the track conveys is otherworldly, intense, but somehow at the same time, it’s soft and subtle. A great bow out to the entire record. If you are looking for something relative to the pop duo A Great Big World to the indie-pop supergroup fun., maybe even the glam rock of Queen, or just something that’s abundant of no artistic limits, then Welcome To The Future (Season 1) is an album for you. The seven songs on the album are pure, honest artistic expressions that tell a harrowing tale of a possible future of the world. That additionally is chock full of conservationism, clever symbolism, and topped with classic American absurdity. Be sure to stay in touch with Baby Fuzz by visiting his social media and make sure to stream and purchase Baby’s second release come February 5th. Check out more from Baby FuzZ: Website | Facebook | Instagram | Bandcamp

Release Date: February 12, 2021 Genre: Rock, Alternative Rock, Hard Rock Label: Century Media Records / Fearless Records The New York City-based rock outfit The Pretty Reckless -made up of vocalist Taylor Momsen, guitarist Ben Phillips, bassist Mark Damon, and drummer Jamie Perkins- have returned with their fourth full-length album, Death By Rock And Roll, after a dark few years for the group. The band’s twelve-year journey has been a rollercoaster of ups and downs and they have used some of the recent downs to write their most ambitious, truthful, and emotional album to date. Death By Rock And Roll was recorded in a few different studios for well over a year and co-produced between Taylor, Ben, and their longtime friend Jonathan Wyman. In late Spring 2017, The Pretty Reckless embarked on an esteemed opening slot on tour opening for Soundgarden across the United States. Until following a concert in Detroit, where Soundgarden’s vocalist Chris Cornell tragically took his own life. The events of that tragic night left the members of The Pretty Reckless shaken up and scarred. The band went on to cancel much of their planned tour during the remainder of 2017. Sequentially, the band retreated from the public eye. Some eleven months later, another tragedy struck the members of the band. Their longtime friend and frequent collaborator Kato Khandwala passed away in a motorcycle crash. Both of these tragedies ultimately became the subject of their new album. “There was no way to hide from this,” says Taylor. “There was no running from what happened. I didn’t have to write it; it was just infused into what we’re doing.” “It sent us into a downward spiral,” Ben recollects. “We fell apart. It turned into a world of depression and substance abuse. At that point, we had to try and figure out how to continue making music. It was either death or go forward.” The album opens with the title track, “Death By Rock and Roll.” It begins with the eerie, haunting sound of footsteps -an actual recording of Kato’s footsteps- before Ben’s guitar riffs begin to ring through. It’s a raucous track all around that features heavily distorted guitar riffs, powerful belted vocals from Taylor, ground shaking bass from Mark, and explosive drum fills from Jamie. On the lyrical side, Taylor wrote the track about living your life your way with the juxtaposition of going out your own way. “Only Love Can Save Me Now” follows the tune with its five-minutes of its grunge-influenced sound. In an ode to the late Chris Cornell, the song features Soundgarden guitarist Kim Thayil and drummer Matt Cameron -who have become good friends with The Pretty Reckless’ members. Even tracked at London Bridge Studio in Seattle. Where Soundgarden recorded their second album, Louder Than Love. Lyrically, it’s referencing what everyone is going through in the world right now. Tom Morello, guitarist of Rage Against The Machine and Audioslave, is featured on the next track, “And So It Went.” Taylor wrote the lyrics of the song about the craziness of the civil unrest around the globe, which has only got worse over the last few years. Musically, the track starts with a sense of uneasiness with a mix of sounds as if something awful is about to happen before this massive-sounding guitar riff from Ben rolls out and takes the song on a course of different fiery emotions. However, the guitar solo laid down by Tom Morello ties the whole track together sonically. The album takes a slight tone down with the reflective tune, “25.” Taylor sings from a very emotional place on this track. Its powerful lyrics resonate with her feelings of becoming frustrated in losing hope over her lifetime in a world where death is so prevalent. “Get So High” is an acoustic ballad that outputs a heavenly, mesmerizing sound as the acoustic guitars ring out, and Taylor’s emotive, powerful voice is on display. The track tackles a powerful subject of substance abuse as a handle to cope with the deaths of Cornell and Khandwala. “Witches Burn,” accompanied by its intro-like interlude track, “Broomsticks,” are in the same vein as the album’s title track and displays Taylor’s powerful voice again that additionally includes a profound, bluesy guitar solo delivered from Ben. “Standing At The Wall” returns to the soft, heartfelt side of The Pretty Reckless that shines bright on Death By Rock And Roll. The track begins with just an acoustic guitar before simple percussion soon draws in. Approximately at the halfway mark, the song explodes into something entirely different than its first half. Furthermore, “Standing At The Wall” features one of the best vocal performances from Taylor on the album. Some of the album’s best writing is displayed on the final two tracks as they bring Death By Rock And Roll full circle. “Rock And Roll Heaven” intelligently writes itself as an ode to the Righteous Brothers’ 1974 song of the same name and is essentially the sequel track to “Death By Rock And Roll.” Right down to the core, the tune is an acoustic-infused rock ballad, but lyrically the song speaks on “the great gig in the sky” that is full of what we now declare rock legends that got their tickets to the gates after passing this plane at the age of 27. Like musical artists Jimi Hendrix, Janis Joplin, and Jim Morrison. The final track, “Harley Darling,” is the most emotional number on the twelve-track album. This country-rock tune is true to the band’s heart and lyrically, it wrenches at the heartstrings more than any other. Taylor emotionally sings about Kato’s death, directly to the motorcycle he was riding at the time of his death while dancing around bluesy guitar solos and the sound of a motorcycle revving its engine before riding away as Taylor sings the words, “…Ride away on your Harley darlin’, you took my love, you took him down the lonely road to the stars above.” “We lived this,” Ben leaves off. “Rock and roll means everything to us. Taylor sacrificed everything for this record. I think it shows.” “We stuck to our ethics. We built this up over time. Either you throw it all away or go for it. It’s cliché, but rock and roll saved our lives,” concludes Taylor. Out of an ominous year in 2017, the members of The Pretty Reckless seen some dark days. Nevertheless, out of the darkness came writing an album to achieve some catharsis and write songs from the heart -as they usually would. Again, Death By Rock And Roll is their most ambitious, honest, and wholehearted album to date. It’s captured gallantly in the music and felt with pure emotion from the genuine lyrics you hear on the album. Please stay in touch with The Pretty Reckless by visiting their social media in the links provided below. Come February 12th, make sure to stream and/or purchase Death By Rock And Roll. Check out more from The Pretty Reckless: Website | Facebook | Twitter | Instagram

Release Date: August 14, 2020 Genre: Classical, Soft Pop, Folk Label: Independent Emmie Dohse is a singer-songwriter based out of Washington, D.C. has released her debut EP, Free Time, this past summer. Dohse’s EP unites various genres such as classical, soft pop, folk, and Americana into one collection of songs. Dohse brings a unique aspect to the genres with her unusual chord progressions and genuine, honest songs from the heart -both lyrically and musically. Dohse grew up classically trained in piano learning and performing Beethoven, Bach, and Debussy, and shortly after started writing musical pieces of her own. Eventually, Dohse got over her bigger musical fear and began to write her own lyrics and provide her voice on top of her music. Dohse’s soprano voice and musical characteristics are often compared to fellow singer-songwriters such as Allison Krauss and Sara Bareilles. Emmie is just beginning to pave herself a promising path with her music, and with a magnificent EP of five astonishing songs to start it off right. She incorporates a plethora of topics that are close to her in the lyrical songwriting on her first five tracks out to the world. Dohse’s introductory EP opens with the opening number, “The House on the Corner.” A track about an imagined story she wrote after seeing an abandoned house along the road one time in the past. Her classical music background shines bright in the opening track with its detailed folk stylings that round the track out splendidly. The second track on Free Time is the piano ballad, “Last I Heard,” which features the warm, soulful voice of Manny Davis. “Last I Heard” captures the sheer emotion of both Emmie and Manny in every way. While the track is simple to the core, it stands out as one of the EP’s highlights with its genuine and profound emotion that any listener will feel as it’s their own. “Last I Heard,” tells a tale of looking up somebody on social media, that you knew in high school. These two people are either reconnecting or wishing to reconnect after so many years apart from each other. The EP’s third track, “I Never Go Out” tackles the subject of a horrible first impression at a bar that pulls out Emmie’s folk influence with just a ukulele and her voice in a soft and sincere “feelings spilled on the floor” type of vibe on the song. “My best friend introduced me to a close friend of hers one night when we were out for drinks. I’ve never been so repulsed by someone I just met, so fast,” recalls Dohse. “It was one of those encounters you keep thinking to yourself, ‘Did this guy really just say that?'” The fourth track on Free Time is “Milk and Honey.” It’s a straightforward traditional folk track musically. However, lyrically “Milk and Honey” is where the song shines like the brightest star in the night sky. Emmie is a self-described history nerd and wrote the track from somebody’s perspective while in the 1930s Dust Bowl and tackles the inner struggle this person is going through of losing everything they had and having some strife with their core beliefs. The hook, “Father, father, why have you forsaken me,” was the first thing Emmie came up with for the song while she was messing around writing on her guitar. Closing out the EP is the piano ballad, “Fortress.” The fifth and final track is another from the heart, that’s incredibly honest. It tackles a friendship of Emmie’s, that did not reciprocate the same back to her. “It’s important to me in any relationship that there’s give and take. [Fortress] was written after a friendship turned out not to be as strong as I thought it was. There’s nothing more frustrating than putting more into a connection than you’re getting,” states Dohse. Dohse’s Free Time has a little bit for everyone in its respective genres. If you’re looking for something similar to Adele’s “Someone Like You, turn to “Fortress.” Whereas “I Never Go Out” could very well be viewed as something similar to Ingrid Michaelson’s “You and I.” Finally, if you were to listen to both the tracks “The House on the Corner” and “Milk and Honey,” they’ll get you close to something from Allison Krauss or Margo Price. This is just the start of a blossoming career for Emmie. I will be patiently waiting to see what Emmie has to offer up in the future. Please stay in touch with her by visiting her Instagram in the links provided below and make sure to stream and purchase her debut EP Free Time, which is out now on all major music streaming services. Check out more from Emmie Dohse: Instagram | Youtube | Spotify

Release Date: February 26, 2021 Genre: Symphonic Metal Label: Nuclear Blast Records The Dutch symphonic metal titans, Epica, turned a turbulent year into a creative one by locking themselves away on a farm in the middle of nowhere to write and record their eighth studio album, Ωmega. Their brand new album is their most striking and spectacular album to date. Epica seamlessly incorporates their metal and orchestral arrangements like never before by delivering hard-hitting guitar riffs, elaborate compositions, and powerful vocals from both Simone Simons and Mark Jansen. Additionally, the band uses choirs on many of the songs and intertwine a wide range of ethnic instruments -that were recorded by several talented musicians from all across the globe- into the musical arrangements on Ωmega. Zaher Zorgati, vocalist of Myrath provides guest vocals on the track “Code of Life,” while Vicky Psarakis, the vocalist of The Agonist is featured on “Twilight Reverie – The Hypnagogic State.” Lastly, the band’s longtime friend and producer, Joost van den Broek once again stepped in to produce, and for the first time, Broek mixed the album. Epica is made up of vocalist Simone Simons, guitarist/composer Mark Jansen, keyboardist Coen Janssen, bassist Rob van der Loo, drummer Ariën van Weesenbeek, and guitarist Isaac Delahaye. As aforementioned, they hunkered down in 2020 in a villa located on a farm in the middle of nowhere Holland to record an album that came naturally out of their friendship and bond -something they wanted to capture once again since their 2003 debut album, The Phantom Agony. The writing portion of the album was set into motion long before COVID-19 hit the world, so out of sheer luck, the band managed to get the Prague Philharmonic Orchestra and the children’s choir you hear on Ωmega, recorded on the very last day before lockdown hit. For the first time in years, the band was able to get together as a whole -the members of the band now live in four different continents- to get the album created from start to finish. The band’s parts were recorded in separate recording setups in several rooms in the villa they rented for just one week. Epica’s eighth studio album opens with the cinematic folk metal-esque intro number, “Alpha – Anteludium,” before blasting right into the lead single, “Abyss of Time – Countdown to Singularity.” The single is endlessly catchy throughout and sees vocal duties being juggled between Simons’s sharp, operatic voice and Jansen’s guttural growls. “Abyss of Time – Countdown to Singularity” sends the album’s concept of The Omega Point into full effect. For anyone unaware of the history, The Omega Point is an assumed future where after the Alpha, the Big Bang, everything in the entire universe spirals toward a final point of unification. Additionally, the Omega Point is referenced in the Book of Revelation. Where Jesus Christ describes himself a few times as, “the Alpha and the Omega, the beginning and the end.” The album’s second single, “Freedom – The Wolves Within,” is based on an old Cherokee story of a fight between two wolves. One that embodies good, the other that embodies evil. It states that we all have the same fight inside of us and what we want to be and what we want to reflect on the world around us depends on which wolf is fed and the degree of control we have over our inner wolves. Ωmega also brings forth the third installment to the band’s epic “Kingdom of Heaven” saga. “Kingdom of Heaven, Part 3 – The Antediluvian Universe” comes with a whopping thirteen and a half minute run time and is the grandest, most ambitious, touching numbers yet -and of the entire album. The track is a real treat for all Epica fans new and old as brings twist and turns all along the way. The song takes a journey down the rabbit hole genre-wise and incorporates various metal sub-genres into one extensive track. The first part of “Kingdom of Heaven, Part 3 – The Antediluvian Universe” was conceived after Jansen’s grandmother sadly passed away. He then wrote the third part with Isaac when Isaac’s grandmother passed away -both within one week of each other. Track nine on Ωmega titled, “Rivers,” is the album’s most restrained track. The song is just Simone, piano, and minimal orchestration for the majority of its run time before the song picks up to deliver a powerful, yet emotional send-off with the use of a child choir and Simone’s powerful vocal performance. The song itself symbolizes the calmness and the uncertainty in life, the ebb, and flow. The calm water represents peace, and a strong river stream means that you have to face challenges and swim against the tide of life, as the lyrics state. Closing out the album is the title track, “Omega – Sovereign of the Sun Spheres.” Beginning with a similar cinematic arrangement as “Alpha – Anteludium,” the final song promises to deliver with its hard-hitting, catchy musical renditions to please all listeners one more time before the cinematics fade out. Stay in touch with Epica by visiting their social media in the links provided below. Come February 26th, make sure to stream and/or purchase the band’s eighth studio album, Ωmega. Check out more from Epica: Website | Facebook | Twitter | Instagram

Release Date: August 10, 2018 Genre: Folk Label: Independent Interpersonal, Taylor Janzen's brand spanking new four-track effort touches on subjects close to herself, such as mental illness, emotional abuse, and religion, in her immensely open, signature form of confessional songwriting. Her music is most notably reminiscent of the likes of Phoebe Bridgers and Julien Baker, but I can think of a few more artists that can be added to the list. Taylor also has a singing voice described by many to be similar to Paramore vocalist Hayley Williams. Interpersonal opens with the first of four massive emotionally driven songs, "Stations" The song, which also happens to be the efforts lead single, is about emotional abuse. The tune features a very soft, simple, but melodic electric guitar, topped off with her distressing and defenseless tone of singing. On one of two of the efforts only acoustic tracks, "The Waiting Room," Taylor bears out her frustration of always sitting in waiting rooms and doctor's offices. She's pleading that she no longer wants to be within these enclosed spaces for various reasons while she's seeking treatment for her mental health. "The Waiting Room" features a beautiful demonstration of melodies upon her staple soft, simple, melodic solo guitar stylings. The penultimate track, "Colourblind," is yet another powerfully written tune by Taylor Janzen. In this song, Taylor is heard singing about the struggles of growing up and the relationship and stigma from the church regarding mental health. On stage, at her album release, she said briefly that "Colourblind" was the song she was most scared of putting out into the world for people to hear. The last track on Interpersonal is the second acoustic tune, "Better Now." Taylor on this particular song is heard urging her friends, family, and whomever else, that she is now better, but in denial that she isn't. Yet another painstaking look into Taylor’s mental illness, Taylor bears it all out for the listeners again, as she has on all of, Interpersonal. Additionally, at the album release show, Taylor jokingly stated that "Better Now" was written while cleaning urinals at her place of work and wanted to initially title the track something to do with such, but ultimately chose not to do so. I unquestionably have no qualms that Taylor Janzen will shortly be riding a wave of success from the release of Interpersonal. Rather it is recording even more music, performing in front of larger local or non-local crowds, or even full-on touring. She just recently performed her first gig out of her hometown in Los Angeles, California, late last month, so I can only imagine she wants to get out there and perform around the globe. Please make sure to stream Interpersonal now on your preferred streaming service or by purchasing Interpersonal on iTunes. Check out more from Taylor Janzen: Facebook | Twitter | Instagram

Release Date: February 26, 2021 Genre: Rock Label: Independent The Montreal, Quebec-based rock trio Yester Daze known for their high intensity live shows, has arrived with their debut EP, Yours To Follow. The band’s four new tracks showcase their unique rock style, which bridges the gap between heavy rock riffs and pop melodies. Yours To Follow was produced by Matt Nozetz at Avbury Studios, in the band’s hometown of Montreal. Additionally, the EP was mixed by Dave Traina, drummer of the Canadian rock band The Damn Truth, and finally mastered by Harry Hess. Best known for his work with other Canadian artists such as Billy Talent, Cancer Bats, and Three Days Grace, to name a few. Yester Daze was formed in 2018 by vocalist Brandon McShad, bassist Zach Lemay, and drummer Matt Ware. Once together, the trio became fast friends, rented a rehearsal space, and let their natural musical chemistry take hold of the rest. Yester Daze is an amalgamation of the past, present, and future of rock music. McShad, Lemay, and Ware draw inspiration from some of their favourite artists such as Foo Fighters, Muse, Royal Blood, Billy Talent, My Chemical Romance, and The Pretty Reckless. Something that’s more than evident on any initial listen of the trio’s songs. The EP opens with the stellar track, “Beautiful Day.” An alternative rock track at the center but riddled with enough infectious pop melodies that it morphs into something much larger. Overall, the tune could very well best described as a stadium rock anthem. With the opening track, Yester Daze hopes to let their listeners know that even in the darkness, you can make the best of a bad situation. Yours To Follow changes gears fast and turns to a music heavier side of the band not yet heard on the following track, “Light It Up.” The trio’s ferocity is on full display as Yester Daze pulls out heavy, yet immensely groovy rock riffs with impassioned lyrics screamed to the masses by vocalist Brandon McShad, to deliver a hard-hitting punk-infused rock number. The EP’s third track, “Backseat Bingo,” begins with an intro reminiscent of the Dropkick Murphy’s classic, “I’m Shipping Up To Boston,” but with its now uniqueness that it’s in no way coping the song in any shape or form. It’s quite clear that the lyrics are chock full of metaphors, for well, you be the judge of it. “Backseat Bingo” is Yester Daze’s catchiest tunes with its poppy elegance, combined with its excitable alternative rock instruments. Additionally, vocalist Brandon McShad produces one of his best vocal performances of the EP on the track. Wavering between his falsettos and his hard, drawn-out, but powerful belted vocals, it’s a pleasurable shift in character for the group. Yours To Follow closes out with the track, “Otherside.” It’s a track that merges all the sounds of the previous three songs into one massive number to close out the band’s debut collection of music. Yours To Follow is just a taste of much more to come from this up-and-coming rock band from Montreal, Quebec. Their debut EP demonstrates a widely intriguing songwriting blend of the past and present genres of rock, elements of pop, high energy, and honest lyricism to create plenty of resonating infectious anthems for listeners. I’m fascinated to see what the band has brewed up for the foreseeable future. Please stay in touch with the band by visiting their social media in the links provided below and make sure to stream and purchase their brand new debut EP, Yours To Follow, which releases on February 26th, 2021. Check out more from Yester Daze: Website | Facebook | Instagram | Youtube

Release Date: March 5, 2021 Genre: R&B, Pop, Hip-Hop Label: Fearless Records The Australian alternative R&B trio Chase Atlantic has returned with their third album, Beauty In Death. Since forming in 2014, the band has released seven EPs, two full-length albums, and accumulated over two hundred million streams on Spotify. The band has always pushed themselves creatively forward for every release. At the start, Chase Atlantic was a much different band than they are now. They once were pop-rock, but as they matured over the years, the band’s musical style followed. Chase Atlantic has always mixed elements of their rock influences by blending them in with elements of hip-hop. Now they’ve upped their game again by incorporating even more hip-hop and surrounding sub-genre elements into the mix. Adding all the new layers into their signature sound, Chase Atlantic pushes their sound further, for what is their most striking release yet. Following the same suit from the past nine releases, Beauty In Death was again self-produced by the trio. At the beginning of 2020, the band had already begun the creative process for their new album. However, once it came down to recording the album, the band had to go a different route than planned. The regular studio they frequently use closed down because of restrictions related to the pandemic. Ultimately, the members decided to hunker down like everyone else inside their home, building a studio within it and recording it from there. It was the first time the three members -Mitchel Cave (vocals/bass/programming), Christian Anthony (guitar/vocals/programming), and Clinton Cave (guitar/saxophone/vocals/programming)- recorded everything at home since their 2014 debut EP, Dalliance. Kicking things off is the conspicuous track, “PARANOID.” Quickly after the intro of the opening track ends, the band’s new sound of mixing elements of trap music into their R&B and psychedelic alternative pop comes out crystal clear. Over the hard-hitting beat, Mitchel Cave talks about flooding out his paranoia with alcohol and drugs. The band’s rock influence remains and comes into action to close out the track as drums flood in that weave with a marvelous guitar solo. On the boisterous trap number, “OUT THE ROOF,” the band flexes their happiness and hype side. Undoubtedly one of the most ambitious tracks to date. Chase Atlantic first made the instrumental for “OUT THE ROOF” and entirely freestyled the lyrics in the most natural way possible. Musically, “OUT THE ROOF” features heavily distorted, chugging guitar riffs with a bulky trap beat, and even uses Middle Eastern clarinet and flute to tie everything together. The fourth track, “SLIDE,” delves into a metaphoric, very personal domain filled with turmoil and immense honesty. The song is the Chase Atlantic that you may already know and touches on living a fast-paced, reckless lifestyle and its negative consequences. While also how they can spring back from any circumstance. “PLEASE STAND BY” is a straight-up hip-hop track with more striking beats and instrumentals. Additionally, it features hip-hop artists and frequent collaborators Xavier Mayne and DE’WAYNE. On the genre-bending track, “MOLLY,” the band slow things down with a more profound pop learning number and tackle the difficult decision of whether to hold on to a deteriorating relationship or to let it go, even though they hold this thing so dearly. Staying in the same lane as “MOLLY,” the following track on Beauty In Death titled, “CALL ME BACK,” is another brutally honest track that hears Mitchel asking for someone specific to call him back, who won’t return his calls either because they’re too busy or doesn’t want to. In the meantime, he’s upset and turns to substances to relax. Similar themes are touched on again on “EMPTY.” Lyrically, the band tackles the subject of falling back on drugs and using materialism as a form of an escape from reality, only to realize they never actually reached any feeling of happiness while owning everything they want and keeping their mind focused elsewhere. Chase Atlantic’s third album bows out with the mesmerizing title track, “BEAUTY IN DEATH.” The band takes you back on a trip with the final song, which is considerably reminiscent of The 1975. It’s the excellent blend of every element the band has ever blended to create their sound during their already storied career. Beauty In Death demonstrates an artistic force forward with its implementation of more hip-hop and trap beats to the fold. It showcases their constantly evolving songwriting that will pay off for Chase Atlantic in the long run. All of the outstanding traits of R&B, alternative pop, and rich saxophone solos all remain while they flaunt a new innovative side of themselves. The band is finally in a space to show off a bit, so that’s what they did with their brand new record. The members of the band also hope to inspire their audience emotionally, creatively, and physically. They desire to connect with their listeners of new and old further and want you to do just the same with them. Please stay in touch with Chase Atlantic by visiting their social media in the links provided below, and make sure to stream and purchase Beauty In Death when it releases on March 5th. Check out more from Chase Atlantic: Website | Facebook | Twitter | Instagram

Release Date: March 5, 2021 Genre: Indie Rock, Emo Label: Hopeless Records The Scranton, Pennsylvania-based indie rock/emo band Tigers Jaw formed sixteen years ago. Over the years, Tigers Jaw has undergone numerous changes to their creative ways and seeing changes to their lineup over those years. Tigers Jaw is now formed of vocalist and guitarist Ben Walsh, vocalist and keyboardist Brianna Collins, bassist Colin Gorman, and drummer Teddy Roberts. The band returned to their roots by writing and recording their sixth studio album -and their first for Hopeless Records. Music producer Will Yip, a longtime friend, and collaborator of Tigers Jaw provided his duties to produce the entire effort once again. In 2019 after a long, extraordinary stretch of touring, Tigers Jaw began work on their next album. During the writing, demoing, and recording processes of I Won’t Care How You Remember Me, the band returned to their roots by collaborating with all four members together in one room, a first for the lineup. On their previous album, spin, vocalists Walsh and Collins split the songwriting duties. Collaborating as a whole not only pushed the band as songwriters to write the best material they could possibly hope for, but it also strengthened their feelings about being in Tigers Jaw. The album begins with the title track, “I Won’t Care How You Remember Me.” The title track has Walsh handling lead vocals and features the backing vocal duties performed by Manchester Orchestra frontman Andy Hull. The song is mostly an acoustic number that’s incredibly heartfelt and emotional throughout. The song is about the importance of being straightforward and honest with the people in someone’s life. The second song on the album, “Cat’s Cradle,” is a fun synthy alt-rock track both written and sung by Collins. The song tells a story of a flamed-out friendship. No matter how much love, effort, and consideration you put into the relationship, sometimes it just isn’t enough to continue to make it work out in the long run. The track is a personal one for Collins. The tune is more about her thoughts and feelings from a friendship like this. She tends to suppress her feelings and be the one to apologize first. “Hesitation,” the third single and track on the album, describes that sinking feeling of you starting to sense that the person you love is beginning to drift away. “Hesitation” might be one of the album’s most reworked songs. It saw almost half a dozen reworks by the band during demoing before the band settled on the final arrangement. It’s just showcasing their new willingness to try new things. The most recent single, “New Detroit,” a folk rock-infused track, was first conceived while Tigers Jaw was on tour in Australia. The song reflects on when Welsh’s home life was in a tough spot, and it took away from the entire experience of touring abroad in Australia. On the album’s second single, “Lemon Mouth,” Collins gets incredibly personal and introspective. She explains feeling frustrated with herself, and on the search for a solution that doesn’t exist, but while discovering comfort and delight in familiar, quiet moments. I Won’t Care How You Remember Me closes out with “Anniversary,” a track about the band’s solidarity. The song serves as a memento of their professional unity, their love of performing music collectively, and the things that keep them learning and growing with one another. The band’s sixth studio album, I Won’t Care How You Remember Me, has them viewing it as a time capsule for everything they’ve been through over the past fifteen years as a band. The record tackles their growth as humans, self-reflection, and figuring out how to be in the present moment without being distracted by anyone’s opinions but their own. Additionally, with all the changes over the past fifteen years, Tigers Jaw remains writing and performing the music they want to make. Walsh, Collins, Gorman, and Roberts continue to propel each other to evolve further as songwriters and performers. Please stay in touch with Tigers Jaw by visiting their social media in the links provided below, and make sure to stream and purchase I Won’t Care How You Remember Me when it releases on March 5th through Hopeless Records. Check out more from Tigers Jaw: Website | Facebook | Twitter | Instagram

Release Date: March 12, 2021 Genre: Rock Label: Independent The Washington, D.C. five-piece rock band One Way Out have readied their next single, “Red.” Their brand new single was written in the early weeks following the initial COVID-19 pandemic and tackles all the various feelings and situations that the band and everyone in the world confronted during the lockdown, such as uncertainty, isolation, and self-reflection. Following the release of their single, “Black Lungs (and a Broken Heart)” on January 1st, the band plan to release “Red” nearly one year to the day after the lockdowns first began around the world, prompting the listener to reflect on their own experience over the last year over a blues-rock backdrop. Lyrically, “Red” is an immediate response to the COVID-19 pandemic as aforementioned, and it recollects the initial feelings and confusion surrounding the lockdown and the virus. Despite the negativity of the subject matter, the song’s hook emphasizes the influence of such a crisis to connect people throughout the world through the situation, with lines like “united by division” and “universal blurry vision.” The song also drew inspiration from a scene in the 1994 film The Shawshank Redemption. “A scene that really stuck out was when Andy Dufresne starts blasting opera for the whole prison. They were locked up and we were locked down, but music was giving us hope to get through it,” recalls guitarist Jake Schaefer. Musically, their new single draws influence from some of their favourite blues rock bands such as T. Rex and The Doors, to name a few. “Red” displays its roots with its bluesy chord progressions outlined by Giulio Iacoviello’s savvy bassline, Schaefer’s slide guitar, and keyboardist Ari Rubenstein’s smashing the keys of his piano. The band infuses their modern influence with sounds that include Josh Gaba’s screeching layered vocals, Geist Topping’s pounding drums, and distorted guitar through a talkbox effect pedal. Unlike their last single, “Black Lungs (and a Broken Heart),” which is reminiscent of a hard rock tune from the 1960s and 1970s, this new song takes a step down from the hard rock vibe, but the power it deals will still blow you away. “Red” is another taste of plenty to come from this young, up-and-coming rock band from Washington, D.C. The track once again demonstrates their widely appealing songwriting technique of blending their old and modern influences into one exciting track. Please stay in touch with One Way Out by visiting their social media in the links provided below and pre-save “Red” before it drops on all major music streaming services on March 12th here. Check out more from One Way Out: Website | Twitter | Facebook | Instagram | Bandcamp

Release Date: February 11, 2021 Genre: Indie-pop Label: Invittco Records The Ontario indie-pop artist Nano Talrose last month released his stunning, heartfelt second single, “Talk You Down.” Nano previously released his acoustic debut single, “Stay Quiet,” in August of 2019. Since that summer, Talrose has been working hard and keeping busy in the studio recording his forthcoming debut EP. Talrose hopes to make his listeners feel the true spirit of what it means to be human while telling stories of love and passion through his pop-infused anthems. “Talk You Down” was co-produced between himself and Damian Birdsey. Birdsey also handled the single’s engineering and mixing. On the lyrical side of “Talk You Down,” Talrose profoundly tackles mental health. Talrose uses his genuine lyrical and songwriting styles to get deep with the anthemic, immensely emotional track. The song’s powerful hook, “Your heart is all I know when I’m alone,” is all about reassuring your significant other that they are all you want and think about. “Talk You Down” was inspired after having multiple conversations with a best friend of ten years. Leaving Talrose wanting to write the song to set the standard of how you could help your significant other -or anyone for that matter- that has anxiety. “I wanted to write a song to set the standard of how you could help your significant other when they have anxiety,” states Talrose. “When you are involved with someone who is facing anxiety, overthinking, and worrying, you have to be aware that this mental state is not something they can easily control.” Musically, “Talk You Down” grows slowly with its subtle guitar before Talrose empathically begins singing out the words to this emotionally charged number. At the thirty-eight-second mark, the song’s hook and chorus first appear, and the track shows its emotional, anthemic self to the listener. The single has a fresh and modern indie-pop feel to it, and it gets this from a blend of Talrose’s influences in the likes of Bon Iver, James Arthur, Billie Eilish, Coldplay, and Harry Styles. “Talk You Down” runs three minutes and twenty-eight seconds. However, on my initial listen and now many, many more listens following, the track does not feel its length, and additionally, it just makes you itching for even more tunes from Talrose. “You have to be willing to read the signs to support them. Do not get defensive, upset, and cause arguments if they question things due to nervousness. No matter how many times your person needs to feel special, just do it and be understanding,” Talrose continues. “Remind your lover not to think twice about whether or not you love them because their heart and presence feels like home to you.” “Talk You Down” is just a taste of much more to come from this up-and-coming indie-pop artist from Ontario, Canada. However, you will be able to hear more from Talrose soon as he continues to finalize his forthcoming debut EP. The single demonstrates widely intriguing songwriting that brings a sense of deep emotion that’s close to Talrose personally -both in its lyrics and music. Altogether weaved in with a dose of upbeat spirit to the music’s backbone. This is just the start of a blossoming career for Talrose in pop music. Please stay in touch with Talrose by visiting his social media in the links provided below and make sure to stream and purchase “Talk You Down,” out now on all major music streaming services. Check out more from Nano Talrose: Website | Facebook | Twitter | Instagram | TikTok

Release Date: April 2, 2021 Genre: Alternative Rock, Pop Rock Label: Open Your Ears Records The Richmond, Virginia alternative rock/pop-rock trio Wild Truth are releasing their long-anticipated debut EP for Open Your Ear Records titled, Drift, on April 2nd, 2021. Wild Truth, made up of vocalist/guitarist Nick Gargiulo, bassist Will Beasley, and drummer Clayton Sargent formed in 2017, already knowing each other for over a decade while performing in numerous other bands such as mOcean, Amorella, and Lifewalker -all of varying genres. By forming Wild Truth, the three set themselves out for a fresh start and a way to begin to push their creativity to new heights. The producing and mixing duties on Drift are entirely handled by the band’s own Will Beasley. Wild Truth’s polarizing new EP starts off the track, “Pressure.” The intro’s mesmerizing delayed guitar riff plays out before a heavy bass presence to reveal a stripped-back sound, then the track’s chorus hits, and it’s all but up from here. The band’s songwriting quirks become apparent on “Pressure.” The lead single and the album’s second track, “No Filter,” is a rollercoaster of a tune with similarities to the previous number. However, what makes it stand out among the rest of the EP is Gargiulo’s vocal performance that’s almost identical to Fall Out Boy’s Patrick Stump. It’s an absolute shame “No Filter” is only two minutes and fifty seconds long. Additionally, “No Filter” was the first song Wild Truth wrote for the EP. The track came together organically for the trio, intending to have a song that you want to dance to but cry from at the same time. Keeping the pace, Wild Truth delivers an anthemic, insanely catchy number with the EP’s third track, “The River.” However, the band slows things down about a bit with the atmospheric title track, “Drift.” The song begins with an atmospheric effected guitar, but overall it’s led by a heavy bass line. The standout of “Drift” is the face-melting, effect-riddled guitar solo that hits you smack in the face near the end of the track. Drift ends off with “Back and Forth.” Once again, “Back and Forth” is led by a sizeable bass line from Beasley, relaxed guitar stylings from Gargiulo, and rounded out by pounding drums from Sargent that leads to the perfect ending to Drift. The entirety of Drift is about reflection and navigating the path to individuality. Something their new label helped the band achieve. Wild Truth has been riding a wave since their inception in 2017, but are now in the high tide. Wild Truth is just getting started, and I’m exceedingly interested to see what they will scheme up in their future music releases. Please stay in touch with the band by visiting their social media in the links provided below, and make sure to stream and purchase Drift when it releases on April 2nd. Check out more from Wild Truth: Website | Facebook| Twitter | Instagram

Release Date: April 16, 2021 Genre: Metalcore Label: Sleeps Brother / Spinefarm Records Sheffield, England’s metalcore giants While She Sleeps will release their fifth studio album, SLEEPS SOCIETY, on April 16th through their own label, Sleeps Brother in collaboration with multiple record labels worldwide to get the album in the hands of their fans. SLEEPS SOCIETY follows exactly where their previous album SO WHAT? left off, but still displays the band’s maturing sound. While She Sleeps recruited Simon Neil and Deryck Whibley to lend their talents to the album. SLEEPS SOCIETY was once again co-produced between the band’s five members and their long-time music producer Carl Brown. Brown has also worked with bands Bullet For My Valentine and Rise to Remain, to name a few. On October 15, 2020, in addition to the initial announcement of their fifth album, the band unveiled a subscription service called Sleeps Society through the Patreon platform. The band’s goal with the service is to create a sustainable model for artists and creatives to break from the traditional industry norm by building and developing a true interdependence between the band and fans. With the platform, fans can show their support by joining one of the various membership tiers, all incentivized by gaining access to exclusive content directly from the band to the fans. These incentives range across the board, including access to the band’s Discord server, access to unheard demos, full-album guitar and drum playthroughs, tutorials for songwriting, studio production, vocal techniques, art, branding, self-management, videography, early access to tour tickets, exclusive merch, and a whole lot more. The first five hundred members to join had their names included in the album’s liner notes. If you want to join the Sleep Society, you can do so here. SLEEPS SOCIETY opens with the massive five-minute opening number, “ENLIGHTENMENT(?).” The track begins with an organ-like rhythm, vocalist Lawrence Taylor valiantly speaking before the song explodes. Guitarists Sean Long and Mat Welsh go right to work with simultaneous guitar riffs and melodies, with drummer Adam Savage providing pounding drums right out of the gate. Over the song’s five minutes, the track grows with the band building on to it as it continues. First comes the anthemic chorus, second comes the impressive breakdown, and finally, the song culminates with a sizeable guitar solo that will leave listeners wanting more. The second song and the album’s second single, “YOU ARE ALL YOU NEED,” is anthemic as they come on this record. This banger is hard-hitting throughout, with a chantable chorus that will have anyone singing along. One of the heaviest and angriest tracks on SLEEPS SOCIETY follows “YOU ARE ALL YOU NEED” titled “SYSTEMATIC.” An industrial-like electronic intro leads to plenty of chugging guitars, powerful vocals, and a massive bass line from bassist Aaran McKenzie that seeps through the cracks of the song. However, while the song is one of the heaviest and certainly one of the angriest lyrically, its chorus is more than likely going to hook the listener right in. Things take a turn to a softer side with the third single, “NERVOUS.” The track tackles mental health head-on by drawing upon guitarist Sean Long’s personal experiences with anxiety. “NERVOUS” has a sense of emotion felt throughout, and you can tell hundredfold it came from a personal place. Additionally, the song features Simon Neil, the frontman of the Scottish rock band Biffy Clyro. “NO DEFEAT FOR THE BRAVE,” the album’s seventh track features Sum 41 frontman, Deryck Whibley. Right down to the core, “NO DEFEAT FOR THE BRAVE” is a typical While She Sleep song, and various instruments are immensely melodic, yet heavy. At times, the track sounds like a heavier sounding Sum 41 -something I didn’t realize I wanted until now. Which what sets it out among the rest of the songs on SLEEPS SOCIETY. The album hits its most sincere and emotional point on the following track, “DIVISION STREET.” The entirety of the number is performed solely on piano and hears many of the band’s members harmonizing their voices. Following that sombre number is the album’s lead single and title track, “SLEEPS SOCIETY.” Another electronic intro rings out then the chaos begins with massive guitars, bass, drums, and vocals all on display for this ambitious track. “SLEEPS SOCIETY” takes a little bit of everything you have already heard on the album and wraps it all into one extremely well-weaved number. The song’s big stand-out is the unique dueling guitar and synth near the end of the track. The penultimate track, “CALL OF THE VOID,” is heavy while still being on the lighter side. “CALL OF THE VOID” features some members of the band’s astounding fan base -that is also named The Sleeps Society. Closing the album is the “transmission,” “DN3 3HT.” It’s not essentially a song, but all fans and new listeners of the band need to hear it to understand what I mean by transmission. What I will say is, it’s a sincere thank you and admiration from While She Sleep’s five members, directly to their fans, either past, present, and future. Check out more from While She Sleeps: Website | Facebook | Twitter | Instagram

Release Date: April 16, 2021 Genre: Metalcore Label: Fearless Records Nearly a year since the release of the band’s ninth studio album, Lancaster, Pennsylvania’s metalcore quintet August Burns Red is sharing their newest effort, The Guardians Sessions EP features six tracks -two previously unreleased b-sides, two covers, and two reimagined tracks. Guardians Sessions will be released digitally on streaming services and physically on 10″ vinyl on April 16th via their label Fearless Records. Guardians Sessions opens with b-sides “Standing In The Storm” and “Icarus.” These two songs were recorded in September of 2019 when August Burns Red was in the midst of finishing up the recording of their ninth full-length album, Guardians. Drummer Matt Greiner opens up “Standing In The Storm” as his drums fade in before guitarists JB Brubaker and Brent Rambler hit you smack in the face with their immense guitar riffs. Overall, the EP’s first track is riffy while being quite melodic. Whereas “Icarus” is much more fast-paced and much more technical than “Standing In The Storm.” Additionally, “Icarus” sees the first time bassist Dustin Davidson has provided clean vocals to an original August Burns Red tune. “‘Icarus’ was a b-side from Guardians because it just didn’t fit the vibe of the album,” states bassist Dustin Davidson. “I’m happy that our fans can hear it now because it’s riffy and super fun to play on guitar. It’s the first August Burns Red song that I’ve sang on, and for fans of my side project, Best Case Scenario, I think you’ll hear the influence sprinkled throughout this one.” Following the two b-sides, August Burn Red shares two covers. The first being System of a Down’s hit song, “Chop Suey!” and the second a metalized rendition of the theme song to the hit HBO television series Westworld. Davidson once again provides clean vocals on the “Chop Suey!” cover. Following those tracks, the band shares new versions of “Paramount” and “Extinct By Instinct.” The two tracks from Guardians are both completely reimagined instrumentally and acoustically by the band. These last four tracks of the EP were all recorded in the summer of 2020. The band wanted to continue to be productive during the COVID-19 lockdowns. To do such, the band began work in March 2020 on the two cover tracks and two reimagined tracks you hear on the Guardians Sessions EP. “The Guardians Sessions EP was put together on the foundation of two songs: ‘Standing in the Storm’ and ‘Icarus,'” guitarist JD Brubaker explains. “Those songs were recorded in September of 2019, when we were finishing up our album Guardians. Both tracks got cut from the record, as we had too much material and they were the black sheep of the group. When all touring was shut down in March of 2020, we began working on a couple of cover songs and re-imagined versions of some songs from Guardians. Those songs were recorded in the summer of 2020. We wanted to be productive with our downtime and work on a project that would be fun for both us and our fans.” Check out more from August Burns Red: Website | Facebook | Twitter | Instagram