Photo by: Adam Nigro

King's most recent endeavour comes in the form of the sultry self-produced, directed and edited music video for her dreamy single "Mars":

“I never really write about sex but I wanted this video to focus on sensuality between black people in a not so serious way. Highlighting both my queerness and my cheekiness.”

The release of "Mars" – back in August, was the first taste off new record label Hot Tramp Records –coinciding with the label's launch.

Hot Tramp Records – run by Sarah Armiento, is focused on raising the stage for womxn and aims to make 2021 a breakout year for its roster (Jannette King, Maryze, Alicia Clara). First launched as an artist management venture in 2019, the company grew rapidly – expanding into promotion, booking, PR and even a five day festival – showcasing 25 womxn acts.

There is a dire need for representation in music – not only for womxn but also for black and queer creators. By simply and outwardly being herself, King is doing her part to shed light on the importance of inclusion and diversity in the music world and beyond.

“I am proud of who I am and just being me alone is a political statement that demands space.”

Though Pop Montreal's Hot Tramp showcase has sold out, Janette King will be playing a rooftop show on September 24th that will be available to live stream.

Q: What can you tell us about your latest single “Mars?”

Q: What’s some advice you would give to other creators during these times?

Halifax alt-pop duo Neon Dreams release their new single “Don’t Go Hating Me Now,” available to stream on all DSPs. Produced by Scott EFF and Corey LeRue, Frank Kadillac and Adrian Morris turned a tough realization into a catchy song that’s bound to be a hit. Written with the purpose of shedding light on the harsh realities that come with addiction and loss of self-control, “Don’t Go Hating Me Now” is a reminder that you can have the hardest, most necessary conversations with those you love most.

The track will be featured on the band’s forthcoming full-length album, due in November. Neon Dreams will follow up the album release with an Atlantic Canadian tour starting November 13th, which makes them the only band in North America to tour for the remainder of 2020, much in thanks to the Atlantic Bubble. Neon Dreams has already seen a busy 2020, with the release of their singles “Turn Back Now” (championed by Billboard),  and “Sick of Feeling Useless.”

Drummer Adrian Morris says of the new release:

“[Frank and I] started writing the song as a concept of someone who was losing themselves and their relationships with the people that cared about them. The lifestyle of success and partying and everything that comes with it was taking over their personality. […] When we were writing, it felt like we were opening up with each other about it. Sometimes it can be difficult to admit you’re struggling to someone you care about but honestly, they’re the people that are there to help you when you need it. Those people are the last you should push away.”

Neon Dreams is the vessel for Frank Kadillac’s message of hope & positivity. He and Adrian Morris have been making music together under that moniker since 2015, but it wasn’t until last year that Kadillac realized his true purpose. After pushing himself too far and experiencing insomnia for the first time in his life, the singer wanted to get help—but not from a doctor. He had dabbled in meditation in the past and decided to attend the Sedona Meditation Center Mother Earth Retreat. There, he detoxed from life and recalled horrifying memories he had previously blocked out.

After writing from a place of sadness for so long, Kadillac felt moved to invoke positivity with his music. Though the band had already garnered a gold single in “Marching Bands,” accumulated tens of millions of streams, and won numerous Canadian awards—including a coveted JUNO—the singer-songwriter wanted to reinvent their sound. He promptly deleted a full album's worth of songs and started Neon Dreams anew.

In 2019, the duo released Sweet Dream till Sunbeamsan album comprising nine uplifting songs about not fitting in and overcoming adversity—and have continued to drop new material this year, covering subjects from Kadillac’s painful youth to his mother beating cancer. Though they consider themselves to be “alt-pop,” Neon Dreams’ music can’t be pigeonholed. Kadillac likes to describe their sound as “if Adam Levine and Gym Class Heroes made a band that was influenced by early 2000s, late ‘90s inspirational coming of age movie soundtracks.”



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Kingston rockers The Wilderness’ massive sound has earned them comparisons to Bruce Springsteen, Mumford & Sons, The National and The Lumineers. To date, they have spawned six independent global releases and played over 400 shows across North America.

The diversity of nationalities has had a very interesting influence on us as musicians. Having widely varied childhood experiences, and musical influences has really helped bolster our creative arsenal as a band, and it has given us lots to work with and plenty of different perspectives. It often feels as though the broad range of perspectives and influences helps us connect and relate to others on a personal and musical level.

Q: Your album 'Until Tomorrow' is a cohesive collection of tracks. What was the initial inspiration behind crafting this project?

It was quite simple really, we had been crafting singles and stockpiling material for about 6 months and the process left us feeling stagnant. We went to a cabin in Quebec in the middle of winter and the quiet isolation was so inspiring that an album came out. It really was the perfect experience. Together, the six of us, under the same roof has always resulted in our best work. Together we were able to work through some things that were on our minds and would then collectively work those things into songs. It was so cathartic and much needed that the songs eventually just fell into place!

Q: Is there a personal favourite song off the record?

We all have our personal favourites but mine is probably "Twenty-Five."

Q: Your single "If I Had to Die" is about serious topics surrounding the current state of the world. How important is it as a songwriter to paint narratives that coincide with current political and societal issues?

I believe that people with a platform and a voice have a responsibility to address political and societal issues. Rock and roll has always been political and the last thing we want is to be just some feel-good, cookie-cutter boy band. The six of us align politically which certainly makes things easier when we write about these things. The world is fucked right now and we refuse to shy away from the fact that that is the case. We're certainly no Rage Against the Machine but we won't ever ignore the need for three chords and the truth.

Q: What's some advice you would give to those whose hearts are heavy during this tumultuous year?

This year has affected us all in so many different ways that it's difficult to find an all encapsulating piece of advice that addresses every reason one could have a heavy heart.  The best I can do is to say: keep going, there are better times on the horizon as long as you can still find the beauty in even the smallest things.

Q: You guys take pride in finding honest success, which is refreshing in today's industry. What's the recipe behind developing a fanbase organically?

Go out there and play shows, talk to people, travel, and don't focus on being anybody but yourself. Being honest with your fans about who you are and what you're doing goes a long way in terms of building up a fanbase of people who really want to support you in what you do.

Q: What's next for The Wilderness?

Well since we can't tour, we've put together a bunch of amazing content to keep our fans engaged so watch out for that! After that, we will probably be going to another cabin and writing the next record.

Photo by: Victor Llorente

Venus Fest has announce this year’s digital edition to take place September 28- October 2. Hosted by the iconic Canadian Broadcaster Sook-Yin Lee, the festival will once again showcase music, art and a series of online panels and mentorship sessions geared towards supporting women and non-binary artists and arts workers, all offered free to the public.

This year’s musical performers have been paired up with artists to create visual videos to be streamed Thursday October 1 and Friday October 2. In addition, beginning on September 28, this year’s conference is focused on “The Future of Music”. Attendees are able to watch a live stream here or engage and ask questions with the artists via the Facebook and YouTube streams.

Following this year’s festival, a series of mentorship sessions directed towards developing artists and arts workers will be provided the opportunity to meet one-on-one with an arts professional in these streams. In addition, Venus Fest and Work Late have created a paid mentorship program through this year’s festival, allowing three participants to gain skills and insights in publicity and marketing for events which began earlier this month and will continue until after the festival.

Full details and schedule listed below and to view the virtual line up click here.

MUSIC INFO:

Thursday, October 1
8PM - Premiere Lido Pimienta, Hand Habits, Ansley Simpson

Friday October 2
8PM - Premiere US Girls, Black Belt Eagle Scout, Wild Black, Ceréna Sierra

With visual videos curated by Dainesha Nugent-Palache from:

Caroline Monnet
Jamiyla Lowe
Lido Pimienta
Mohammad Rezaei
Monica Berger
Natalie King
Vanessa Rieger
*Video editing by Brittany Farhat
with graphic design and visual concept by Misbah Ahmed

CONFERENCE INFO:
"The Future of Music"
Panels (co-presented with Music Ontario)

September 28
6PM "Financial Literacy for Artists" (co-presented with Ontario Creates)
8PM "Re-localizing and Rebuilding our Scenes"

September 29
6PM "Resilient Labels"
8PM "Is Change Happening?"

September 30
6PM "Shifting the Conversation" (co-presented with POP Montreal)
8PM "Creative Strategies - an open town hall discussion forum"

Mentorship Sessions:
October 5-10

Developing artists and arts workers will have the opportunity to meet one-on-one with an arts professional in these streams:

Labels
Agents
Artist Managers
Funders
Established Artists
Indigenous Artists (by and for Indigenous artists)
Black Artists (by and for Black artists)


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Photo by: Stephen Verschuren

Speaking of the track’s creative inspiration and forthcoming music video, ren states:

“’nostalgic (luvsick)’ is a really important song to me, I’ve been sitting on it for so long and it is truly one of my favourites! This song is very visual for me, and it reminds a lot of Scott Pilgrim, which is basically the backbone for the entire creative arch surrounding the song, the visuals and cover art are reminiscent of Scott’s character, I think that it’s really cool to be able to be in Scott’s shoes and play his character for a brief moment, also pulling in Edgar Wright’s creative style is something I wanted to be prevalent in the creatives. The song in itself is just reminiscing on past experiences with a person and now more than ever it feels very real for me, after all my friends have left for school and are moving away I feel like I’m thinking about our times together more than ever and this song really brings out those feelings and moments!”

Continuing to give fans a taste of what’s to come, “nostalgic (luvsick)” follows the ren’s critically acclaimed “fuck, i luv my friends,” which Rolling Stone praised, “the perfect piece of quarantine pining.” American Songwriter proclaimed, “’filmf’ has the sheen of the grand era of late 90s teen pop with the self-aware alternapop of the last ten years,” and Idolator hailed, “the summery anthem… is a rush of jangly guitars and pop hooks.” The song has garnered over 2 million global streams since its July release.



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Photo by: Katherine Kwan

Scott named the album after a park down the street from where his late grandfather Alan lived in Sutton, UK.

“It was here where we would walk and cackle at awful jokes, lean in for the stories, make peace with our busy lives and draw meaning from the lessons we had learned since our last visit. If my past works have been displays of discovery, this work is a declaration – a declaration of love, meaning, questions and truth, and it is all dedicated to you, Papa. Thank you for helping me piece together the fragments of my life and giving me the space to do it.”

Scott created a strikingly raw video to accompany the release of the track “Papa,” sharing his completely unedited reaction while watching the personal home video footage for the very first time.

The release of “Papa” followed the explosive launch of Scott’s current single “Wait No More,” which was the #1 most added song at Canadian radio upon its release. The music video for “Wait No More” was shot in Scott’s Toronto home while self-isolating .

Nonsuch Park (sa) also includes the hit single “Everything Sucks” as well as “Evergreen” – a song that tackles climate change. Inspired by last year’s climate strikes that took place around the world, Scott called upon his fans to share their own thoughts on the issue, which were incorporated into the accompanying music video.

Scott Helman, a 2020 JUNO nominee for Single of the Year (“Hang Ups”), has established himself as one of Canada’s leading songwriters whose versatility promises a limitless ceiling. The Toronto artist has toured around the world with the likes of Shawn Mendes, Vance Joy and Tegan and Sara, and has collaborated with Alessia Cara, Blas Cantó and Hunter Hayes.  With 2 platinum and 3 gold singles, 5 career JUNO nominations and a worldwide record deal through Warner Music Canada, Scott Helman is poised for an international breakout.

Photo by: Colin Medley

Each secret show venue will be revealed at the last minute to ticket holders.

FIRST ROUND OF PROGRAMMING: 

Land of Talk  - Thursday Sept 24 - Theatre Rialto
Flore Laurentienne - Friday Sept 25 - Theatre Rialto  
Clerel - Friday Sept 25 - Theatre Rialto  
Tyleen - Friday Sept 25 - Theatre Rialto  
Antoine Corriveau - Friday Sept 25 - Ursa
Thanya Iyer - Friday Sept 25 - Theatre Rialto 
Backxwash - Saturday Sept 26 - Theatre Rialto 
Lido Pimienta - Saturday Sept 26 -  Theatre Rialto 
Plants & Animals  - Saturday Sept 26 - Le Ministère 
Socalled - Saturday Sept 26 - secret venue 
Paradis Artificiel -Saturday Sept 26 - Theatre Rialto  
+ more TBA

In addition to POP’s extensive music showcases, the festival will once again hosts a variety of programming including; Film POP, Art POP, POP Symposium, Puces POP, and Kids POP —the five day event is sure to have something for everyone.

POP SYMPOSIUM:

The 2020 POP Symposium programming, curated by Peggy Hogan aka Hua Li, will converse with four overarching themes: equity and inclusion in independent music; music business literacy; music making and listening practices; and music’s socio-cultural impact. POP Symposium aims to actively facilitate critical discussion and positive change that can help develop a sustainable, ambitious, and dynamic environment to support artists and industry. To view the full list of panels visit here.

All show listings and tickets available at www.popmontreal.com.

PLEASE NOTE: If you plan on attending a show you MUST buy your tickets online in advance. There will be no tickets available at the door. In order to limit health risks, the duration of concerts will be 30 minutes maximum and venue capacities will be reduced according to the distancing standards in place.

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Photo by: Travis Latam

Earlier this month Raffoul shared the first track from International Hotel, the sparsely arranged “What Makes a Man.” A profoundly moving protest song that speaks out against systemic racism “What Makes a Man” was the final song written and recorded for the album marks the first time Raffoul ever recorded a song with harmonica. The song’s homespun austerity also extends to its video, shot in warm black-and-white and quietly centered on Raffoul’s impassioned performance.

Mainly co-produced by Raffoul and his longtime collaborator Justin Zuccato, International Hotel takes its title from a bar in Leamington — the very spot his musician father frequents after finishing up his own gigs. After opening on the title track (a loving tribute to Raffoul’s father and his lifelong devotion to rock-and-roll), the album offers up a dozen more songs rooted in his sharply observed storytelling. With those songs encompassing everything from treasured family history to clear-eyed social commentary to a heartrending ballad of a comic-book hero on “The Ballad of James Howlett,” International Hotel closes out with “Massey Hall”: an homage to the venue of Raffoul’s dreams, a Toronto theater where Neil Young recorded Live at Massey Hall 1971.


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Photo by: Lizzie O'Donnell

Permanent Maniac follows her well-received 2019 EP New Girl – praised by the likes of Complex, FLARE and Popdust. In the short time since her debut, GRAE has accumulated over three million streams, graced the cover of playlists, won SOCAN's "Young Canadian Songwriters Award," and had her music featured on major TV shows including Nancy Drew, Queen Sugar, LA's Finest, The Real World Atlanta and The Bold Type.

Permanent Maniac's title track and accompanying music video, ties together the best of today's bedroom pop and yesterday's psychedelic flair to create a modern nostalgia. The visuals – reminiscent of our Y2K bedrooms, aims to personify the close connection between adolescents, infatuation and music.

This reminiscent and glistening feeling carries throughout the EP's six tracks, navigating through relatable recollections inspired by GRAE's own personal experiences.

"2725" – the first love song GRAE has ever written and released, carries on the EP's melodically melancholy vibe, with an undeniable yearning for love and connection that resonates through it's verses and vocals. Already making it onto the Indie Pop & Chill, Pop Sauce and Canada Radar Spotify lists, the vibrant single from Permanent Maniac is bound to be a favourite.

Not so much about love as it is loss, "Ex Lovers" is a track penned from the experience of trying to get over a past partner.

“‘Ex Lovers’ was written during a time in my life where I was dating people just to get over a certain person. I convinced myself there was something real in these relationships when really, I knew there wasn’t. In one of the cases actually, it felt like that person was doing the same thing, trying to get over an ex by dating me, and we found ourselves in the same position, which is where the line 'maybe we’re just using one another' came from. We were both trying to get back at our ex lovers.”

GRAE opens up about many different topics – from sexuality to love, lust and loss, which come together in constructing an expressive, heartfelt, and personal record. Her sophomore collection combines her stellar songwriting with infectious pop hooks, indie chords and smokey vocals – doused in female empowerment.

One of her powerful numbers – written about the judgement of womxn discussing sexuality, is her single "Slow Down," on which she opens up a different, more intimate side of herself.

“I hope the womxn listening to this song feel the same way I did when I wrote it, that feeling of control and power. I think it’s important to cancel this stigma that womxn can’t enjoy anything casual. Having a healthy relationship with your own sexuality is important.”

Each and every one of GRAE's beautifully written ballads ooze alluring vocals with top-notch lyricism and instrumentation. From start to finish, Permanent Maniac ebbs and flows through a stunningly atmospheric spectrum of elation and melancholy. Listeners are bound to get lost in the music with GRAE's raw yet airy vocals; ravishing storytelling and impeccable fusion of mystical indie-pop.

Photo by: Sophie Perras

What can you tell us about your new track ‘King’s Lane’? 

Well it’s a funny story. I woke up one morning with this vision from the dream I just had: a stone path leading to a castle with millions of roses of many different colours on each side. I also had the melody for the song as I opened my eyes, so I went up to the piano and started putting all of it together, telling the story of my dream over the melody. When I got to the chorus, I realized that the true message of the song was, if we were able to live together the same way these roses are, cohabitating in their common space and sticking together as a whole even though they’re all of different colours, it would make the world just as beautiful as the image I had in my dream! That was two years ago and we hadn’t released the song yet for many different reasons. But after witnessing everything that happened in the past months around the world, and especially in North America, I felt compelled to send it out as I needed to share my thoughts with the world, and “King’s Lane” was the best way to express myself.

The track features the legendary Tito Jackson. How was your experience working with him? How did that collaboration come about? 

Working with Tito was great! I’m extremely happy with the results coming out of the process. We actually met through my producer Earl Powell, who worked on projects for both the Jacksons and Tito himself in the past. When I went to record “King’s Lane” in LA, we actually did it in Tito’s home studio, which was a great surprise for me as I didn’t know beforehand! Later in the week Tito came back from London and that’s how we met, then he heard the song and said he really liked it! So when we decided to release the song it felt natural to ask him if he wanted to be a part of the project, and we were very happy to hear that he was up for it! The track sends a message about unity.

How important is it to use your platform to help spread messages that are crucial to society? 

It’s very important to me and I try to inspire my fellow artists to do the same as much as possible. I truly believe we can have a valuable and positive impact on society by way of our collective output to people, namely through social and conventional media. Most people, myself included, rely highly on music to go through their days, whether good or bad. And sometimes we as artists forget the power of our lyrics and how important it is to use our art to bring people together. Being aware of that, I try to do it as much as I can.

The music industry was hit hard due to the pandemic, do you have any advice for other creators during this time? 

Be creative in your own way! With so many of our conventional practices put on hold, we all have to find different ways to reach out to our audience and now’s the best time to think outside the box!

What’s next for Raff Pylon? 

I have plenty more music coming your way in the next year! We are working hard making these songs ready for you to hear and hopefully, if things settle back down in the next few months, I will be able to come somewhere near you and perform live! I can’t wait to go back on tour and play!



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Rising star and platinum selling artist Ryland James released his debut self-titled EP today via 21 Entertainment/Republic Records/Universal Music Canada. Ryland also revealed the music video for his new single “Water,” which is sure to make you want to hold onto summer all year long.

Of the track “Water,” Ryland says:

“This song is one of my favourites to perform live and one that a lot of my fans have been patiently waiting for. I wrote it on my first trip to LA and got to create the video close to home so it has a lot of exciting and sentimental value attached to it.”

The new EP is made up of 7-tracks that are filled with the artist’s signature voice exuding a bold balance of passion, panache, and power, coursing through a fusion of gospel roots, gritty soul, and anthemic pop straight from the heart.

“I love to stand at the front of the stage and just sing,” Ryland shares. “There are no bells or whistles about it. It’s simple in that respect; I love being a singer. I want to continue to develop my voice as it really defines my artistry at the core.”

This release is a milestone moment for the 21-year-old artist from Deseronto, Ontario, following a year of immense growth and success. Ryland capped his momentous 2019 by completing a North American tour with fellow Canadian Alessia Cara. After returning from the road where he played to crowds of over 20,000 fans, Ryland released his first hit single “In My Head” which achieved incredible successes like GOLD certification in Canada in less than 6 months and is now certified Platinum, an impressive feat for a newcomer.

The self-titled EP follows Ryland’s recent releases including, “Better Off,” “Shoulder To Cry On,” and the Platinum certified smash hit “In My Head.”



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Photo by: Aaron Wynia

Brampton’s own, TOBi signs with Same Plate Entertainment/RCA Records along with releasing a new single, “Dollas and Cents.” The groovy and soulful bop sonically highlights Black joy as a form of resistance. Produced by the UKs Afrobeat go-to, Juls, the pair showcase their diverse diasporic lineage and the magic created when working together.

TOBi comments:

“Juls is one of my favorite producers right now. We linked up at the end of last year and the chemistry was instant! This song is really bridging that diaspora connection, Nigeria to Ghana to UK to Canada. It’s a beautiful thing to tap into our African roots musically.” 

In April 2020, TOBi released STILL +  a deluxe version of his debut album which explored themes of vulnerability, post traumatic growth, self-reflection and masculinity of his time immigrating from Nigeria to Canada.  STILL + added two new singles: “Holiday” produced by !llmind as well as  “Paid,” followed by the City Blues Remix featuring The Game; “180 Remix” featuring Kemba and the “24” remix featuring all Torontonians SHAD, Haviah Mighty, Jazz Cartier and Ejji Smith. The project  has a combined total of 17M streams across all streaming platforms. In January 2020.

RCA Records President, Jonathan Master says:

“We cannot be more pleased with how TOBi has developed as an artist and are incredibly supportive of his endeavors. Over the past year it has become obvious that his music and brand have an international reach and we are excited about partnering with RCA to actualize the global vision.” 

2019 would prove to be an impactful year for the 26 year old Nigerian-Canadian, having his single “City Blues,” premiering with Zane Lowe and Paper Magazine; performing to a sold out crowd in his hometown of Toronto, being featured on The Game’s Born 2 Rap album in “Carmen Electra,” Party Pupils “One Two Things” and Big Gigantic’s “Supergiant.” He continued the momentum performing an original song, “Beige” on the international COLORS platform, having his single, “Ride” featured in the 2019 season of HBO’s Ballers as well as teaming up with Soulection’s Sango in bouncy single, “Faces.”  Celebrities like Keri Hilson, Tiffany Haddish, Jamie Foxx and everyone’s favorite Snoop Dogg called TOBi the voice of the culture and of the youth.



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“We’ve never had time to make an ‘acoustic record’ because we were too busy playing shows and focusing on new music, but we also knew that they felt really good to play in a stripped back way. All of our big rocknroll songs start with an acoustic or piano, so heading back to that place isn’t too much of a stretch. We wanted a healthy mix of our bigger songs and deep cuts. Songs that would be fun to listen to around the campfire, or in your back yard, or at a park. In 2020 we’ve mostly been playing for each other, but Campfire Chords is an opportunity to stay connected with our fans until we can see them in real-life again soon.”

Also announced, Arkells will be featured in a special edition of the Budweiser Stage at Home weekly TV concert series, airing on Saturday, August 29 on Citytv and Citytv.com at 8pm EST, as well as live-streamed on Live Nation’s Live From Home platform. Live Nation and Budweiser will bring the spirit of the iconic waterfront music venue in downtown Toronto into the homes of music fans across the country for a special one-time field trip outside the city as Arkells takeover the entire program to debut Campfire Chords. The performance will include seven of the band’s most familiar hits plus their brand new single “Quitting You,” as they explore the road that brought them to Campfire Chords.



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Columbia Records is proud to share Show Pony, the eagerly awaited EP from country artist and songwriter Orville Peck The self-produced 6-track EP features new songs including a duet with reigning Queen of Country Pop and Global Icon Shania Twain, “Legends Never Die” as well as a cover of Bobbie Gentry’s “Fancy”.

In addition to the release of “Show Pony”, the official video for “Legends Never Die” has been released. Directed by Cameron Duddy of Midland, with narrative and creative direction by Peck and his creative director Carlos Santolalla, the video is chock full of cameos including Jaida Essence Hall (winner of RuPaul’s Drag Race), singer Evil and acclaimed filmmaker John Waters who serves as the narrator to the introduction. The true stars of the video are Orville and Shania Twain; clad in an extra-long fringed mask and animal print respectively, they take the already kicking Nashville party into overdrive.

Orville Peck and Shania Twain will perform “Legends Never Die” on The Tonight Show Starring Jimmy Fallon on August 17th. Tune into NBC on August 17th at 11:35 pm EST for the performance.

On the record, Orville Peck says:

“'Show Pony' is the EP I’ve always wanted to make. Having spent the past year on the road and then in quarantine, I was able to reflect on all that had happened since the release of Pony and expand upon it. This is a collection of stories and I hope listeners will join me in them. I cannot thank Shania enough for being part of this; she has always been a hero of mine and her music made me feel so empowered growing up. As cliché as it sounds, recording with her and getting to get up on stage and sing with her in Nashville is a dream come true. No words really.”

Prior to the release of Show Pony, Orville shared two tracks: “Summertime” which explores hope and the belief of perseverance and patience and “No Glory in the West” which examines how exhausting that can be.


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Breakout rapper/singer Zach Zoya releases his latest song “Le Cap” via 7ième Ciel/Universal Music Canada. Produced by his close collaborator Bougo, a Parisian producer now also based in Montréal, “Le Cap” flaunts Zoya’s rapid, tight flows as he spits “Came in this bitch to beat the best” within the very first second of the song. Rhymes shoot out in machine gun-like succession and then suddenly float atop the melody as and bar after bar, Zoya effortlessly glides between his talents of rapper and singer in his signature delivery style.

Of the track, Zoya says:

“It’s definitely a cocky song. Bougo, my DJ who also produces a lot of my stuff, brought the vibe to the song and when I heard the beat, I just knew I wanted to come in with a very fast pace and a staccato pattern to trail the guitar melody. I’m saying that my goal is to be the best, period, and I’m telling my guy ‘Yo bro, no break, no slacking, no playing around until we make it.’ That feeling of cockiness and confidence came out of the beat itself.”

“Le Cap” follows the release of Zach Zoya’s major label debut “Slurpee” which dropped last month and earned support from global outlets such as the Travis Mills Beats 1 radio show on Apple Music, HotNewHipHop, iHeartRadio, Complex, and EARMILK. With “Slurpee” and “Le Cap”, Zoya is sharing a glimpse of the dynamic versatility and melodic flow found on his upcoming debut solo EP Spectrum, due to be released this Fall.

Last month, Zoya performed a virtual concert for the e-sports team Toronto Ultra’s Home Series Weekend – a part of Toronto Ultra Week for the Call of Duty League – broadcasted on YouTube for over 60,000 concurrent viewers during the league’s final weekend of the season. In addition to his captivating performance, Zoya was the first artist to be featured in Toronto Ultra’s brand-new Artist Spotlight series.

Zach Zoya has been one of the most buzzed about rappers in Montréal’s vibrant music scene since the release of his 2018 joint EP, Misstape with Platinum producer High Klassified (Future, The Weeknd). In the two years since, anticipation for new Zach Zoya music has been building with accolades recently rolling in from Exclaim! who named him one of the 10 Emerging Canadian Artists You Need To Hear This June, ELLE Canada who deemed him a “shooting star” and praised his “unique and versatile style”, KIND Magazine who named him one of the Top 20 Artists to Watch This Spring, and Journal de Québec who declared him one of the Best ‘Rap Keb’ Artists of the Decade. With his combination of agile flows, smooth vocals, and charisma, Zach Zoya is an artist to watch in this era of outside-the-box, genreless music.

Photo by: Travis Shinn

Crown Lands was recorded in the iconic RCA Studio A in Nashville and produced by six-time Grammy winner Dave Cobb (Rival Sons, Chris Stapleton).

On the album, Kevin Comeau (guitar, keys) explains:

“The record is a culmination of five years of work. We started Crown Lands in 2015 with the view to put out a cohesive body of work. We have finally done that! We started writing this record last year after touring with Primus and Jack White.  We took that influence and ran with it.  When we met Dave we knew he had to be the guy to make this record with us.  We loved his organic, live-off-the-floor approach and the desire to capture a real performance.  He pushed us way out of our comfort zones and I think I’m ultimately a better guitarist for it.  He’s a masterful arranger and we spent a lot of time on the Mellotron arrangements on the record.  I love the retro yet timeless quality of the sonics on the record.  It captures us as we are - two music nerds obsessed with prog rock of old, but with a desire to bring those sounds into modern song writing.”

The album follows the band’s acoustic EP Wayward Flyers Volume 1 and features four brand new songs as well as three previously released tracks; Crown Lands’ major label debut, “Spit it Out”, which Classic Rock observed “jerks along friskily like some kind of adolescent Led Zeppelin, with all the snap, pop and effervescent crackle of The White Stripes.” Their mystical second song, “Howlin’ Back” which American Songwriter described “feels both crazed and focused, hair-raising and relentless.” Plus the most recent release “End Of The Road” which pays a cinematic tribute to the missing and murdered Indigenous women, girls, and Two-Spirits along Yellowhead Highway 16 in B.C., known as the Highway of Tears. See full track listing below.

Crown Lands debut record arrives alongside the ferocious video for the albums lead single “Leadfoot”. On the track itself, Comeau interprets:

“’Leadfoot’ started as a cautionary tale about speeding but quickly became some sort of song about interstellar love. Lots of space and nature imagery keep the song from touching down into reality but the music is quite rooted in blues and glam rock. Is it about aliens? Is it about cars? Is it about aliens driving cars? Maybe. Either way, it’s a lot of fun to play.”

Directed by Blake Mawson who is known for his work with Orville Peck, the video for “Leadfoot” showcases the majestic rock stars in electrifying glory and brings the thunderous track to life. Bowles expands:

“We wanted to get really ambitious and weird with this one, and Blake’s vision was perfect for what we wanted. It was the first post-COVID shoot for everyone involved, so that was interesting to work with those restrictions, but everyone was so happy to be back to work and eager to do a great job. On set we had this whole warehouse studio booked and subdivided into different sets for the corresponding scenes in the video. My favourite moment would have to be when I was in the blue box room with the TV. It was this little cramped room setup where they told me to play with the space between myself and the fisheye lens, so I kinda went wild with it and of course I thoroughly enjoyed that, aha!”

After meeting six years ago and bonding over their shared love of music Bowles and Comeau became “instant best friends” and started jamming together in a local barn, switching up instruments, but never straying from a two-piece set-up. Crown Lands have released two EPs Mantra (2016) and Rise Over Run (2017). Making music that brings together a range of influences from folk and blues to psychedelic to prog rock, and drawing on their own intense personal chemistry, Crown Lands are a startlingly fresh jolt of energy.

The group’s name is indicative of their musical ambitions: “Crown Land” is territorial area belonging to the monarch—or, as Bowles puts it: “Crown Land is stolen land and we are reclaiming it.” Crown Lands are on a mission to represent a sense of empowerment for marginalized communities through their music and the weighty subject matter of their lyrics. “People are going to listen to you, so you may as well say something that matters,” says Comeau.



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