Toronto-based, Hong Kong-born songwriter Tennyson King shares “Big Mountain High (大山高),” a powerful and emotionally resonant new single that marks a defining moment in his artistic evolution. Blending traditional Chinese instrumentation with modern indie folk and singer-songwriter sensibilities, the track stands as a bold expression of identity, heritage, and creative confidence. It is the first single released from his forthcoming album 100 Cities.

“This was the first song I wrote with the intention of fusing traditional Chinese instruments with western folk music,” Tennyson explains. Inspired by the ancient guqin composition “High Mountains and Flowing Water,” he was struck by its emotional depth. “It made me feel sadness and a sense of power at the same time,” he says. “I knew I wanted to write something inspired by it.”

1. Tell us the story of this song, why did you choose to visualize this song specifically?  

Big Mountain High (大山高) is the first song I wrote when I started working on the fusion of indie folk music and traditional Chinese music. It is inspired by a very well traditional Chinese composition called ‘High Mountains & Flowing Water” written for the oldest known instrument in Chinese history, the Guqin. I was doing a lot of deep listening to traditional Chinese songs and this one spoke to me, the melody, composition and the story. Once I started writing, the song came naturally and it felt like it worked and that this fusion project could actually be done. At the time, I had my doubts and challenges. I combined elements from traditional Chinese instruments, Peking Opera, and indie folk music. I felt like I found a unique sound that no one has done. The lyrics of this song tell a story of embracing the nature and knowledge of our elders, finding connection with others through the voice of song, and passing on our stories through music. I chose to visualize this song because I wanted people to not only hear my culture but be able to see it as well. To share my passions for Chinese pop culture, music culture, Tai Chi, Qi Gong, and Kung Fu. I also think that because not many people know what these instruments are, or what they look like, hearing it wouldn’t be enough. Seeing them visually performed would be the best way to fully share the art. 

2.What was the inspiration behind this video (visuals, storyline, etc.)? 

We filmed this music video in Taipei, Taiwan, collaborated with a kung fu fashion designer (Fly By Knight), and featured traditional Chinese musicians based in Taiwan. The clothing is special not only because of the collaboration with Fly By Knight but because it uses the ancient design of “through loops” to button up the shirts. This is an ancient practice that was considered a mental meditative practice and also a quick release. The music video is inspired by old 70’s Chinese Kung Fu movies, which is something I’ve always loved. The location is 228 Peace Park in Taipei. We feature performers of Da Gu, Guzheng, and Erhu from Taiwan. The visuals are truly to share more Taiwanese and Chinese culture. It was also filmed while I was on tour in Taiwan.

3.What was the process of making this video?

This music video was filmed and directed by Ewan Mac. I found the location on my previous tour in Taiwan about a year ago and thought it would be a great place for a music video. Fast forward to May 2026, both Ewan and I would be in Taiwan so we planned to shoot the video there. We filmed everything in one morning/afternoon on a weekday at 228 Peace Park which is right near the busy central area of Taipei. There were many people walking around, workers and others doing wedding photos so we had to work around a lot of elements that we didn’t expect. A lot of people ended up just watching us film and perform. It was a hot and sunny day too and both Ewan and I got heat stroke at the end of the day. The video looks so good though so it was all worth it.

Ahead of showcasing at the East Coast Music Awards later this month where she’s nominated for Dance Release of the Year, Canadian singer-songwriter Apryll Aileen shares “Call Me Anytime,” a warm and uplifting pop/alt-country single that captures the quiet strength of unconditional love across distance. Rooted in storytelling and emotional clarity, the track follows a grandfather supporting his grandson as he leaves home to pursue a rising soccer career, balancing pride, longing, and the enduring promise of connection.

At its core, the song is written from the perspective of a grandfather speaking to his grandson as he begins to find success in the Canadian soccer world. Through simple yet deeply resonant lyrics, he reminds him that no matter how far he goes, he is never alone. “Call Me Anytime” becomes both a message and a mantra; a steady reassurance that love remains constant, even as life pulls people in different directions. The song has already been added to four Apple Music editorial playlists.

That sense of connection extends into the song’s visual world. Filmed in Toronto during JUNO week, the accompanying music video features rising youth soccer talent Malakhai Eaton, one of the top defensive players in the GTA (12 and under). The video captures the emotional tension between ambition and home, reflecting the reality of leaving behind familiarity to chase something bigger, while still holding onto where you came from.

The creative process behind the song unfolded organically. “I was actually on a flight to the UK when I heard the chorus melody in my head,” Apryll shares. “I didn’t want to lose it, so I recorded a voice note right there in my seat. As soon as the plane touched down, I grabbed my friend’s guitar and the song grew naturally from there; it wrote itself.” The track was later brought to life in collaboration with UK-based producer Danny Lafrombe, blending simplicity with dynamic shifts that mirror the emotional arc of the story.

Apryll co-wrote the lyrics with her friend Bill Eaton who wanted to gift it to his grandson Malakhai for Christmas. From there, it turned into something the pair wanted to share with the world so other families could resonate with it. Apryll also has a hidden art skill – she has recently found a meditative peace in painting so she decided to paint the cover art above. While filming on set, she gifted him the painting, so he could have a visual reminder to remember the love of his family. 

One of the most unexpected moments came during filming. While traveling between locations, 11-year-old Malakhai played “Fast Car” by Tracy Chapman, a song that had subconsciously influenced Apryll while writing. “Keep in mind I had never met Malakhai until we filmed the video. This alone is mind boggling to me. I’m not sure which one of us felt the call to ‘Fast Car’ first, but I think we were successful in capturing part of its intimate, raw, narrative essence and driving yet slightly melancholic rhythm.”

Sonically, “Call Me Anytime” blends contemporary pop sensibilities with alternative country warmth and singer-songwriter intimacy. Built on accessible chord progressions and a melody designed to be shared, the track invites listeners to make it their own; a song meant to be sung to loved ones, wherever they may be.

At its core, “Force of Habit” is “…about letting go of the past and searching for a new way forward,” the band explains. That emotional arc drives the song’s momentum. What begins as reflective and restrained gradually unravels into beautiful, noisy chaos.

What sets the track apart is its tension between mood and movement. While the instrumentation leans bright and energetic, drawing from vintage rock and surf influences, the emotional undercurrent remains heavy. That push-and-pull gives the song its distinct character, capturing the feeling of being caught between holding on and letting go.

As “Force of Habit” progresses, that tension reaches a breaking point. Layers begin to collapse into a flurry of distortion and movement, mirroring the internal chaos that comes with change. The result feels both controlled and unpredictable, rooted in classic songwriting but unafraid to unravel.

Toronto-based duo MOONRIIVR return with “Force of Habit,” an upbeat yet emotionally charged indie rock single that blends 60s-inspired kraut rock textures with surf and indie sensibilities. Equal parts nostalgic and explosive, the track traces a path from loss and desperation toward release, building into a cathartic, noise-driven finale that refuses to look back. It’s the second single to be shared from their forthcoming album, MOONRIIVR Vol. 2, out later this year, and follows November 2025’s “You Get Me By.”

MOONRIIVR is the collaborative project of James Robertson and Gavin Gardiner, two longtime contributors to the Toronto music community whose shared affinity for vintage sound and analog recording defines the band’s sonic identity.

Gardiner, a member of JUNO Award and Polaris Music Prize-nominated indie-folk group The Wooden Sky and an established engineer at All Day Coconut, brings a deep understanding of texture and space. Robertson, known for his work with Dwayne Gretzky & Tom Wilson, Washington Post named “an orchestra unto himself” complements that foundation with a passion for era-specific instrumentation and melodic structure.

Their 2023 debut, MOONRIIVR Vol. 1, earned critical acclaim and international attention, with Rolling Stone describing it as “as if Buddy Holly and Chris Isaak made a record with Damien Jurado.” Since then, the duo has expanded their work as producers, collaborating with artists Peter Dreams (July Talk), Brandon Wolfe Scott (Yukon Blonde) and Reuben Bullock (Reuben & the Dark) and many others across Canada while continuing to refine their own evolving sound.

Blending past and present, MOONRIIVR creates music that feels both familiar and otherworldly, rooted in tradition but constantly reaching forward. “Force of Habit” offers a compelling glimpse into the next phase of their journey.

Jessica Pearson and the East Wind unveil Wilding Part One, a bold and unflinching EP that channels the power, resilience, and collective strength of women into a deeply intentional body of work. Rooted in folk and Americana traditions while shaped by rich harmonies and emotive storytelling, the record stands as both a celebration of sisterhood and a rallying cry against systemic inequality and gender-based violence.

Written, recorded, and produced entirely by a team of women, Wilding Part One captures the energy of collaboration without compromise. It’s a project born from community and a reflection of the real-life sisterhood that inspired its creation.

“I’ve been so lucky to be surrounded by so many amazing women in my life,” Jessica shares. “These women made space for me to fully be myself. I shared my experiences with them and it was received with no judgment, no shame, just love. Our stories became songs, which in turn became Wilding Part One.”

At the heart of the EP is “Do It,” a gripping and unflinching Americana-leaning folk track that confronts domestic and gender-based violence with both honesty and urgency. Driven by a simmering intensity and grounded in lived experience, the song shifts the narrative from victimhood to empowerment, offering a message of strength and self-worth.

“A lot of the time when gender-based violence is discussed, people will ask ‘why didn’t they just leave?’,” Jessica explains. “It’s never that easy. Our song is a reminder that you are worthy and enough, and you are stronger than you’ve been made to believe. You can ‘Do It.’”

Written just days before entering the studio, “Do It” arrived with a sense of immediacy that shaped both its creation and impact. After feeling that something was missing from the EP, Jessica followed a sudden burst of inspiration, quickly bringing the song to life in collaboration with acclaimed songwriter Tara Shannon entirely over text.

The recording process, led by JUNO Award–winning producer Hill Kourkoutis and an all-female team, further amplified the song’s emotional weight. Designed to feel like “a fire raging behind her,” the track carries a raw, undeniable power, reflecting both the pain and the resilience at its core.

Across Wilding Part One, themes of healing, resistance, and transformation intertwine. The EP moves fluidly between celebration and confrontation, capturing both the beauty of women supporting one another and the realities they continue to face. It’s a project that doesn’t shy away from difficult truths, but instead reframes them through strength, unity, and collective voice.

Toronto trio Faiyaz and the Wasted Chances drop “Bleeding Out,” a bouncy and unrelenting garage punk single that fuses high-voltage energy with a darker emotional undercurrent. Driven by punchy riffs, stripped-back production, and a restless, kinetic feel, the track captures the disorienting experience of pushing through pain while refusing to slow down. It’s a sharp and immediate introduction to a new chapter for the band, offering the first glimpse into an upcoming full-length project.

“The day I wrote this song, I was really questioning whether it was worth it,” explains frontman Faiyaz Shah. “I deal with terrible migraines, and I just wanted to write something that made it feel like they wouldn’t mean shit to me.” What began as a moment of doubt quickly evolved into something more defiant, a cathartic release shaped by frustration, endurance, and self-trust.

At the heart of the track is a striking contrast. Bright, almost playful guitar work collides with lyrics rooted in mental strain, physical pain, and the slow erosion that can come with both. “There’s this duality between the cutesy, bouncy riff and the bleakness of what I’m talking about,” Faiyaz says. “That dichotomy plus a catchy chorus really keeps it different.”

Initially dismissed by Faiyaz as “too caveman” and “too cute,” “Bleeding Out” found new life through collaboration. Working alongside producer Jose Contreras (By Divine Right), the track began to take shape in a more focused and intentional way. “I’ll never forget watching my “5 Bucks” hero bumping up and down to the chorus once I had overdubbed the dyad picking,” Faiyaz reflects. “Just goes to show we are our own biggest judges.”

Where previous releases leaned heavily into dense layering, “Bleeding Out” pulls things back, favouring a more immediate and live-off-the-floor feel. With just two guitars anchoring the arrangement, the song hits harder by doing less, letting its raw energy and urgency speak for itself.