Contemporary folk group Jon and Roy return with a brand new EP entitled I Can Dream. Anchoring the release is its lead single, “Maywell,” a song inspired by an annual winter pilgrimage deep into the mountains behind Victoria, British Columbia. 

Each year, Jon, Roy, and close friends snowshoe through heavy terrain to a remote, rustic cabin. It’s a journey that is as physically demanding as it is emotionally rewarding. “The hike in was incredibly challenging,” Jon recalls. “We didn’t think we’d make it at times because the snow was so heavy. But once we got there, we had the most incredible time. Lots of laughs, deep talks, deep thoughts, and inspiration.”

The cabin was built by a man named Maywell, with the help of his friends, and the song stands as a tribute to his spirit; one that continues to offer refuge, joy, and perspective. Warm, catchy, and gently nostalgic, “Maywell” reflects the sense of gratitude and awe that comes from pushing forward and arriving together.

What sets “Maywell” (and the EP as a whole) apart is its recording process. For the first time, Jon and Roy recorded entirely to tape, a decision made on the spot in collaboration with their friend and engineer, David Parry. 

“Recording digitally is just fine, but it does have a tendency to hinder you in the sense that you know you have an infinite ability to edit and can keep tracking as much as you want,” Jon explains. “Tape is not nearly as forgiving so it forces you to be more present and go for the performance of the song more so than anything else.” 

Vancouver, BC outfit Gay Nineties are sharing “Internet, Sex & Drugs,” a fast-paced, punchy new single that balances romantic tension with sharp observation. Blending indie rock urgency with flashes of new wave and power pop, the track explores emotional disconnection in a hyper-stimulated world, where distraction often replaces intimacy and self-awareness arrives just a little too late.

The song began with a guitar riff written by bandmate Pascal, which quickly sparked the musical foundation for the track. After recording an early instrumental demo in their rehearsal space, the chorus melody arrived long before the lyrics. “After a full week of bashing my head against the wall every day, the chorus fell out of my mouth and the song wrote itself very quickly,” explains lead vocalist/bassist Parker Bossley. Inspired in part by the emotional dynamic of Robert Palmer’s song “Johnny & Mary,” the narrative follows a relationship unfolding in real time where one person reaches for something genuine while the other remains consumed by hollow distractions.

Clocking in at just over two minutes, “Internet, Sex & Drugs” moves with restless momentum, each section introducing new melodic and compositional elements that build toward an ebullient climax. The track nearly didn’t happen at all; an early demo was initially dismissed as too “proggy” before Gay Nineties rediscovered its potential during rehearsal, where a cleaner, chorused guitar tone reframed the idea entirely and set the writing process in motion.

Stylistically, the band leaned into the emotional clarity and compositional instincts of artists like The Police, Tom Petty, and Kate Bush, aiming to capture the immediacy and melodic richness of classic 80s new wave while grounding the sound firmly in the present. The result feels both nostalgic and contemporary; bright, romantic, and rhythmically driven, while lyrically rooted in modern anxieties. A cheeky lyrical nod to The Rolling Stones’ “Start Me Up” adds a moment of humour that reflects Gay Nineties’ guiding philosophy: approaching darker subject matter from a place of joy.

Following years of writing, teaching, and performing music rooted in connection and self-reflection, London, Ontario–based singer-songwriter and multi-instrumentalist Marty Kolls shares “Drive,” a hypnotic, consistent pop single that captures the quiet momentum of moving forward through uncertainty. Optimistic yet grounded, the track reflects on awareness, contemplation, and the importance of continuing on even when the road ahead isn’t fully visible.

Inspired by both time spent behind the wheel and her work as a songwriting instructor, “Drive” grew out of a lesson Marty taught her students. Beginning with a steady, driving rhythm, the song came together as she paired it with lyrics written during another class exercise. 

“I started with the driving rhythm, and it fit well with lyrics I had already written,” she explains. “I put myself to the test of writing all of the assignments along with my students. It was a great source of inspiration to be presenting for them at the same time as they presented to me.”

Toronto-based indie-folk troubadour John Muirhead shares his new single, “Loved You Well,” a tender and reflective meditation on unrequited love, yearning, and the quiet spaces where connection almost blooms. Rooted in simplicity and intimacy, the track captures those fleeting, ordinary moments that linger long after they’ve passed; the ones that live rent-free in our hearts because nothing ever fully came of them.

“‘Loved You Well’ is about replaying moments that never quite turned into anything,” explains Muirhead. “It was inspired by a real date where, on paper, nothing important happened. But that’s exactly the point. Sometimes the absence of something becomes the thing you can’t stop thinking about.”

Recorded in a single, immersive day, the song is deliberately stripped back to feel as if Muirhead is performing in the same room as the listener. Acoustic guitar and vocals form the foundation, with piano, pedal steel, and harmonies by Clayton White layered organically to preserve character and intimacy. “We captured something special,” Muirhead says. “I wanted the song to feel like being alone with your memories, wondering “what if…””