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Photo by: Tess Ananda
On the heels of her independent debut, Kandle Osborne is back with another taste of what’s to come.

The Vancouver born-and-based cabaret-inspired rock artist drops her newest single “Honey Trap” – a sweet-but-fierce song about breaking free from a sticky power struggle joined by guest vocalists Louise Burns, Debra-Jean Creelman (Mother Mother) and Kendel Carsen (Alan Doyle, Great Big Sea). With four women around one microphone, the female-powered track oozes with liberation and echoes the underlying symbolism behind it:

“It is easy to overlook the subtleties involved in manipulation. For women with drive and motivation, one may already be conditioned to believe that your body or sexuality are the only real assets that society values of yours. Under this conditioning, it isn’t hard to imagine all the ways these assets can be turned against you by an abuser, and the idea of using your body as a tool to move forward when all other avenues are closed doesn't seem so extreme. What other path is there? You start to believe it's your choice, albeit a self-sacrificial one. Only when you start to break free, it becomes clear that you were never given the choice in the first place. We play their game until we make our own.”


The accompanying music video – directed by Brandon Fletcher, featuring actor Keenan Tracey (Bates Motel, The 100), is a masterpiece of its own. The cinematically-stunning imagery draws symbolic parallels from historic arts in scenes where Kandle is suspended. The use of Shibari – also known as Kinbaku, is a form of Japanese rope bondage that focuses on friction and wraps instead of knots, derived from Hojojutsu, a martial art from the Edo period. The way the ropes were tied often conveyed the class or crime of the person tied up in it and served as a signature for the Samurai who tied it. The video’s symbolic visuals further amplify the song’s themes as director Brandon Fletcher reflects:

“We wanted to create a nod to our favourite noir films of the 40s – and its more modern incarnation of dystopic neo/neon-noir thrillers – entire worlds riddled with deceit, seduction, and crime, all while exploring themes of consent, entitlement, and responsibility. All these women ‘play the game’ without being fully aware of the deeper danger they're in. Throughout the video, a shadowy man exploits them all, coalescing in an unwanted touch – something I think anyone who's been manipulated can relate to – before he walks away with their livelihood.”


“Honey Trap” follows Kandle’s premiere single – “Lock and Load” from her forthcoming album Set The Fire – set for release this Spring. After leaving her label and releasing her first ever independent EP, Stick Around and Find Out, Kandle closed out 2020 with the stunning James Bond-inspired single.

With strong influences from powerful female greats – Nancy Sinatra, Billie Holiday and Shirley Bassey, Kandle delivers heartfelt words and music drawn from some of life’s heaviest moments. Following her independent breakout, Kandle is at her most empowered and authentic state, sharing her own stories of healing to help others do the same.

Breaking free from her label, Kandle takes full control of her music and artistry and stays true to her mission to creating a dialogue and advocating for women and mental health. Her advocacy through art also comes alive in the form of a collection of dark comedic illustrations highlighting sexism in the music industry:

“Instead of getting all dark about it I think making a comic about sexism disarms it and offers a different way to talk about it (and then hopefully change it).”

Kandle looks forward to releasing her debut independent full-length album this May and finding ways to share it with the world in a time where live shows are on pause:

“The connections that come from releasing new music and making new fan friends is what keeps me going.”

Q: Your style is said to be a juxtaposition between cabaret and rock – who or what are the main inspirations behind your artistry and sound?


I think the 'cabaret' influence comes from my love of jazzy, theatrical goddesses like Shirley Bassey, Nancy Sinatra and Sarah Vaughan among others. The rock side comes from being obsessed with Zeppelin and Jack White growing up, and I think two sides morphed into one in my creative (bizarre) mind. Dramatic crooner with a distorted guitar.

Q: What can you tell us about your new song “Honey Trap”?


The song Honey Trap was inspired by manipulation in a relationship power struggle, and I think the way I decided to produce it feeds off of that theme. My vision of having strong female harmonies at the forefront mirrors how I tackle hard issues - with my entourage of powerful women. When I'm singing about (or dealing with) a heavy subject, sometimes it feels almost impossible to summon the strength needed to get through it with a lone voice. Having that female support makes me feel stronger and more powerful. I loved the process of recording this album without a label or manager hanging over my shoulder and I think this track showcases that freedom. Start to finish I had a clear vision and I was able to execute it exactly how I wanted to. Everyone in the room was supportive of my weird inspiration, tempo changes and all, and it was the first time I didn't feel any resistance. I like to break the rules. I don't make music for pop radio, and I'm not even close to mainstream, but I like to follow my instincts and what I hear in my head and bring it to life.

Q: You worked with notable Canadian vocalists Louise Burns, Debra-Jean Creelman and Kendel Carson on the track – how did this collaboration manifest and what was it that drove you to work with these talented artists specifically?


Mostly lucky timing for this record! Over the years, I've played and collaborated with each woman separately but when I was starting this album I told Louise I wanted 3 gals around one mic. She suggested Debra-Jean and then Kendel happened to text me out of the blue that she was in Vancouver and I wrangled them all in the studio the next day just before the world started shutting down from COVID-19. I think the seed had been planted early 2020 though, when I played Commodore in Vancouver with Louise and Kendel as my band. Debbie stopped by to just hang out in the green room with us and the magic and camaraderie between the 4 of us was already apparent!

Q: Your music video for “Honey Trap” is stunningly cinematic, what is the story/symbolism behind the visuals?


Thank you, we're really proud of how the video turned out. Brandon William Fletcher (the director) is a force of nature and managed to put together an incredible team even within all the regulations of COVID. I knew I wanted the live band feeling to play a big role because I know I'm not the only one missing shows! But the story / symbolism is meant to show the confusion of manipulations and power dynamics. I find humans often enter relationships feeling in control and as though nothing is going to hurt them, that feeling of "I know what I'm doing...", but it's so easy to end up completely on your ass. These subtle shifts in power can happen in the blink of an eye. To take the symbol of manipulation and control a step further, Brandon enlisted a BDSM educator (amongst other skills) who goes by Squid Kink to tie me up before I was suspended mid-air. Rene (Squid Kink) introduced us to Shibari (kinbaku) which is a form of Japanese rope bondage that focuses on friction and wraps instead of knots, derived from Hojojutsu (a martial art from the Edo period). The way the ropes were tied often conveyed the class or crime of the person tied up in it and served as a signature for the Samurai who tied it. We loved the parallels of that history with the story we were telling.

Q: What can we look forward to from your forthcoming album Set The Fire?


I think you'll feel me embracing my newfound creative freedom channeled through 60s golden era type songs fused with alt rock! I'm making the music that I would listen to, the music I want to make. I'm trying to leave behind the victim feeling I've been carrying for so long. I looked back at my older albums and forgot how truly dark they are thematically. I feel I had to get those songs out of my system and they were necessary for me to write, but I'm trying to move on from that and show the other sides of my personality. Working with Michael Rendall (producer) felt like such a vital piece of the puzzle for this album. We met at the perfect time when I was in London and without a home base, feeling really stuck, honestly. We completely aligned musically and we were both so excited to make music together without money or success being the driving force. Just creativity at it's best. I know that doesn't happen often and I'm still basking in the magic of it arriving when I needed it most.

Q: Growing up with a first-hand look into the music industry – as the daughter of Neil Osborne from 54-40, how have you seen the acceptance and inclusion of women and other minorities shift and/or grow? In what ways does the industry need to evolve to be even more inclusive?


I feel like I can see a change in the younger generation of artists, I think they're less and less under the thumb of the old guard, but honestly I think there's still a ways to go. I'm glad people are more vocal about it these days and hopefully it will keep things moving in the right direction of inclusion and parity of all genders and races. Louise Burns and I are starting engineering lessons with an amazing lady here in Vancouver (Elisa Pangsaeng) to feel more confident and comfortable producing. I've never felt seen as an equal in the (still) very male heavy environment and I want to take my own steps to change that. I look forward to when it's not a rarity to have a female engineer or producer in the studio.

Q: You have started a collection of dark comedic illustrations highlighting sexism in the music industry. Can you talk about the topic’s importance to you and how the project came about?


It just came from the desire to laugh. It's absurd how common those experiences have been for me and for my female-identifying peers and it feels so f*cked that you just gotta laugh. I think it makes a challenging subject more palatable too. Instead of getting all dark about it, I think making a comic about sexism disarms it and offers a different way to talk about it (and then hopefully change it). On that note, there's a new one coming soon from my latest experience trying to buy a new piece of gear...

Q: You’re an advocate for mental health and helping other women overcome their trauma. What advice would you give to those who are on a healing journey?


I'm such an advocate for it because I'm so familiar with it. It's not an easy fix and I have not figured it out, but what I do know is how crucial it is to have a good support system around you to be able to work through these issues surrounded by people you love and trust. It's definitely a cruel game of 3 steps forward, 2 steps back and I don't know if I'm ever going to be unaffected by the trauma I've experienced but I'm optimistic that healing is possible. I don't think anyone should have to suffer through this alone and that's why I'm so open about the subject. I know how it feels to try and swallow it and bury it and I think knowing someone else is also dealing with these traumas offers solace and hope. I'm lucky I have songwriting to express myself, I think creative outlets are an extremely healthy way of processing hard things. I know some people listen to music to feel understood and I hope my songs can help someone else know that they're not alone.

Q: What's next for Kandle?


Rolling out this record and finding a way to share it without having live shows. I'm trying to keep a consistent routine of writing and playing to stay in a good headspace of creativity, which helps me detach from the often toxic music industry. I love making new connections with people who are moved by the art I make, so I'd love it if you'd come find me on social media and let me know what speaks to you! The connections that come from releasing new music and making new fan friends is what keeps me going. xx


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kandle-music.com
facebook.com/kandleofficial 
twitter.com/kandleosborne
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Photo by: Juhee Anderson
Justine Tyrell hones a sound of her own by beautifully merging her sultry vocals and modern flare with the iconic R+B stylings of the early 2000s.

Growing up in an eclectic household around everything from Hip Hop, to Blues and Country, music was Tyrell's first love and the way that she was able to process the world which led to her writing her first song at the age of seven. When asked about her biggest influences, the Calgary-based singer notes:

“[They are] somewhere between discovering my first Aaliyah CD, crying to the first Amy Winehouse song I ever heard, scribbling down song ideas in the back of my journals– and the feeling I got when the hair stood up on end, at my first concert.”


Tyrell was instantly drawn to music and began singing, writing and performing as a natural reaction to the way it all made her feel and is hopeful that her music will bring the same solace to those who listen.

Justine is set to release her debut EP this April and has already dropped three tracks from the record. "My Name" is the latest single, preceded by "Worthy" and "Radar." "My Name" showcases a new side of both Tyrell's vocal and production talents, acting as her own vocal producer on the track. Focused on keeping the music slow and simplistic, Tyrell wanted to dedicate ample space for her vocals to take the forefront.

“'My Name' is the song that says, let's shut out the world – and forget there’s anyone else, but me and you. I wanted the song to feel smooth and intimate in nature – yet hypnotic and full of layers to discover. From the way we produced the vocal, to the way we filtered the start of the song – the soundscape and mood is meant to tease more and more elements as you listen though.”


Ahead of her debut EP release, Tyrell has already earned nominations for Singer of the Year, Solo Artist of the Year, Media Personality of the Year (Obsidian Awards), and has been named one of Branded Magazine’s "Game Changers" in her hometown. Her vibey tracks has earned notable playlists slots and radio play.

On top of her musical success, Tyrell is committed to speaking out on the injustices of the world as a trusted voice for the Black Lives Matter movement. Tyrell speaks from personal experience when advocating for "education, mindfulness and consistency" in striving for social change: 

“Self-education is so important – don’t wait for others to teach you. Looking out for diversity gaps in the work place, being mindful of micro aggressions and stereotypes that we may notice, supporting black business, entrepreneurs, and black voices regularity – especially as we move out of Black History month and have the opportunity to uphold an inclusive standard 24/7, 365 days a year.”


From her melodic tracks to her social activism, Tyrell has many stories to tell and is looking forward to sharing her next chapter. Her forthcoming EP – reflective of the bitter and sweet tastes of love and relationships, combines her diary-like lyricism with a sound that is refreshing yet familiar.

Q: How would you describe your artistry?


My artistry is a place where I get to shape a mood, where I can infuse the sides of me, my thoughts and imagination, and the things I see going on around me - into a soundscape. I’m a singer and a writer, but I also love the production stage, working with my collaborators to craft the small details, to give listeners something that can move through the different moods of their own lives with them.

Q: Your sound is refreshing and reminiscent of the early 2000s mixed with modern flair. Who are the artists from both eras inspiring your music?


Thank you! Aaliyah will forever be the queen! Her music, grace, style, and impact, inspired me so much, and was a major inspiration in wanting to be a singer. Mya, Alicia Keys, Ashanti – were all also my favourites. Now I’m really inspired by artists like Drake, Masago, Summer Walker, and Snoh Aalegra.

Q: What drives your passion to create during these unprecedented times?


I’m a big ball of chaos if I’m not creating. It’s my happy place, and the most natural outlet for me. I’ve found these times to be an opportunity to shut out the everyday hustle and bustle– because we really have no choice. We’ve all been pulled to a stop – which gave me even more space to honour what my creative brain is thinking and focus my energy onto bringing that to fruition.

Q: How's Calgary's music scene, how has it influenced you?


It’s intimate, it’s incredibly high caliber – and its evolving. We are shifting from being known for a few leading genres to pumping out great pop acts, R&B Soul artists, extremely talented producers, and great writers. I want to see more support for our scene, because it really is a bit of a hidden gem. It’s the place I found my voice, grew my confidence on my first intimate stages, learned how much I love connecting with a live audience, and building that connection with a listener.

Q: Tell us about your new single "My Name":


It’s all about that magnetic, hypnotic type of chemistry with another. The attitude is sultry, yet unabashed and confident. The reverse sound within the track ended up being a staple, in inspiring this idea of this love that’s ‘stuck on repeat, in reverse’ that one would want to keep coming back to. We were really intentional with the vocal production in this song, building out lots of layers and harmonies – to give the soundscape more depth and feeling.

Q: What can we expect from your forthcoming EP?


Expect trap soul influences, throwback elements reminiscent of old school R&B – all with a smooth contemporary finish. It captures love and its unraveling, to something that is smoky, 808 driven, and completely self-indulgent. We’ve also reimagined a couple elements of existing tracks, to tie in a few surprises that made me fall in love with some of my favorite records when I was younger.

Q: You're a trusted voice for the Black Lives Matter movement. What's your advice on practicing effective advocacy on social change?


Education, mindfulness, and consistency. I can only ever speak from my personal experiences, which were largely experiencing racism in the education system, in macroaggressions throughout my life, and seeing racial bias and prejudice both quietly and loudly at work towards family members, myself and others in my community who experience it far worse than I have. Self-education is so important – don’t wait for other to teach you. Looking out for diversity gaps in the work place, being mindful of micro aggressions and stereotypes that we may notice, supporting black business, entrepreneurs, and black voices regularity – especially as we move out of Black History month and have the opportunity to uphold an inclusive standard 24/7, 365 days a year.

Q: What's next for Justine Tyrell?


My debut EP, more music, exciting visual drops – and more coffee. Lots more coffee.


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Connect:
justinetyrell.com
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Photo by: Jack Perkins
After years of writing and performing under different names, this Canadian-born quartet, began releasing music under the moniker Soul Push early last year. 

Vancouver's Andrew Dixon, Dallyn Hunt, and Tim Morrison paired up with South African songwriter Conan Jurek to create and explore multiple genres and identities. 

The group was formed after they collectively decided to chase inspiration and temporarily move their lives to Europe. After writing an album in London and recording it in a small town in Portugal, they returned to the North American scene with their R&B-esque debut EP Body Is A Temple.

With their forthcoming album release, Soul Push aims to bridge the gap between the '60s idea of future music and the world we live in today. Their latest single "Good Man" – sonically-inspired by artists such as Tame Impala and Jungle, is about a ladies man on a journey to taming himself for the right woman. 

The track was written in London on a small vintage synth, then re-worked in a vintage house in Portugal with plenty of 60s-era décor which is emphasized in its overall vibe: 

“The production of [Good Man] is a true testament to the power of DIY and good mixing. We didn't produce or record this song in a fancy studio, it was in my grandfather's bedroom. We were just having fun with it and it shows that anyone can create something great in the strangest of places... as long you can get a decent mix. Luckily, we had Ryan Worsley mix "Good Man" and it became a banger!”


Most recently, the band put out a simplistic yet symbolic and unique music video for their newest single. The video for "Good Man" starts off by panning in to lead singer Jurek at the head of the table – seated with his bandmates and a dinner guest. This scene repeats 36 times with the only difference being that something is removed from each shot until Jurek is the only thing left in the frame. 

From their artistic videos to their experimental tracks and songwriting, for Soul Push, music isn’t about finding an identity but rather exploring new ones. Releasing gloriously genre-fluid tracks while navigating through these unprecedented times, Soul Push look forward to releasing their debut full-length album in 2022.

Q: How would you describe Soul Push’s sound and artistry?


The words that come to mind are "grit pop." At heart, we are a rock n roll band who love to thrash on our guitars, but we tend to write closer to the pop world. I think this allows for an interesting mix and sound. We do like to do a fair bit of experimentation too. I know that these days a lot of artists are supposed to "have a sound and identity" but we believe that music is about exploring different identities, not finding one. In terms of artistry, you can get away with anything behind a computer these days, so we're excited to get back to playing live shows, so fans can see what they've been missing out on. We're a performing band at the core and that's where I think most people will see our artistry and chemistry on stage – vibing with each other.

Q: You guys had a former projects, what inspired the vision and vibe behind creating Soul Push?


We all played together throughout high school at different stages and continued to do so afterwards. We started playing a few live shows and things escalated faster than we expected. Before we knew it, we were headlining shows and touring and were too afraid to change our name at that point, thinking we would lose or confuse fans. In 2017, we moved to London (UK) to write and record more music, and took a bit of a hiatus – this turned out to be great because we parted with our "indie rock" roots and started trying something a little different. We felt that we had matured to a point where the old name didn't fit us or our music anymore and decided to change it to Soul Push. We like Soul Push because it felt very '90s to us, and that was appealing because we were all born in '93. As I mentioned above, we like experimenting... and Soul Push feels like a name that can take on many shapes of genres.

Q: What drove the band to pick up and temporarily move to Europe?


We were feeling stuck in our hometown and wanted to try something different. We always romanticized about a life in the UK and eventually decided to stop daydreaming about it and make the move. All of our favourite bands came from the UK and we wanted to live somewhere that had a huge music scene. In Vancouver we would have to drive 12 hours to play in the next major city, in the UK we could play a festival 5 cities over and still sleep in our beds at night. We set out with a goal to write and record new music, and we did that... but I think there was a lot more drinking and hanging out involved. I wonder how many albums we would have by now if we had given up the beers...

Q: How was your experience recording in the UK and in a small town in Portugal? How did your surroundings influence the record?


Writing in London was the best thing we could've done. Not only did it expand our musical horizons, but it also made us super tight as a crew. We had a studio that was right next to a pizza pub (I know right?). After London (UK) we moved to Portugal and set up a studio in my grandfather's childhood home. He built the home with his father in the '60s, and that showed in the decor. It was on a vineyard in a town with less than 100 people, and no one spoke a word of English. We secluded ourselves away from the world and became one with the house and all of its strange noises and ghostly moans (that's a story for another time). We made a conscious decision to try and emulate the feeling of the house and add an old school vibe to the tracks we were recording there, one of them being "Good Man." There's a salty picture online somewhere of us in the Portugal house, and believe me, it's a mood

Q: Tell us about your latest single “Good Man”:


Lyrically, the song is about a man who sleeps around town and eventually quits his ways for the woman of his dreams, which is super ironic because at the time of writing it I was super lonely and the song was almost a way for me to live out an alternate reality... one where I had a sex drive or even someone to settle down with. I'm a songwriter who writes super dancey music when I feel low to counter my mood... so if you are shaking your hips then it came from a dark place. The production of this song is a true testament to the power of DIY and good mixing. We didn't produce or record this song in a fancy studio, it was in my grandfather's bedroom. We were just having fun with it and it shows that anyone can create something great in the strangest of places... as long you can get a decent mix. Luckily, we had Ryan Worsley mix "Good Man" and it became a banger!

Q: “Good Man” is described as a “gritty dance party.” What are some of Soul Push’s favourite dance records?


Tim: Roosevelt - Roosevelt
Dallyn: Daft Punk - Alive 2007
Andrew: Kaytranada - 99.9%
Conan: Daft Punk - Human After All

Q: What’s next for Soul Push?


It's definitely an exciting time for us. We're in the best position we've ever been in as a band and we're enjoying it more than ever. We're still trying to find a way to play live amidst the chaos, so we are working on some virtual concert material as well as planning for an early 2022 EU tour – which is probably when we would release our debut record. Oh yeah, we're working on our debut record.



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Photo by: Sarah Louise Bennett
After five years of writing, recording and performing around the world, the Canadian artist known as BAD CHILD presents his comprehensive debut album Free Trial today with 21 Entertainment and Universal Music Canada alongside Capitol Records stateside and EMI Records in the UK.

Free Trial examines the distorted experience of creating human connection online and acknowledges the challenges that come with navigating emotional concepts through your phone. A concept album structured to feel like a satirical dating app, Free Trial is narrated by voice over clips that guide the listener through the phases of the record like phases of a relationship. The 19-track album features previously released songs and six brand new tracks including the latest single,“$1,000,000.”

Reflecting back on the album now, BAD CHILD puts the music into perspective and honors his early creative process:

“I started writing Free Trial as a reaction to how I saw people using each other in love and in business, especially online. Almost as if they were Free Trials. I felt a coldness and disconnect from those around me after the trauma I had experienced. This album to a degree was the beginning of my journey trying to understand myself. It’s neurotic and childish in some ways and extremely adult and empty in others. Five years of time passed while making this. I started when I was 18 I remember the summer was coloured by frank ocean’s blonde. I’ve turned into an adult since then. I’m turning 24 next month. This album in a lot of ways is my coming of age. I listen back to it and I feel like I’m listening to an experiment come alive. Its disregard for genre and technique makes me excited for the next chapters in this project. I feel like I’ve knocked down a barrier of my identity. At the end of the day when you hear this record you’re starting your Free Trial of me.”


Digging deeper into the tracks, BAD CHILD notes the importance of each song as building blocks that shaped his sound but also helped him to understand his early experiences of love, loss, intimacy and anger. “The first song I ever wrote ‘BAD CHILD’ its auto filtered guitar and drum machine. I remember feeling free when I sang about my trauma and when people reacted to me saying it helped them, I knew I had to write more. Songs like ‘Rouge’ dive into the intimacy of becoming an adult and how love is violent and delicate. ‘Royalty’ is a song I want to scare people, it’s about wanting too much and becoming enveloped in greed. It’s very angry and NIN inspired it heavily.”

Over the past three years, BAD CHILD has quietly been gathering momentum as an artist. In the summer of 2019, he released his thematic debut EP Sign Up. He quickly became one of Canada’s most exciting exports; profiled in the Wonderland Magazine, Complex, HillyDilly, Sidewalk Hustle, Atwood Magazine, Toronto Star. BAD CHILD’s “Candy”, featuring Ryan Chambers, was included on the soundtrack for the highly publicized Netflix film, To All The Boys: P.S. I Still Love You. The only Canadian to be featured on the album which includes tracks from Sofi Tukker, Marina, Gordi and more. Last year, BAD CHILD’s single “Blood” was featured in a global Apple Watch campaign. Back in Canada, his first radio single “Breathing Fire” peaked at top five on alternative radio and was nominated for a 2019 SOCAN Songwriting Prize alongside Dilly Dally, grandson and Kaytranda. BAD CHILD teamed up with fellow Canadians Justin Bieber, Geddy Lee, Avril Lavigne, Walk Off The Earth and many more on a Bill Withers cover of the classic “Lean On Me” for the historic airing of Stronger Together Tous Ensemble, a broadcast event paying tribute to frontline health workers and raising funds for Food Banks Canada in the early stages of the COVID-19 pandemic.

BAD CHILD spent the last year reflecting on the music that shaped him; releasing a COVERS EP that included his own interpretations on songs by Harry Styles, Bill Withers and Soundgarden. As well, he flexed the production side of his artistry, experimenting with new sounds and instruments on his own tracks and collaborations.

BAD CHILD’s eccentric music and unique vision landed him on the festival circuit last summer playing some of the world’s most prestigious line ups including Lollapalooza, Glastonbury, Reading & Leeds and Osheaga. Earlier this year, BAD CHILD was gearing up to join grandson and NoMBe as support for concerts across North America. Both tours have been postponed in light of the global situation.

FREE TRIAL TRACK LIST:

Signing Up
BAD CHILD
Breathing Fire
HI DEF
Blood
$1,000,000
Suitable Partner
Pretty Girls
Deeply In Love
Candy (feat. Ryan Chambers)
Desert Island Lover
Mannequin
Mannequin (Reprise)
Picking Cherries
Royalty
Flowers
Rouge
Behave
Payback



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Photo by: Steph Verschuren
Singer-songwriter sensation renforshort continues to usher in new music with the release of her latest single “virtual reality” via Universal Music. Her mesmerizing vocals and intimate lyrics are brought to life in the accompanying visual, directed by Iris Kim. The video takes the song to a higher level, which shows ren living in a simulation, representing a heightened version of the reality we live in now; where every day feels the same and any acts of deviation are punished. 

The song was written by Lauren Isenberg (renforshort), Kellen Pomeranz (Pom Pom), and Jesse Fink, and produced by Pom Pom (John Legend, Noah Cyrus, Lelya Blue), with additional production from Pete Robertson (Beabadoobee), and underscores.

“'virtual reality' is a song that tackles many topics. But at its core, it really is about anxiety, routine, boredom, isolation, loneliness, and fear, I think a lot of people have a very unhealthy relationship with technology because it’s never really been restricted enough to consider mental health and overall health, and that has fucked so many people up, now more than ever. Ever since I was young, social media has played a major role in my mental wellbeing, and I became so accustomed to it, it became a part of my routine and it came before everything else. The moment I wake up, almost instinctively, I check my phone. Depending on what I see in the morning, basically determines how I’m gonna feel for the rest of the day. I hate it. But I can’t stop. And what's most ironic about this all is you're likely going to read this on social media or listen to the song on some sort of electronic device...”


The new track is the first single off her forthcoming sophomore EP, and further showcases ren’s multi-faceted artistry, with her immersive, visually stunning videos and soaring, dynamic voice that transcends both age and genre.

The rising star has been met with wide critical acclaim- from being featured as MTV’s PUSH RADAR Artist of the week, Rolling Stone crowning her an “Emerging grunge-pop star,” NME featuring her as their “Breakout” artist, applauding her, “raw pop-rock anthems dripping with teenage angst,” and American Songwriter hailing her a, “musical auteur.”

She most recently released her cover of the Gorillaz “Feel Good Inc.” featuring the guitarist sensation Mateus Asato.



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Connect:
renforshort.com
facebook.com/renforshort 
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Photo by: Tess Roby
After moving from Europe over two years ago, this Montreal-based singer-songwriter turns conflicting feelings into sincere songs. Alicia Clara writes about the happenings of everyday life in her creation of a dreamy blend of pop, indie rock and shoegaze.

On the heels of an impressive founding year, Montreal’s new record label – Hot Tramp Records, drops Clara’s EP Outsider/Unusual which was the result of a collaboration on arrangements with Luke Pound, Patrick Drummond and Michael Kalman – who was also the producer. Hot Tramp’s first album release comes in the form of Clara’s deeply introspective look into a period of heartbreak, loss, and the lack of a sense of purpose.

Leading up to her release, Clara shared singles “Five”, “Hazemaze” and “Stones Like Eyes.” The three tracks garnered much attention from leading media outlets and topping popular streaming playlists.

On her latest single, she proclaimed:

“I wrote [Stones Like Eyes] in October 2019, and it almost didn’t make the cut because I felt a bit disconnected from it. I always have a hard time explaining what this track is about, but I would say it’s an ode to our perishable nature as human beings. Part of me weirdly believes I’m eventually going to fix everything from the past and transcend my problems, but the truth is I’m not. I’m not sure what was going on in my mind when I wrote this, but it feels fitting for the current times.”


Drawing from a variety of eras and genres – from 70s folk pop to 90s shoegaze, Clara notes specific influences from the likes of Fleetwood Mac, Cocteau Twins, Weyes Blood, Westerman, Men I Trust and Helena Deland, which evidently shaped Outsider/Usual's transcendent soundscape.

As a whole, the record is reflective of Clara’s journey through the study of astrology – which helped her to better understand aspects of her personality that she had struggled to grasp. The title of the EP itself was derived from the astrological description of her character as being an “outsider/unusual.”

Like the sky, space and everything between, the different inspirations on her latest collection are vast and boundless.

Clara’s album release show – presented by New Colossus Festival, Hot Tramp and Exclaim! will be streaming online tonight at 5PM.

OUTSIDER/UNSUAL TRACKLISTING:

OUTSIDER/UNSUAL
HAZEMAZE
FLOWERS WERE BETTER
STONES LIKE EYES
FIVE
FACELESS


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Winnipeg’s (Peter) Takis’ music exists in the form of unlikely collaborations – uniting to deliver extraordinary electronic tracks.

Working with Jamie Fine and Brandyn Burnette, Takis describes his newest single “All Time” as a balance between Fine’s powerful voice and Burnette’s laidback flow. Similar to his first single – “Wait For Me,” Takis blends the stylings of two distinct artists to create an unrivaled, unfamiliar sound.

“There was a big contrast with the featured artists. Jamie Fine specifically has this incredibly powerful voice and then Brandyn Burnette – on verse two, could almost clash or be a perfect contrast. He has this chill flow, he’s very relaxed, he isn’t trying hard at all and then Jamie comes in super powerful.”


Takis’ three new singles come as a directional shift from the lyrically darker content his fans may expect from him. “This is experimental – which sounds weird to say, that writing happy songs is experimental, but it is in my case.” He credits the shift to the painful year that was 2020 and was inspired to write more uplifting records even though it was not a natural or seemingly “on-brand” decision.

In all of his work, Takis credits much of his inspiration to a love-hate relationship with his hometown. He started his creative journey DJing and making music in high school and though he claims no one really cared for his songs, he kept going – now accumulating mass streams and being signed to one of the most renowned dance labels in the world, Armada Music.

Peter has found purpose in making Winnipeg proud by being the example he never had, for young artists back home:

“You’re kind of the boy who cried wolf until you’re not. Growing up without an example – we didn’t have a Drake, we didn’t have a Weeknd, we didn’t have a Justin Bieber. We had almost no pop representation. We had no one that was in culture from our city. So growing up, it was just kind of like a joke if you were making music.”


With no definite answers surrounding the state of the industry in the new year, Takis is passionately committed and optimistic on dropping his new album Welcome Home and focusing solely on his music, no matter the circumstances.

Can you introduce yourself and tell us about your journey as an artist?


I go by Takis – that’s my real last name. I started DJing in high school – started making music in high school, of course no one really cared. You put a song out and then ten of your friends share it. That was enough to kind of keep me going. This journey has all been about trying to make great records and eventually you realize it’s not easy to make really good songs and put together really cool creative packages, but I’ve just been on this journey since high school, chipping away at it and maybe I’m getting slightly closer but we’re not there yet.

What is it about electronic music specifically that interested you?


So, I started in hip hop – I was a kid on hip hop blogs, refreshing them every other day. I was so excited about this mixtape culture growing up and it was all hip hop. None of my friends could show me anything else. My mom would play pop music, I’d turn that off. I’d have some friends say “hey, listen to this electronic music.” No, it was just hip hop. Eventually, a friend invited me to an electronic festival in my hometown and I was like “what is all this music about?” and I went, and I was shocked by the energy that everybody was sharing. It was light. I’ve been to a million and one hip hop concerts, I DJed a hundred opening sets for hip hop events, DJed at hip hop clubs – that was my life. Once I saw the culture around electronic music and how cheerful everyone was and just the energy, also in the music – I just fell in love. Ever since it’s been a relentless pursuit. I still do incorporate some hip-hop elements and I’ve worked with hip hop artists a lot. It’s still one of my favourite genres but in terms of making music and playing it as a DJ, you can’t beat the energy.

How surreal is it to now be working with Armada?


It’s been great! The big thing about working with a dance label is that they really understand dance culture. I’ve worked with some major labels in the past and obviously I’ve been independent in the past but working with a dance label, they really, really get what a DJ is trying to do. They understand every aspect of it. They’ve been great. They give me a ton of freedom – I always joke that I feel like I don’t really have a label. I really create, I have a great team around me and so far, they trust everything I’ve been doing. I love Armada because it feels like they’re not there.

How does your love-hate relationship with your hometown drive your music?


I think a really complex part of growing up in a relatively small town without a music industry, it is very hard to convince people around you that it’s real. You’re kind of the boy who cried wolf until you’re not. Growing up without an example – we didn’t have a Drake, we didn’t have a Weeknd, we didn’t have a Justin Bieber, we had almost no pop representation. We had no one that was in culture from our city. So growing up, it was just kind of like a joke if you were making music. It was always just fringe. It was almost frowned upon. You were looked at a little off. It’s very tough to cultivate enough self belief to keep going when – I don’t blame anyone but, it was very hard to imagine an artist from our town would go on to play major festivals and go play in Vegas and have songs that have streamed like mine have and some others. So, I think that’s where the relationship starts but thankfully – because of some artists like Goody Grace who I’ve collaborated with – he’s from Manitoba and Faouzia – also from Manitoba, and hopefully this Takis project starts to change the perception back home and now I’m looking a little bit brighter about kind of representing for my city but at the start of this journey, it was a lot of tension, a lot of proving people wrong but eventually got to the point where I proved enough to myself. Now, I want to make people proud and want to make some 17-year-old from the city say “okay, well I have examples now. He didn’t have an example, but I have examples. I’m going to believe in myself because of that.” It is certainly a love-hate relationship still to this day.

Do you have any words of advice for other artists looking to break out of their small towns?


Oh man, that’s so tough. That is a really good question. I say it’s a good question because I don’t even know if I’ve answered it for myself yet. You have to have a self-belief – it’s almost weird how patient you have to be. There’s going to be so many “no’s,” there are going to be so many doors that are slammed in your face, so many people are going to laugh at you for what you do, you’re going to have to make so many sacrifices. Almost beyond advice, you just have to be a certain type of person that is incredibly relentless and that is willing to be kind of ostracized for three to five years before you materialize anything. So, I don’t know if I could give good advice but I can certainly say, make sure you’re the type of person that is going to be prepared for a very, very painful journey at the start.

What can you tell us about your latest single?


“All Time” is the third single off my upcoming project Welcome Home. The first song was called “Wait For Me” and it was literally about somebody that did not wait for me. The second record was called “From The Start” and it was talking about a relationship that actually was kind of doomed from day one. Those who are fans of the Takis project and those who really know me, know I am at my best as an artist and at my most honest when I talk about dark or sad subject matter. When I really lean into painful moments, that is who I’ve been as an artist for all the people who have followed this journey but – after 2020, after the year we’ve had, something in me changed in the last few months where I don’t really have to lean into these stories, I don’t have to exaggerate a painful breakup anymore – it’s just been a painful year. For whatever reason, I just had inspiration to write brighter music and I’ve never ever wrote a hopeful song and put it out. I’ve never made a record that says “hey, everything’s going to be okay” but for whatever reason, I was inspired to try and to be honest with you, that decision was not only not very natural, it didn’t feel on brand and I was kind of concerned about what some of our early fans would think. Also – tough conversation for your team but I ended up scrapping some records that were supposed to come out late last year and early this year because they were leaning a little too far left, so sonically, this isn’t the Takis project that people are going to expect but as a creative package, I have never wrote a song – even just like the idea of a lyric that says “It’s gonna be alright” and talk about a relationship lasting forever. That can only happen when you’re just fed up about everything that was going on. I had to shake myself out of it. So, this is experimental – which sounds weird to say, that writing happy songs is experimental but it is in my case.

How did your collaboration with Jamie Fine and Brandyn Burnette come about?


For fellow Canadians and fans of pop music and listen to the radio, Jamie is like a superstar. Like four or five years ago, you’d turn on the radio and you couldn’t avoid Jamie Fine. You couldn’t avoid some of her hit records, on TV, her performances. I’ve been a fan for like ever. I remember briefly meeting her at a nightclub four years ago and – I don’t know if she remembers this but, she was at the top of my list as an artist I really wanted to work with. It’s kind of strange because I’ve been working with mostly friends on this project – I’m obviously a fan of all the artists I’ve worked with, but there are personal relationships there that take the music biz away and we’re just friends in a room. With Jamie, I’ve just been a distant fan for five years – just a weird guy listening on Spotify to all her music and I love her voice. When we had the idea – the early demo, I was like “you know what? We’re going to have to try. We’re going to have to send it to her. We’re going to have to say, ‘just give it a listen, let’s see what you think.” Thankfully she loved it, she added so much to it, her voice is so big and incredible. Similar to my first single “Wait For Me” with Goody Grace and Tory Lanez, there was a big contrast with the featured artists. Jamie Fine specifically has this incredibly powerful voice and then Brandyn Burnette on verse two, could almost clash or be a perfect contrast. He has this chill flow, he’s very relaxed, he isn’t trying hard at all and then Jamie comes in super powerful. For me, big fan of Jamie Fine – I hope she [reads] this and sees how much I’m fanning out about her. My mission has always been trying to put together contrasting voices and Brandon and Jamie – in my eyes, contrast really, really well and I hope people enjoy it.

What do you have planned for the year ahead?


The album Welcome Home. That is my mission, that’s been my life’s mission for the past year and last year especially, everybody didn’t really know what was going on in the music business. Nobody knew if it was a good idea to drop a project, no one though “hey, we should drop a single here.” “Are we going to be able to do live shows? Are we able to do a radio tour?” There were so many questions and at the top of this year, I sat down with my team and said “we’re going to stop speculating. I don’t know if I’ll play a show this year, I don’t know if anything’s going to change this year but we’re just going to keep dropping songs we believe in and we’re going to drop this album. I don’t care what’s going on in the world, we’re dropping this album Welcome Home.” So, it’s a pure focus on the music and I’m trying my best not to look at the news or Twitter.


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Photo by: Christopher Borges
JUNO nominated, Canadian indie-pop band, Valley jolt fans back to the 90’s with their nostalgic new song “Like 1999” released today with Universal Music Canada. Valley – comprised of Rob Laska, Karah James, Mickey Brandolino, Alex DiMauro – has spent the past two years developing and becoming one of the top internationally streamed Canadian-domestic acts worldwide.

“Woke up it’s 2021, I wanna get texts but I never wanna text back, f*k man, I’m 2020 done.” With lyrics directly addressing today’s uncertainties “Like 1999” clings to simpler times, taking comfort in reminiscent feel-good classics like Friends and 10 Things I Hate About You to evoke a vivid nostalgia response. Valley trade in their signature synths for a fresh acoustic pop sound to carry their emotionally charged lyrical imagery. “Like 1999” still follows the blueprint Valley have established for themselves – building a safe-space for listeners to embrace when they’re feeling alone during dark times of lingering negativity, struggles with apathy and other tremulous emotions and using their voices to help normalize much needed conversations about mental health.

Today’s release is the first glimpse of what’s to come in 2021 for Valley as they evolve their pop-leaning sound and the way that they release music. “Like 1999” started as a TiKTok video that the band created while quarantining together for writing sessions and features the chorus of an unreleased Valley song. In only a few short days, the video had over 700,000 views and over 100,000 likes with Johnny Orlando and JESSIA posting duets of the song on their own accounts. The band then engaged the fans, announcing that they would release the song if the video hit one million views, which they achieved in hours. Valley acted quickly to record the track, documenting the process and sharing it across their social platforms to involve their audience every step of the way. From creation to release, “Like 1999” illustrates the unique connection Valley have formed with their fans; letting them dictate the band’s next release.

“Like 1999” follows the smash EP sucks to see you doing better which Valley released last year and includes the honest banger, “hiccup” (which gathered 200,000 streams in the first 48 hours) and “nevermind.” With only two other self-written, self-produced, debut releases under their belt (including their EP This Room Is White and full-length MAYBE), the band has collected nearly 71 million streams on Spotify alone, a 2020 JUNO Award Nomination, support slots with Lennon Stella and The Band Camino on sold out North American tours in 2019, and a confirmed support billing with LovelyTheBand once the tour world reopens.



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The Weeknd and XO/Republic Records/Universal Music Canada, have released a special project curated specifically for his upcoming Pepsi Super Bowl LV Halftime Show appearance. Given the vast mainstream audience of the Super Bowl, The Highlights album is a way to present some of The Weeknd’s most notable works in one place. While this isn’t a “Greatest Hits” album it does provide a new listener a rich foray into some of the iconic artist’s best and favorite work.

In addition, The Weeknd recently announced the After Hours World Tour. The 104-date global tour will kick off on January 14th, 2022 in Vancouver at Pepsi Live at Rogers Arena with stops in Chicago, Dallas, Los Angeles, Miami, Paris, London and more, before wrapping November 18th in Glasgow at SSE Hydro. The announcement comes just days ahead of the multi-platinum singer’s headlining Super Bowl performance, and also includes a handful of rescheduled dates shifting from 2021 to be a part of the After Hours World Tour in 2022. Tickets go on sale beginning Monday, February 8th at 10AM local time at Ticketmaster.com. Full routing can be found HERE.

As another gift to the fans, The Weeknd dropped a video entitled “The Last Meal Before the Super Bowl.” In the video, The Weeknd can be seen enjoying a final feast on the field. Check it out HERE.

Lastly, to honor the first day of Black History month, The Weeknd announced a collaboration with Postmates and their Black-Owned national merchant collection. Postmates users will see the collection of local options at the top of their feed when using the Postmates app. To kick the collaboration off, The Weeknd chose a local Tampa black-owned restaurant, Mama's Southern Soul Food to feed the frontline healthcare workers at AdventHealth Carrollwood (nearby the Stadium where the Superbowl will take place) who received 150 meals delivered by Postmates, to recognize and reward their tireless efforts to save lives and keep their community safe.

The Highlights Tracklisting:

Save Your Tears 
Blinding Lights 
In Your Eyes 
Can’t Feel My Face 
I Feel It Coming (With Daft Punk) 
Starboy (With Daft Punk) 
Pray For Me (With Kendrick Lamar) 
Heartless 
Often 
The Hills 
Call Out My Name 
Die For You 
Earned It (Fifty Shades of Grey) 
Love Me Harder (With Ariana Grande) 
Acquainted 
Wicked Games 
The Morning 
After Hours


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Photo by: William Arcand
Globally-acclaimed singer/songwriter Charlotte Cardin has kicked off 2021 with new track “Daddy” – available now. Co-penned by Cardin, Jason Brando & Mathieu Sénéchal and produced by Brando & Marc-André Gilbert (MAG), the track arrives alongside a desirously mesmerizing music video companion directed by Martin C. Pariseau. “Daddy” follows the release of “Passive Aggressive,” the first single in nearly two years from the Montreal-based artist.

“'Daddy' is a song about kissing your crush right by the open bar. Your crush’s other crush, standing by the shrimp buffet, sees it all. Your crush can’t choose between their two crushes, so you jump right in and choose for them. 'Daddy' is a song about knowingly making a bad decision and loving it.”


Guided by instinct and gifted with a seismic voice, Cardin pens personal anthems about life and love without filter. Following the success of her Big Boy EP across Canada, she made waves worldwide with her major label and US debut Main Girl EP in 2017 and has amassed over 134 million career streams worldwide. Featuring the standout title track and breakthrough “Dirty Dirty,” Main Girl quickly gained critical acclaim from the likes of The FADER, Harper’s BAZAAR, Interview, NYLON, PAPER, W Magazine & more. The release simultaneously sparked a whirlwind two-year journey around the globe that saw Cardin support the likes of Nick Murphy and BØRNS, in addition to selling out headline shows on multiple continents and gracing the stages of festivals such as Bonnaroo, Osheaga & Festival d’Été de Québec (as a special guest of Sting and Peter Gabriel).

Having spent the majority of the past two years locked in the Cult Nation studio, Cardin is primed for a rise back into the spotlight with her forthcoming full-length debut. With 2020 having seen her grace the cover of ELLE Québec for a third time and continue to serve as house ambassador for CHANEL, the celebrated chanteuse has only just begun to take flight.



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Photo by: Sarah Lousie Bennett 
Canadian singer-songwriter, producer and multi-instrumentalist known as BAD CHILD releases his first single of the new year, “$1,000,000” via 21 Entertainment and Universal Music Canada alongside Capitol Records stateside and Virgin Records in the UK. Sampling familiar sounds from your local convenience store, “$1,000,000” equates falling in love to winning the jackpot. The jangling baseline stimulate the anthemic lyrics creating the feverish confidence on the song.

On the track, BAD CHILD says:

“I wanted $1,000,000 to sound and feel like a corner store lottery, when I was a child I would go with my grandmother and pick-up scratch tickets and she would always say we would win big. The song is about love conquering everything - everything pales in comparison.”


Coinciding with the new single, BAD CHILD announces his plan to release his debut full-length album Free Trial on February 26. The 19-track album features previously released songs and six brand new tracks including “$1,000,000.”

Over the past three years, BAD CHILD has quietly been gathering momentum as an artist. In the summer of 2019, he released his thematic debut EP Sign Up backed by his label partners, Universal Music Canada/21 Entertainment alongside Virgin Records in the UK and Capitol Records stateside. He quickly became one of Canada’s most exciting exports; profiled in the Wonderland Magazine, Complex, HillyDilly, Sidewalk Hustle, Atwood Magazine, Toronto Star. BAD CHILD’s “Candy”, featuring Ryan Chambers, was included on the soundtrack for the highly publicized Netflix film, To All The Boys: P.S. I Still Love You. The only Canadian to be featured on the album which includes tracks from Sofi Tukker, Marina, Gordi and more.

Last year, BAD CHILD’s single “Blood” was featured in a global Apple Watch campaign. Back in Canada, his first radio single “Breathing Fire” peaked at top five on alternative radio and was nominated for a 2019 SOCAN Songwriting Prize alongside Dilly Dally, grandson and Kaytranda. BAD CHILD teamed up with fellow Canadians Justin Bieber, Geddy Lee, Avril Lavigne, Walk Off The Earth and many more on a Bill Withers cover of the classic “Lean On Me” for the historic airing of Stronger Together Tous Ensemble, a broadcast event paying tribute to frontline health workers and raising funds for Food Banks Canada in the early stages of the COVID-19 pandemic.

BAD CHILD spent the last year reflecting on the music that shaped him; releasing a COVERS EP that included his own interpretations on songs by Harry Styles, Bill Withers and Soundgarden. As well, he flexed the production side of his artistry, experimenting with new sounds and instruments on his own tracks and collaborations.

BAD CHILD’s eccentric music and unique vision landed him on the festival circuit last summer playing some of the world’s most prestigious line ups including Lollapalooza, Glastonbury, Reading & Leeds and Osheaga. Earlier this year, BAD CHILD was gearing up to join grandson and NoMBe as support for concerts across North America. Both tours have been postponed in light of the global situation.



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Toronto’s most iconic musical duo USS released their final studio project — Einsteins of Consciousness. Home to the band’s current single "Happy" which is approaching the Top-10 at Alternative in Canada, the 12-track album delivers the best yet from Canada's most popular touring band and provides fans with a soundtrack to get them through to the band's upcoming Thank You Tour.

“Looking back, it’s insane to think that the two of us were able to see the world and make a living doing what we love to do, and on our own terms no less! Seeing the number of bands that have come and gone throughout our time together, we’re incredibly humbled by the support that all of our fans and friends have given us for many, many years. We have enough great memories to last us several lifetimes, and we look forward to hitting the road to say a proper thank you and goodbye when it’s appropriate to do so, to say that we couldn’t have done this without you is an understatement, but please know that we are so thankful for our time together, and that we hope you’ve enjoyed listening to the music as much as we’ve enjoyed making it for you.”


Releasing their first single in 2008, the duo has celebrated some of the biggest accomplishments a band can achieve: they are 8-time award winners (4x CASBY Award Winners, 2x COCA Awards Winners, 2x INDIE Award Winners), JUNO nominated (Best New Group) with a CERTIFIED GOLD record (Yin Yang). Add to that they’ve toured 12 countries, earned ten Top 10 singles, secured a CIMA Certified Road Gold certification, and celebrated PLATINUM status for their acclaimed single "This Is The Best" earlier this summer and it’s very clear that their unique approach to making and sharing music has made them not only one of Canada’s biggest success stories, but one of its greatest treasures.



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