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Photo by: Sammy Rawal
Ten years ago, Keys N Krates first debuted their signature, one-of-a-kind sound. The Toronto collective – drummer Adam Tune, keyboardist David Matisse and turntablist Jr. Flo, continue to create music of a unique genre exclusive to KNK – a bass-centric, sample-driven sound, existing in the realms of electronic, hip-hop and beyond.

Their early sound succeeded in combining catchy, pitched up, chopped vocal samples with 808s which were reinterpreted into energetic live versions that earned the trio a reputation as one of the leading live electronic acts.

In 2018, their debut album Cura marked a musical shift for the band – with added elements of R+B/soul music, more dense instrumentation and catchy vocal-driven pop songs to their existing use of 808s, organic sounds, and vocal samples.

Following their 2019 release A Beat Tape For Your Friends, KNK is back with a brand new album. Original Classic delivers a diverse collaboration of sounds familiar to its predecessors with notable featured artists including Lido Pimienta, Haviah Mighty and Juicy J.

Like each of the group’s tracks, their upcoming album’s latest single “Pull Up” was inspired by a range of musical influence:

“We were channel-ing everything from baile funk and Miami bass, to Missy Elliot with this one. We were already in touch with Haviah at the time before making this. When we came up with the initial 'Pull Up' demo, we knew she would be perfect on it, and we knew it would be perfect to show how special she is as an artist.”


While their music itself is a solid listen, it’s Keys N Krates live show that truly sets them apart from other acts. From intimate venues to stadiums and festivals stages, their live performance and uniquely layered production style make them truly one-of-a-kind with a fusion of turntablism and live instrumentation presented with unmatched energy.

They kick off their headline tour on November 17 in Washington and continue across North America into the new year.

Q: Your music is a blend of electronic and instrumental components – how did your one-of-a-kind collective come to be?


Tune and Matisse are real musicians. Matisse is a classically trained pianist and Tune has been playing drums in bands since he was a teenager. Greg comes from being a DJ/turntablist. Naturally, we’ve always been a band with a fondness for nice chords and song structure and nice groove, but also samples and experimentation. We are all fans of sounds that blend the organic and synthesized. We never like anything to sound to clean, so it’s very natural to reach for violas, and harp and other orchestral things when writing our music.

Q: Can you tell us about the inspiration behind the new album Original Classic? 


This project has really been about us finding our place in dance music, which we know probably sounds weird coming from a dance act; but we think a lot of our past music has been either jump up and down music, or bob your head music. So, with this album we wanted to create something more groovy, that maybe belongs more in a dark club rather than a big festival stage. We’ve all been listening to a ton of world music, whether it be more modern club stuff like Baile funk, or disco, or soundtrack kinda stuff from the 70s, so there’s a lot of inspiration from that. We wanted the whole thing to have a bit of a tribal feeling to it, and a lot of that desire came from how we were seeing people dance to the earlier demos of the album that had that feel. When we saw people sort of entranced when dancing, we were all like, “ya this is the kind of world we want to create and play in.”

Q: Your new album features a lot of guests – including Haviah Mighty and Juicy J. How did these collaborations come about?


When it came to working with vocalists, it we just wanted to work with characters that had their own massive personalities but would oddly fit very well into this world we were trying to create. Haviah Mighty, we already knew and were talking with before we made the “Pull Up” demo. Once we made that demo and sat with it, we knew that it would be an amazing platform for her to be her in many of the ways she can be, and we knew those vibes would work so well with the mood we already had going with the tune.

Juicy J, we reached to through our label. We already had the beat and the hook written for “OG Classic”  and knew that bringing Juicy J on it would be sick because he kind of raps in chants already, which can sound very cool and anthemic on up-tempo stuff. We also knew that despite how at home he would feel on the record, that nobody would expect that from him. We love trying to make the unexpected record with someone. Something you would never expect to hear from them. That seems to kind of be our pocket.

Q: It’s been a decade since your first EP release, how has your music evolved since then?


Yes, a lot. We started as a hip hop cover band, and then transitioned into becoming this instrumental trap band, which seemed like an easy and obvious transition to us because we just really wanted to be a dance band but playing more hip hop inspired music. We were already starting to mess with that sound before that whole scene really even popped off in the U.S. We had already turned tunes live kit into all triggers and pads that had 808s. So, we made music in that genre for years which was really fun, but eventually we all were tired of being situated to just doing that, so we started messing with making more pop songs using our trap sensibilities but also our sample chopping and orchestral sensibilities that we had been kinda hiding. That was really what the Cura album was about. The beat tape that we released a year or so after that was kind of a passion project that wasn’t supposed to be an album. It was kind of like, “hey let’s chop up some samples and make a low pressure beat tape that pays homage to the techniques we are kind of employing to make this soulful poppy kinda dancey music.” We were just gonna put it on Bandcamp but than our management was like, “hey, let’s put this on Spotify” and we ended up being so proud of it, so we said, “yes let’s do that.” 

As much as we all loved the Cura album and the beat tape as departure records; we still consider ourselves a dance act and felt like we needed to find our place within dance music that really resonated with us personally. That’s really what this album was about.

Q: With a live show that sets you apart from other dance acts, what can fans expect from a KNK performance?


When doing our live show, we just always tried to give fans a fun dance party but headed by a band. Ironically, we aren’t doing our live show for the next little while. It will be all DJ sets which is actually new and exciting for us because we get to be more spontaneous, and really test new things as we make them. We are also really proud of our approach to the DJ set, because we really try not play music we hear other people playing for the most part. We’ve really gone out of our way to try and create our own vibe through mostly playing our own stuff and edits we’ve done of random obscure stuff we find that fits into our vibe. The set feels like our album. It’s fun and dramatic at the same time. We like to classify as emotional dance music sometimes.

Q: What are you most excited about, returning to live music?


Just being able to feel the human energy again. Being able to be in the same room as people dancing.

Q: What’s next for Keys N Krates?


Our album is rolling out, we are touring, playing DJ sets, and working on new music always


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Photo by: Floyd Gonzales
More than just a hip-hop artist, KTheChosen also lends his voice to spoken word poetry, gender equity advocacy and public speaking. The Calgary-based Zimbabwe-born multi-faceted musician just dropped his latest album +Vice. 

As a musician and activist, KTheChosen believes in the power of storytelling and uses his voice to share the experiences of those around him. Inspired by artists such as King Los and Kendrick Lamar, KTheChosen writes music that is both entertaining and enlightening.

For the album’s debut single “LONO” – a song acknowledging Canada’s National Day for Truth and Reconciliation, the ever-conscious KTheChosen worked with indigenous artists Dwight (Blackfoot) and Chantal (Cree, Ojibwe, Métis) to create a powerful track with a purpose. Proceeds from the single’s sales on Bandcamp were (and will continue to be) donated to Colouring It Forward – an organization that brings awareness to Indigenous issues through discussion with elders and arts and crafts such as journals and calendars.

From +Vice’s first single release to its most recent, the album is centered around themes of feminism, grief, loss, colonialism, relationships and allyship.

KTheChosen continues to create conscious and catchy content with his latest single and video release for “Her Anthem” – an exploration into the experiences of women in the music industry:

“I wanted to flip the common trend of hip-hop videos being focused on women and cars by having the same elements involved but in a narrative that focused on female empowerment. Our heist story draws inspiration from popular movies such as Kill Bill and Charlie's Angels as our three main performers use their cunning and fighting skills to obtain two mysterious boxes and a set of keys. The contents of these boxes are never revealed and will be explained in a future music video. This video was also an opportunity to give back to our community by filming in local businesses and promoting their locations at the end of the video.”


The single and video features Calgary artists Bvitae, Dorsa Lena, ZHE The FREE. It was directed and filmed in downtown Calgary in some of the city’s best local spots including 10th Street Boxing Kensington, The Urban Shave and Kaffeeklatsch with local artist Tyler Lemermeyer's pieces displayed inside.

Along with his valiant efforts within the music industry, KTheChosen shares his wisdom through his roles as an Ambassador for Science Genius – a program co-founded by GZA of the WuTang Clan, teaching youth how to rap and create songs using content learned in their science classes – as well as the teacher of a three-part workshop for Antyx Arts, mentoring teenagers on freestyle rap and the importance of storytelling in music and marketing.

With a brand-new album out and more accompanying visuals on the horizon, KTheChosen looks forward to releasing new music and immersing himself in more social activism opportunities in the coming year.

Q: Your brand-new album +Vice just dropped, can you talk about some of the prominent themes and inspirations behind its content?


The album focuses on ideas of grief and mental well-being as I had time to think about these two topics over the pandemic. I found a lot of the conversations I was having with friends and family were about lost ones and the uncertainty of the world we're currently living in. I felt it was important to look at how we can address the root causes of poor mental health and how to cope with grief.

Q: Your latest music video for “Her Anthem” flips the script on a typically male-dominant culture. What is the story behind the visuals?


The album revolves around a female character and so I thought it was important to have one song that was purely from the perspective of female identifying artists. When it came to putting the music video together, we knew it had to be empowering but also fun and entertaining. My director, Rome, and I figured that it would be really cool to have pop culture references in the video and decided to follow inspiration from movies like Kill Bill and Charlie’s Angels. With the album also revolving around the community and checking in on those around us, it was important that we reached out to local businesses to be included in the video. Rome and I spent a day going to businesses and pitching the idea of this video. In the end we ended up having a box gym, a barber shop and coffee shop which gave us a lot to work with story-wise. Fadi, the owner of The Urban Shave Kensington, was also kind enough to lend us his classic, Monte Carlo which was a beautiful touch to the aesthetic of the video.

Q: Lyrically +Vice dives into topics including feminism, grief, loss, colonialism, relationships, allyship and more. As an advocate, how important is it for you to create conversation surrounding these issues?


I feel a lot of these topics are interconnected as quite often when we look at things like mental health they are tied to how we navigate our day-to-day lives. One might be experiencing sadness or stress from the fact that their social life is not be well-balanced or they may be having a hard time financially due to systematic barriers. I felt discussing these root causes would inspire conversations for change within my different audiences and help those most affected feel heard.

Q: How did your collaboration with Bvitae, Dorsa Lena and ZHE The FREE come about?


I've known all three for a fairly long time, as we’re often at the same shows or events together. I pitched the idea to ZHE The FREE first as I’m closest to her. I got her input on the best way to approach the song and then reached out to Dorsa and Bvitae. I appreciated that they each brought a different style and perspective to the song which makes it such a powerful collaboration. We discussed different ideas over Zoom then met in person to record once lockdown restrictions allowed us to.

Q: Thinking back to +Vice’s first single “LONO.” Can you tell us about the track’s Indigenous themes and accompanying fundraising efforts?


I feel Canada still has a lot to correct in terms of its relationship with the original owners of this land and the land itself. However, for many, the curiosity may not exist until they experience it in a more accessible form such as music, visual art, or any other creative format. I made “LONO” to nudge people to do their own work to learn about and support Indigenous folk. The metaphor of the children’s playground simplifies the story of colonialism but also illustrates how the process affected generations of people because of the greed of “the big kids”. Dwight and I often rap together at cypher club (a weekly freestyle community event hosted by ZHE the FREE) but we had never worked on a song together. I pitched him the idea and he gave me great feedback on how to approach the topic respectfully and wrote an amazing verse on the financial impact of the treaties. Chantal then came to the studio and improvised some drumming and singing for use on the bridge and to end the song on a powerful note. Having both artists was important to me because I admire their talents and their impact in the community. They also bring a range of perspectives with Dwight being male and Blackfoot and Chantal being female, Cree, Ojibwe and Métis.

We created a BANDCAMP CAMPAIGN in support of COLOURING IT FORWARD, an Indigenous organization that brings awareness to Indigenous issues through discussion with elders and arts and crafts such as journals and calendars. Every purchase of the song on Bandcamp was (and will be) donated to Colouring It Forward.

Q: You use your music to advocate and teach – can you talk about your involvement with the Science Genius and Anytx Arts programs?


Teaching has been one of the most rewarding parts of this year as it is interesting to learn about your own craft when trying to educate others about it. With Science Genius, I got to teach kids how to write songs about the topics that they were learning in class (grades 7 and 9) which was a fun experience. You immediately realize that some kids are just as academically smart as they are creative and how important it is to provide opportunities for them to explore all their talents. With Antyx Arts, I held three weekly workshops on branding and marketing in between freestyle sessions on Zoom. These online workshops were with an older age group (youth aged 15-18), so it was interesting to hear the vulnerable lyrics that came out in our freestyles but also the interest in how to build themselves as artists. With both experiences I felt honoured to impart my knowledge on future artists.

Q: Sticking with the name of your latest album, what is the best piece of +Vice you’ve been given – personally and/or professionally?


“You can't please everybody.” This can be a hard lesson to learn as an artist because you want your music to be for everyone when it's more important to focus on the core message of the music and the group that you're trying to reach with said message. Trying to appeal to everyone dilutes the art and the intention gets lost.

Q: What’s next for KTheChosen?


+Vice is doing really well so far so I plan to continue working on building the world around the project and create more visuals (both music videos and short films). I also have new songs that I'm working on for the new year and more educational and social activism initiatives that I’ll be a part of in 2022.


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Photo by: Brendan Meadows
Snotty Nose Rez Kids explore Life After a global pandemic with their aptly-titled forthcoming album.

Originally from Kitimaat Village, British Columbia, the Vancouver-based duo's fourth full-length release was born from personal experience – navigating the highs and lows of the past few years. From the release of their 2019 album TRAPLINE to playing 100 shows in that same year; nods and wins for various awards (WCMA's, JUNOS, Indie's, Polaris); and landing their first 23 city headline US tour, Darren “Young D” Metz and Quinton “Yung Trybez” were elated with the expectation of a breakout year ahead in 2020. 

Instead, the pandemic derailed their tour plans, stunted the release of their EP Born Deadly and amplified a feeling of isolation within their Indigenous communities. What came from 16 months of solitude – as Yung Trybez recalls, was an opportunity to reflect, recharge and turn a dark time into an enlightening hip-hop record:

“I guess this album is kind of just letting people know that there is more life after traumatic experiences and it took this pandemic for us just to kick those emotions into gear.”


With a title meant to be an unfinished phrase with multiple possible meanings, Life After is centered around the concept of what comes next – Life After a pandemic, depression and loss, opening a conversation on themes of  addiction, mental health, family struggles and racism. While the meaning behind the album is deeply personal to SNRK, they hope listeners can personalize the meaning for themselves and their own experiences as well.

The album’s most pertinent lyrics involve the duos’ relationship to Canada and religion – both of extreme significance, given the recent uncovering of unmarked graves across the country. With Canada recognizing the first National Day For Truth and Reconciliation, SNRK recognize the small steps we are taking as a nation but Young D reiterates that there is so much more that needs to be done.

“We weren’t asking for a holiday; we were asking for truth and reconciliation. Before we even talk about reconciling, we need to acknowledge the truth.”


Echoing the need for real change, Yung Trybez wants to see supporting action behind spoken promises:

“I think it comes from a higher up. I think the communities that don’t have drinking water need clean drinking water. It’s a human right to have that and it’s kind of embarrassing that we don’t.”


Though deeply personal and consistently conscious, it wouldn’t be a SNRK record without anthemic beats to keep peoples’ spirits up. From start to finish, Life After continues to deliver music that moves you and simultaneously makes you want to move.

“We just make music for our people and something that they can listen to and feel good – make them feel good about themselves and who they are and where they come from and hope that it teaches other people that aren’t from our community a little bit about us.” (Yung Trybez)


With a fresh album, new music videos and tour dates booked until the end of 2021, Yung Trybez and Young D are back and looking forward to what's next.

Q: After the past two years, Life After comes as a vastly relatable collection – what in your own lives inspired the tracks?


Young D: I mean, it was just going through the pandemic. Before that, we were living a pretty fast-paced life – we were travelling damn near every week and we had a hell of a year lined up in 2020 and all of that changed – just shut right down when the pandemic hit. It was basically us having to deal with everything that we’ve been avoiding – whether it’s spiritually, mentally, emotionally, because when you’re on tour it’s just go, go, go, go all the time, right? But this one had us actually sit down and dig deep with the stuff we’ve been ignoring and that’s how this album came about.

Yung Trybez: We look at the pandemic as a pretty traumatic experience, especially when it comes to artists like us where music is our life and we need people to be involved – coming to shows and stuff like that. So, for us it was pretty bad news to have this pandemic come through. As far as the career side of it goes, it put us to a really fast stop. It felt like it was going to end our career for a second there. I guess this album is kind of just letting people know that there is more life after traumatic experiences and it took this pandemic for us just to kick those emotions into gear. Also, for this whole album – like Darren said, we got to sit down with our emotions and our feelings and ourselves and really deal with shit that we never dealt with in a long time – stuff from our past and growing up. We got to deal with that through this pandemic. There were some pretty dark times and we were forced to reflect on those experiences that we’ve had. Whereas – if it wasn’t for the pandemic, we might not have had to face that because life was so fast-paced, you could just ignore all that.

Q: With content born from difficult topics and personal lows, to what can you credit your resilience and ability to turn negative experiences into solid and insightful hip hop music?


Young D: Family and community. Even throughout the pandemic, we were able to still do music even though it kind of knocked us on our ass the first little while. Once we got a better understanding of the pandemic, we really just relied on each other, we relied on our family and our community.

Yung Trybez: You said it perfectly there, we fell back on small circles and worked with a lot of close friends on music, my friend Nimkish made an album and we hung out a lot. We have our partners out here that we got to spend a lot of time with, whereas we never would’ve gotten that opportunity if we were touring. So, we did take it with a grain of salt and tried to make the best of it because who knows when the next time we’ll get to spend this much time at home is. That kind of got us through it too.

Q: Your latest single is called “No Jesus Piece,” can you talk about the meaning behind the track?


Young D: That song came about last year and we just started thinking about where we’re from and with everything going on this year with the unmarked graves getting discovered. As we grow older, we continue to evolve and grow into ourselves that much more and we just wanted to rep where we’re from, you know? Where we’re from – yeah it’s cool, we rock chains too but sometimes I just prefer my copper shield. It’s just repping where we’re from and we know that there’s people that aren’t going to like us for whatever reason – even if it’s just us being us or whatever the case may be, but we’re still going to be ourselves.

Yung Trybez: It’s just us being true to who we are.

Q: Your Indigenous roots are consistently at the forefront of your music and your message, how important is it for you to use your art as a means of representation and education?


Young D: It’s everything. We do what we can – we’re still learning, we’re still growing when it comes to our culture and our traditions and our language, it’s who we are. We just want to be able to let the youngins know – and every generation coming after us, to be proud – be loud and just be who you are. Love the skin that you’re in.

Yung Trybez: We never really had a lot of artists like us growing up – at least not that we knew of. We just make music for our people and something that they can listen to and feel good – make them feel good about themselves and who they are and where they come from and hope that it teaches other people that aren’t from our community a little bit about us. When we make our music, we paint our own picture and tell the story the way it was meant to be told and if people can tune into our music and enjoy it, that’s even better for us. First and foremost, our music is for our people and anyone else who is onboard with us, we’re open arms.

Q: This year, Canada recognized the first National Day for Truth and Reconciliation, how do you suggest we can demonstrate genuine and purposeful allyship to help create real change?


Young D: That day was a step in the right direction, but it was the tiniest of baby steps in the right direction. We weren’t asking for a holiday; we were asking for truth and reconciliation. Before we even talk about reconciling, we need to acknowledge the truth – the truth comes before that. What came with that was, some people did take the time on that day to say “I’m going to sit down, I’m going to read, I’m going to educated myself” and there’s other people that were like “hey, long weekend.” It’s a step in the right direction but it’s the babiest of steps.

Yung Trybez: I think it comes from a higher up. I think the communities that don’t have drinking water need clean drinking water. It’s a human right to have that and it’s kind of embarrassing that we don’t. For the communities that don’t, they need that and I think we just need to start seeing action when things are being said. So, everybody that’s fighting on the front lines of Wet’suwet’en territory out here and fighting on the pipelines and stuff like that, I think we should be looking at supporting them more and having more allies out there with them.

Q: Are there any stand-out Canadian-based resources or non-profits surrounding indigenous rights and causes that you can suggest checking out?


Young D: Tiny House Warriors. The troops out in Wet’suwet’en.

Yung Trybez: Wet’suwet’en Strong. There’s stuff going on on the island too with the loggers and cutting down trees on the land. There’s many from coast to coast.

Q: With live music finally coming back and a SNRK tour happening, what can fans expect from a live performance that can’t be achieved digitally?


Young D: It’s just getting to have that interaction with a live audience. Throughout this pandemic, a lot of artists like ourselves have done live streams or pre-recorded live stream shows – which is cool but not the same as having the crowd. Feeding off the energy the crowd gives you or vice versa – they feed off the energy that we give them. I can’t speak for anybody else but I know personally, I kind of took that for granted at the end of 2019 but coming out of this pandemic, we aren’t taking shit for granted anymore.

Yung Trybez: I find a lot of SNRK shows – for people that have never been, are a lot of energy. We put a lot of pride into our sets. I feel like a lot of our music has been curated towards coming out for live shows and bringing that energy. When we put together setlists – like we’ve been putting together this last week, it really is something special. It’s us showing you a piece of who we are.


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Photo by: Lee Zavitz
Canadian pop singer-songwriter Scott Helman pushes creative boundaries on new song “Pretty,” out on Warner Records.

An accompanying music video directed by longtime collaborator Ben Knechtelv premiered, putting Scott on full display in a pulsating solo performance – experimenting with dazzling makeup and flowing outfits – as he explores and searches for what it takes to feel confident.

“This song was a big step for me in exploration and limits. I wanted to take myself as far as I could down the line of ‘uncomfortable’ while still maintaining what feels like me. Ultimately, I thought it was such a special thought – the idea that someone can be so beautiful that you just want a bit of them to become part of you. In that thought, there is so much beauty and humour – the transcendence of traditional gender roles, the flirt, the strangeness. That’s what excited me about our initial demo, and what continues to excite me now.”


“Pretty” is the second track to be released from Scott’s forthcoming project, due out next year, following the summer release of the angsty anthem “Old Friends.”

Scott Helman has established himself as one of Canada’s leading singer-songwriters. Since the release of his breakthrough 2016 EP Augusta, the seven-time JUNO Award nominee has dominated the Canadian music scene with his 2017 debut full-length Hôtel de Ville and 2018 EP Hang Ups, earning three platinum and three gold certifications to date, plus collaborations with Alessia Cara and Hunter Hayes, as well as tours with the likes of Tegan and Sara, Shawn Mendes, Vance Joy, Walk Off The Earth and Dean Lewis. Earlier this year, Scott was selected as a panelist on CBC’s Canada Reads, following the release of his sophomore album Nonsuch Park (sa), which featured the explosive gold-certified lead single “Wait No More,” the #1 most added song at Canadian radio upon its release.

Since 2019, Scott has invited his fans to sign a document he named the Evergreen Manuscript, an effort to draw attention to the climate crisis and help cut global greenhouse gas emissions in half. Scott collected nearly 1,000 submissions, and through his “MayDay” initiative – which was lauched during the COVID lockdown – is encouraging fans to help deliver the document to politicians and corporate leaders around the world.


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Photo by: Mary Chen
Grammy Award®-winning singer-songwriter Alessia Cara releases highly anticipated new album In The Meantime and reveals new video for “Best Days” today via Def Jam Recordings/Universal Music Canada. Alessia launches her third album tonight with a performance of “Best Days” on NBC’s The Tonight Show with Jimmy Fallon, a performance at the star-studded 10th annual Global Citizen Festival, a 24-hour broadcast from New York, Los Angeles, London, Paris, and other locations across six continents. On Monday, she will return to Good Morning America for another performance of “Best Days”.

In The Meantime’s release was heralded by two new songs released together on July 15th. "Sweet Dream" debuted on BBC1’s flagship program hosted by Annie Mac, while the video made its global broadcast premiere on MTVLive, MTVU and across MTV’s global network of channels, as well as on the Viacom Times Square billboard. The "Shapeshifter" video (for which Alessia put her acting chops to the test in the role of the scorned wife, the cheating husband, a private investigator, the gardener, and the maid!) premiered one week later on CBS This Morning, along with an exclusive interview of Alessia by Anthony Mason.

During that week Alessia, known for her pitch-perfect, emotionally charged television performances, turned in stellar renditions of "Sweet Dream" (SC) and "Shapeshifter" (SC) live from Niagara Falls on CBS’s Late Show with Stephen Colbert. She reprised “Sweet Dream” two days later on ABC’s Live with Kelly and Ryan.

As In The Meantime arrives, Alessia’s one-of-a-kind voice and powerful performance chops are in high demand on a number of high-profile projects. For the Metallica Blacklist tribute box-set (released last week), Alessia joined all-female Mexican power trio The Warning for an atmospheric new cover of “Enter Sandman.” For the animated feature film, PAW Patrol: The Movie™ (unleashed last month), Alessia co-wrote and sang the inspirational “The Use In Trying.”

Most intriguing of all for Alessia’s fans is Adult Swim’s much-buzzed animated series Blade Runner: Black Lotus, upcoming this fall. The opening title sequence will debut Alessia’s new original song, “Feel You Now,” which she sings (and co-wrote with Grammy®-nominated producer Michael Hodges), as we are introduced to lead charac­ter Elle, a young woman seeking to exact revenge on those who have wronged her, to understand her own identity, and to uncover the mysteries of her past. “Feel You Now” will be released this fall via ASG/10:22PM/Def Jam Recordings. In the meantime, watch the Blade Runner: Black Lotus opening/"Feel You Now" title sequence HERE.


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Photo by: Sterling Larose
Tristan Norton and Martin Kottmeier – collectively known as Young Bombs, close out the summer with a brand new anthemic electronic banger.

The Vancouver duo’s first major single release – “Summer in Brooklyn,” follows four years worth of remixes. The new track – which recently became the #1 most added song to Canadian radio, features Los Angeles singer-songwriter JORDY – a collaboration that came together very quickly via TikTok.

“Sometimes it’s a longer process – we’ll look for features and then we’ll go meet them in the studio and then we’ll record them but this just kind of happened pretty much overnight. The power of the internet is crazy.”


Prior to creating original tracks in 2019, Young Bombs became well-known (and sought after) for remixes of popular songs from the likes of Lady Gaga and Selena Gomez to Billie Eilish and Post Malone. To-date, they have amassed over 100 million streams and hope to continue to build up an already impressive fan base.

“We’d been working on our project all along, but we finally got the sound to the point where we felt like we could make a statement. We were able to make something that spoke to us lyrically, melodically, and emotionally.”


Currently on tour in support of their new music, Young Bombs have already delivered electrifying and one-of-a-kind live performances around the world including Lollapalooza, Ultra, Firefly, Billboard Hot 100 Festival and opened for The Chainsmokers, Galantis, Diplo and Alesso while attracting attention from Tiësto, Oliver Heldens, and Don Diablo.

Keep an eye out for the upcoming accompanying music video for “Summer in Brooklyn” and more new music in the coming months.

Q: For someone unfamiliar, who is Young Bombs?


M: Electronic duo from Canada – born and raised in Vancouver. We make anything from house music to trap to future bass. Tristan, you want to add?

T: We are big fans of The X Files from the 90s and the TV show Beverly Hills 90210. What’s another show we like?

M: Baywatch.

T: I would say Baywatch is top 10 but not top 5 but it’s definitely in that legendary area for me. And we like our coffee a lot.

M: Yeah, we like our dogs and our coffee.

T: Three cups minimum a day.

Q: What made you decide to shift from making remixes to making original music?


T: I think we always wanted to make our own music but we wanted to grow our fanbase and thought the best way of doing that would be making remixes of popular songs that already a lot of people knew. Once we started gaining traction on SoundCloud and HypeMachine and people started noticing us, we thought that would be the best time to give them the originals. So, we had an audience ready to go who wanted to actually listen and care about what we were putting out.

Q: You’ve remixed a lot of big names, are there any artists you dream of featuring on your songs?


M: Oh, there’s definitely a bunch. Oh my god, where do you even begin?

T: I feel like every week there’s a new artist we discover that we’re obsessed with. I started getting into that UK garage stuff recently or even like the grime stuff like Stormsy – and that would be so rad to collaborate with a guy like him, so talented. But then there’s acts Martin and I have loved forever. One of the first groups we really loved when we first got into this was MGMT, so maybe doing something with them – that would be like a bucket list thing. We love so much different music as well so it’s really hard.

M: Anything from the singer of Kings of Leon to Kanye.

T: Bjork. FKA Twigs. That’d be cool.

Q: How did your collaboration with JORDY come about? Can you tell us about your latest single 'Summer In Brooklyn'?


M: It was pretty wild how that actually came together. We’d been sitting on this instrumental that we were really excited about and we just hadn’t got the right vocals for it or the right singer. We just kind of decided to do a very COVID/2021 thing and put it on TikTok and let people duet to it. We actually had some really good responses – so many talented people out there. One that just knocked our socks off was JORDY – he just crushed it.

T: Martin’s socks actually fell off. They went flying across the room. 

M: They were ankle socks, they just –

T: The elastic broke and they just shot through the sky.

M: He blew us away and he’s pretty spot on with his takes. He’s super talented. We asked him to go cut it in the studio and we basically got the stems that same night or the next day and we already had the instrumental made, so we just put it together. It being summer in Brooklyn, we’re like “shit, this has to come out ASAP.” It is a reminiscent song, you’re reminiscing over the summer. So at the end of August, we thought that it would be perfect to put the song out. I don’t think we’ve ever had a song come together that quickly. Sometimes it’s a longer process – but this just kind of happened pretty much overnight. The power of the internet is crazy.

Q: You just kicked off on tour, what can fans expect from a live Young Bombs show?


M: Lots of energy.

T: A lot of socks flying through the sky. Everybody’s socks are gonna get knocked off.

M: Some people use confetti and CO2 and stuff but we use sock cannons.

T: The great thing is – if you’re a fan, you get to leave with a bunch of pairs of socks so you don’t even need to go to Walmart anymore or wherever you buy your socks. We provide them for the fans.

M: But for real – lots of energy, we love to have a good time.

T: A lot of energy and we like to mess up our songs a bit. So we’ll take another vocal from a song and throw it over one of our instrumentals or vice versa and we’ll take a vocal from one of our songs and put it over someone else’s beat. It can be super unpredictable and that’s the cool thing about live shows, you get something that’s not out there on Spotify or SoundCloud, which makes it unique to the show. It makes it enticing to come see us live.

Q: What has been your best festival experience to-date? Are there any festivals you’d like to play?


M: A lowkey one that we didn’t expect – I mean, we’ve played Lolla, Firefly, Shaky Beats; a bunch of these big American festivals but we played Festival D’ete in Quebec and it was the craziest crowd, the biggest crowd we’ve ever played for. It was wild – would love to do that again. That was a surprising one. I think one that we both would love to do and has always been on our bucket list is Tomorrowland. I think being electronic artists, it’s kind of like the holy grail of music festivals for dance acts.

T: I agree. When we started, we would watch Aviccii and Swedish House Mafia and all those guys play Tomorrowland and we were just like “one day we will be there” and we’re still saying “one day.” Hopefully that day comes soon.

Anything you want to share or add? 


M: We are on tour, so please check out our tour dates – on our Instagram and across all our social media. We do have new music that’s going to be coming very soon.

T: We just finished the “Summer in Brooklyn” music video. It’s probably the funniest video we’ve made so far. It will be dropping in a week or two – I don’t know if we have an exact date but keep looking at our socials. We just dropped some behind the scenes photos, so we’re slowly teasing it out. We’re very excited about it.



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With her first two singles of 2021 already making waves, breakout pop sensation noelle is back with “Seasons Change,” a jazz-infused track that provides the perfect soundtrack as summer cools into fall. Available today via all streaming platforms, “Seasons Change” is the third of four singles to be released by the songstress, ahead of her debut album early next year released via Wax Records / Universal Music Canada.

Written by noelle years ago in her bedroom, “Seasons Change” came to life when the young artist partnered up with producer Anthony Wright. Showcasing her immense talents as both a songwriter and vocalist, “Seasons Change” highlights a new sound born of noelle’s many musical influences, while perfectly capturing those feelings of first love.

“This song really shows off my passion for old jazz, one of my favourite styles of music. It’s about falling in love with someone who isn’t ready yet, even when you are.”


The video for “Seasons Change” is also out today. Filmed at the Sanderson Centre for the Performing Arts, noelle showcases her vocal repertoire while embracing a love for old-hollywood style cabaret that perfectly pairs with the jazz beat of this new track.

Raised on the Tyendinaga Mohawk Territory in Ontario, noelle’s upbringing exposed her to a vast range of musical genres, from Nat King Cole and Sarah Vaughan to the powwow drum and native wind flute of her Indigenous roots. At just 20 years old, noelle has been singing since she was barely old enough to walk. Initially finding her footing through YouTube, noelle amassed a following of 94K+ subscribers resulting from her viral covers of timeless classics and today’s biggest acts. Expressing her thoughts and emotions at her piano, noelle began writing her own music as a therapeutic form of self-expression. The artists whose words she once personalized through her covers, soon became the major influences behind her own music.

Co-signed to Wax Records and Universal Music Canada, the country’s leading music company, noelle was recently chosen as part of the Spotify RADAR program, which looks to support and grow notable, up-and-coming Canadian artists on the platform. She will continue releasing more new original music throughout the year, leading up to her debut album in early 2022.


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Photo by: Stephanie Montani
After more than a decade, Stereos is back.

The Edmonton pop-punk band was founded in 2006 and first gained notoriety from their 2008 appearance on MuchMusic’s disBAND. Their self-titled debut – featuring not one but three platinum singles, garnered instant success and a massive fan following. Stereos continued on a rapid incline, releasing their second album Uncontrollable and touring relentlessly in 2010.

With their first album in over ten years, the freshly-reformed group present a new sound, looking not only to evoke a sense of nostalgia in fans but also provide a platform for their individual music talents. Featuring original members Patrick Kordyback, Miles Holmwood and Robb Chalifoux with Aaron Verdonk, Cheap Thrills finds the band expanding on their signature sound.

The first track Kordyback wrote following the band’s 2019 sold-out reunion shows in Toronto and Edmonton, “Sunset Gold” – a song about the band getting back together in the package of a love song, was released in 2020 to give fans a glimpse of what was to come from the re-banding. 

Like “Sunset Gold”, Cheap Thrills’ tracks “Look Good” and “Glory Days” also have personal dual meanings:

““Glory Days” is a kind of a tongue-in-cheek nod to the fact that some people will look at the band reforming and say, ‘You’re just trying to relive the old days. You miss being the centre of attention.’ But to me, it’s like… You know how American Thanksgiving is notorious for everybody going back to their hometown, drinking at the same bars they used to, and hanging out? That’s the vibe we wanted. That’s how it was with Stereos every time we toured; seeing old friends and musicians we knew from the road, being in town for one night, and telling the same stories we told a million times.”


Though Kordyback pens Stereos’ tracks, the new album holds significance for the entire band. For Kordyback, it was dealing with the end of his marriage. For Chalifoux, it represents the light at the end of a difficult tunnel – navigating addiction recovery over the past ten years. For Verdonk, an unexpected life shift highlighted his need to go all in, betting on himself and the band and personally financing some of the album’s early writing trips. For Holmwood, a never-fading sense of unfinished business that couldn’t move forward without his bandmates on board.

It was those sold out reunion shows back in 2019 that truly ignited the band’s desire to return to their music:

“It’s not lost on us that you don’t get to do what we’re doing right now – you don’t get to leave the music industry and then come back and give it another go – but for some reason, we’ve been given that opportunity from people who we meant something to. Those shows were a game-changer – they led me to write new music for Stereos, and to the band and myself falling back in love with music again.”


Their reignited passion resulted in a record that’s new and compelling from start to finish, channeling the band’s signature sound and influences while never letting go of their well-known (and loved) pop sensibilities. Cheap Thrills – like it’s predecessors, defies a straightforward genre categorization:

“We’ve always mixed and mashed up sounds and genres you don’t necessarily hear together. But on this record, we really wanted to capture the sound of the band live, and I felt like it had the freedom to put all my influences and experiences into a final product that I hope will speak to literally anybody who hears it.”


Cheap Thrills is an album reminiscent of old times while cognisant of the present and hopeful for the future. A pleasant surprise for fans, eight years following their permanent disbanding – or so they thought.

Q: Being on a hiatus for quite some time, what ignited and initiated your reunion?


Back in 2019, we decided to jump on the opportunity to do a 10-year reunion show in Toronto. At the time, we felt like it could be a nice way to finally say goodbye properly to all the fans because our break up was kind of out of nowhere. When that show sold out, we decided to do one more in Edmonton and that show also sold out. From there, we’d caught the bug again and decided we needed to give this whole thing another shot.

Q: Tell us about your latest track “Glory Days”:


“Glory Days” is a song about celebrating all the great memories people create with the people closest to them. For me, it was a song about our band, because we’ve seen each other grow so much over the years and have so many amazing shared experiences. But I do think it’s a theme everyone can relate to within their own circles for sure.

Q: The new song is a reminiscent of old times, what's a standout band memory?


It’s very hard to narrow it down, but one of my favorites will always be the first time we came home to Edmonton after seeing some success and selling out the Starlite Room while also being presented with our first gold plaques. It had some added meaning because that venue used to be called the Rev, and it was the exact place where I saw the band AFI in 2000 and decided on the spot to stop playing sports, stop skateboarding, and put everything into music.

Q: You guys previously released “Look Good.” What was the creative process behind that single?


“Look Good” was 100% our desire to put out a feel good song about self-love and positivity in tough times. This last year has been so challenging for everyone and I’m definitely no exception there, so an up-tempo dance track with an undeniably positive vibe felt like the move.

Q: What can listeners expect from Stereos’ forthcoming album Cheap Thrills?


I think this album is going to be crazy. It’s definitely hook-driven pop music, which is exactly where we love to be, but I think we decided to draw outside the lines quite a bit with lyrical themes and even different genres. I can’t wait to put it out!

Q: Being launched into the Canadian music scene back in 2008 via MuchMusic, how have you seen the industry evolve over the last decade?


It’s honestly a completely different reality altogether with the way people seek out and consume music. At the end of the day, I believe the best songs will always give you a great shot, but there are just so many different outlets to explore when trying to get yourself out there. But I also think that’s very positive, the more platforms people have to express themselves, the better.

Q: Since your debut on disBAND, Stereos very quickly amassed a huge fan following – what can you say about the fans who have been there since the beginning?


I feel like I cannot overstate how much the fans mean to us. And I know every band feels that way or says that, but for us to disappear for 8 years and have all these amazing people so excited to hear what we’re doing next is a blessing that’s hard to put into words. They’re everything to us.

Q: What’s next for Stereos?


We’re going to be releasing more and more new music until it’s time for the best part – tour and meeting all the fans!


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Photo by: Lane Dorsey
Juno Award-winning, powerhouse rock duo Crown Lands – Cody Bowles (vocals and drums) and Kevin Comeau (guitar, bass, and keys) – are proud to announce, “The Big Wave Tour,” kicking off this October. 

The band’s first headlining tour will be a 13-date cross-Canada tour with Skye Wallace joining as support. Tickets will be available on Friday, July 16 at 10am local time on Crown Lands’ website, here.

Commenting on the tour announcement and returning to live shows, Crown Lands note:

“This is the biggest moment in Crown Lands history: our first headlining tour. ‘The Big Wave Tour’ takes its namesake from the opening line of ‘White Buffalo’; ‘The Big Wave has come to wash away the ancient world.’ Live music is back. We are here to push the boundaries of what two people can create together. It’s been a hell of a year and we are emerging out of our musical cocoon better for it. The musicality and the production will set new bars across the board. We promise. We’re excited to have Skye Wallace as our special guest each evening. She and her band deliver true rock n' roll.”


The tour announcement follows the release of two new tracks, “White Buffalo” and “The Oracle,” which Crown Lands shared last week through Spinefarm Records/Universal Music Canada. Both tracks were recorded with three-time Grammy Award-winning, Toronto producer David Bottrill (Tool, Mastodon, Rush, Peter Gabriel).

“’White Buffalo’ arrives as a symbol of aspiration, in recognition of the resilience and strength of Indigenous communities to overcome injustice while manifesting a prosperous future.” Crown Lands explain, “’White Buffalo’ is the third instalment in our trilogy of songs about Indigenous rights,” says Crown Lands. ‘Mountain’ is what happened. ‘End of the Road’ is what is happening. White Buffalo is manifesting what will happen: overcoming oppression and rising up to reclaim one’s land. The White Buffalo is a symbol of manifestation. When Colonizers came to North America, they tried to wipe out the Buffalo to starve Indigenous people to death. The buffalo are still here. We are too, and together we’ll overcome. Also, never has 7/8 ever been more danceable.”

“White Buffalo” was released with the accompanying official music video, directed by Alim Sabir. The spirited visual sees Crown Lands immersed in the elements, performing in a new age forest with dancers that fortify the theme of movement.

“THE BIG WAVE” 2021 TOUR DATES
 
Friday, October 15, 2021 - Winnipeg, MB - Pyramid Cabaret 
Saturday, October 16, 2021 - Saskatoon, SK - The Roxy 
Tuesday, October 19, 2021 - Red Deer, AB - Bo’s Bar & Grill 
Wednesday, October 20, 2021 - Edmonton, AB - The Starlite Room 
Thursday, October 21, 2021 - Calgary, AB - Commonwealth Bar & Stage 
Saturday, October 23, 2021 - Vancouver, BC - Biltmore Cabaret 
Friday, November 26, 2021 - Waterloo, ON - Maxwell’s Music Hall 
Saturday, November 27, 2021 - Oshawa, ON -Biltmore Theatre 
Sunday, November 28, 2021 - Hamilton, ON - Bridgeworks 
Tuesday, November 30, 2021 - London, ON - Rum Runners 
Wednesday, December 1, 2021 - Toronto, ON - The Axis Club
Friday, December 3, 2021- Ottawa, ON - Bronson Centre 
Saturday, December 4, 2021 - Montreal, QC - Petit Campus


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Wayne Tennant has been around for quite some time and you’ve probably already heard his signature vocals without even knowing it. The Montreal-based R&B/Soul singer-songwriter and producer first made waves back in 2015 with his debut Life in Minor Key. Recently, Tennant has performed as a part of Charlotte Cardin’s choir for her virtual concert The Phoenix Experience and backed up Canadian pop singer Jonathan Roy.

Tennant’s brand new release brings him to center stage and marks a departure in his sound through a new collaboration with producer-duo MAC x DAYZ. With the first single off his upcoming EP Curfew Flowers – “W.L.M.2.U. (What Led Me to You),” Tennant introduces his intoxicating reinvented retro-fusion arrangements. 

The track is a euphoric earworm about letting down your walls and embracing the ecstasy of falling in love:

“The song is about how love makes us do things we never thought we would do. You’re not too cool for love – so let love win.”


Sonically, the single carries heavy influence from 60s/70s go-go music – a sub-genre associated with funk, jazz and hip-hop with added elements of Latin percussion. Inspired by Prince, Babyface and Stevie Wonder, Tennant’s music is boldly boundless – blurring the lines between many different sounds.

“W.L.M.2.U”’s visuals, directed and edited by Tennant himself – assisted with drone shots by Sylvain Arseneault and Akim Larcher, are vibrant, jubilant and playful. It features Tennant wearing an old-school Adidas tracksuit singing in different scenes that feature some of the lyrics, imagery and psychedelic visuals that amplify the blissful aura of the tune. The recurring heart-shaped cookie symbol seen throughout represents giving your heart to someone and all the uncertainty and vulnerability that comes with it.

Curfew Flowers is slotted for release late this summer.


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Arkells announce their sixth studio album, Blink Once, to be released on September 30th via Universal Music Canada. This new collection of songs prove Arkells continue to push their sound to new heights, promising to live up to their famous live show.

“Now more than ever, it seems our lives can change in the blink of an eye. We began working on this album before the world changed and this title felt right given where we’ve collectively landed. Everyday you wake up and you think you know a lot of stuff, then it turns out - you don’t.”


The bi-coastal project, recorded in LA and completed in Toronto, includes current hit single, “You Can Get It” featuring K.Flay, which has charted in the #1 spot at Canadian Alternative Radio for 4 weeks and is their fifth #1 at the format. “You Can Get It” was prominently featured in the E3 launch of the Forza Horizon 5 video game trailer this summer. Blink Once also includes #1 track “Years In The Making,” as well as “All Roads,” which serves as the soundtrack to #TogetherAgain, a national vaccine awareness PSA to combat vaccine hesitancy.

The announcement comes alongside the release of sure-fire live stand-out, “One Thing I Know,” a rowdy, feel-good sing-a-along that is bursting at the seams. The music video was filmed after-hours at No Frills’ Dufferin Mall location in downtown Toronto, and finds the band mischievously performing the track at full throttle. “This song is about not being ashamed of who you are and where you come from,” notes Kerman. “The best version of yourself lets your colours show – to feel free, weird and unburdened by all the things out of our control.”

BLINK ONCE TRACKLIST:

Liberation 
You Can Get It (ft. K.Flay) 
All Roads 
Strong 
One Thing I Know 
Truce 
Nobody Gets Me Like You Do 
Swing Swing Swing 
No Regrets 
Years In The Making Arm In Arm


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