The Mosfets return with “Radio, Turn Me On,” an electric and frenetic garage rock track and the second single to be shared from the band’s upcoming self-titled EP (out May 29th, 2026), following the release of “Take A Chance” on March 6th. Driven by pounding drums, fuzz-drenched guitars, and a euphoric sense of chaos, the track captures the band’s love for playful storytelling while channeling the raw spirit of classic garage punk. It’s a call to action to turn the radio on while also being a sexual innuendo.
The idea for the song arrived at an unexpected moment. While riding to a gig with the band, frontman Keith Mosfet casually asked his bandmate Ilari to “turn the radio on.” The phrase instantly sparked an idea. “I remember laughing because it sounded like a sexual innuendo,” Keith explains. “I’m always looking for interesting concepts to write about, and I liked the idea of blending humour with romanticism.” Inspired in part by the surreal charm of The Who’s “Pinball Wizard,” The Mosfets leaned into the playful absurdity of the concept, leaving listeners free to interpret the title however they like.
1. Tell us the story of this song, why did you choose to visualize this song specifically? The song actually came from a dream back in Autumn 2024. In my dream I was at a party, and I recall putting on some random vinyl. And this song is what played. Its a pretty classic sounding early 1960’s Blues Garage Rock type song to me. I think I remember dancing in my dream, I then woke up and realized it was an original song. So I just recorded the demo, the song was pretty much written right there.
I originally couldn’t really name the song, since it was so abstract in a way, coming from a dream. The other guys in the band (Maarten & Ilari) agreed to play this blues garage song. But only if we named it Keith Is A Blues artist haha. Visually, I was to take that classic 1960’s psychedelic visuals. But also pay homage to one of the original, unsung heros and creators of that style, Len Lye. We used a lot of his different visuals to help make all the videos on this EP.
2.What was the inspiration behind this video (visuals, storyline, etc.)? The unsung hero, that is Len Lye. His visual eye was such a huge influence on what is now perceived as 1960’s visuals, when in reality he was doing this back in the 1930’s. We used his visual’s and mixed it with our music and live clips.
3.What was the process of making this video? I had a vision, I told my friend Adam Smith who goes by Nobodys Shapeshift about this. And we worked together to get the end results that is Keith Is A Blues Artist.
Berlin-based songwriter Ryan O’Reilly releases the official studio version of “Elizabeth,” a reflective and memorable alternative folk gem written nearly 20 years ago. Originally penned in 2006 before a summer tour of Canada with future Dwayne Gretzky founders Tyler Kyte and Nick Rose, the song channels O’Reilly’s deep admiration for Gram Parsons into something more country and bluegrass-inflected than typically associated with Irish or English songwriters.
“Elizabeth” offers a preview of O’Reilly’s forthcoming album Native Companion, set for release on April 14th, 2026, his birthday. Inspired by David Foster Wallace’s essay collection A Supposedly Fun Thing I’ll Never Do Again, the album title nods to the collaborative spirit that defines O’Reilly’s journey from Toronto’s Dwayne Gretzky community to Berlin’s L.A. People. The record features contributions from Spencer Cullum Jr., classical cellist Anastasia Povekvechnykh, Jadea Kelly, Missouri songwriter Ian Fisher, and screenwriter Christopher Moynihan.
Lyrically rich and poetic, “Elizabeth” paints the portrait of an enigmatic, slightly troubled young woman who “steals the show” despite the darkness and loss that surrounds her. The song captures the beauty and unpredictability of young love and the feeling of standing mid-scene in a play, unsure of the ending but fully immersed in the moment.
Recorded at Dwayne’s World studio in Toronto, the track reunites O’Reilly with longtime collaborators Tyler Kyte and Nick Rose, alongside members of Dwayne Gretzky: Simeon Abbott (piano), Adam Hindle (drums), and Dave Dalrymple (bass). Engineering duties were handled by Ian Docherty, guitarist of July Talk.
The single also features London-born, Nashville-based pedal steel legend Spencer Cullum Jr. on lead guitar. Cullum, in town performing at the SkyDome (Rogers Centre) with Miranda Lambert, stopped by the studio, was handed a beer and a guitar, and delivered his part in a single live take. The recording process intentionally preserved a live, relaxed atmosphere. O’Reilly, Kyte, and Cullum Jr. sat on sofas while performing, capturing the song’s restless energy and lived-in warmth. The result is a version that feels both nostalgic and immediate, a full-circle moment for a song that has been performed on street corners and stages for two decades.
Solo piano music has long traded in mood: stillness, space, reflection. But more often than not, it leans heavily on familiar ideas to get there. A few well placed pauses, a gentle motif and the suggestion of depth can sometimes stand in for the real thing. It’s a style that risks becoming more about atmosphere than authenticity.
What makes “Silent Mountains” from Raffaele Scoccia feel different is that it never leans too hard on those expectations. Instead of constructing a mood, it seems to arrive fully formed, as if the music is simply being allowed to exist rather than shaped into something overly deliberate.
The opening moments set the tone perfectly with measured, spacious and quietly assured opening. The melody doesn’t push forward so much as unfold, finding its own path in a way that feels natural and unforced. It’s this sense of ease that defines the piece, giving it a kind of understated confidence that many more complex compositions lack.
As the track develops, there’s a gentle shift in energy, a widening of the emotional frame. Much like the changing light across a mountain landscape, it’s a subtle transformation – noticeable but never overstated. The piece remains grounded in its own sense of calm, never losing sight of the stillness at its center.
And while many piano works aim for a grand emotional payoff, “Silent Mountains” resists that pull. Instead, it circles back inward, returning to its quieter beginnings with a sense of balance and quiet resolution. It’s a decision that speaks to the strength of the composition – knowing when to hold back is often more powerful than pushing forward.
Piano minimalism isn’t new. Reflective, nature inspired compositions are hardly rare. But to find something that feels this genuine, this unforced and this quietly absorbing is exactly why “Silent Mountains” is worth a listen.
About Raffaele Scoccia
Raffaele Scoccia is an Italian composer, pianist and producer whose work moves between electronic music, contemporary composition and minimalist piano. Originally from Trento, he has spent several years in New York developing his sound and collaborating across a wide range of musical scenes, building an international perspective that continues to shape his work.
Alongside his solo material, he has released music under the name Moon Rocket, a project rooted in groove-driven, electronic production that has connected with audiences worldwide. More recently, Scoccia has turned back to the piano, focusing on a more stripped-back and immediate form of expression.
His current compositions are defined by clarity and space, often drawing inspiration from nature and moments of introspection.
Instrumental albums are often framed as background music. Pleasant, technically impressive but rarely stepping forward as something that demands deeper emotional or intellectual engagement. And likewise, records rooted in tradition can sometimes feel content to stay within well worn boundaries, honoring their influences without necessarily expanding on them.
But every so often, an artist comes along who treats both form and feeling as open terrain, blending discipline with imagination to create something that resonates far beyond expectation. American Heartland is exactly that kind of album.
This is ultimately a record shaped by place, but not in any obvious or literal sense. Missouri isn’t simply depicted here. It is absorbed, internalized and re-expressed through a musical language that feels both grounded and far reaching. What begins as a personal reflection on landscape gradually unfolds into something more universal, a meditation on memory, movement and the quiet sense of where we come from.
If that sounds like it leans toward the pastoral or predictable, think again. While there is an undeniable sense of warmth and familiarity running through the album, it is constantly being refracted through a more expansive musical lens. Drawing on both Western traditions and the phrasing and tonal sensibilities of North Indian classical music, the compositions move in ways that feel fluid and alive, with melodies stretching and gliding, harmonies shifting with subtle but purposeful intent.
Take Clouds Above Golden Fields or A Full Moon Rising, where the music seems to hover in a kind of suspended state, anchored by tonal centers that allow melodies to breathe and wander. The phrasing in the vocals are there, aided by the use of open strings and drones, giving these pieces a sense of quiet introspection that does not tip over into stillness. They feel less performed than uncovered, as though they have always existed, waiting to be heard.
Elsewhere, the album finds a different kind of momentum. Tracks like Palomino, Land of Green and All The Stars Tonight introduce parallel harmonic movement that gently reshapes the terrain, adding lift and forward motion without ever overwhelming the core melodic voice. These are pieces that expand outward, drawing on contemporary jazz textures while maintaining a strong sense of narrative cohesion.
And then there are the moments of pure intimacy. On The Farm strips everything back to solo acoustic guitar, offering a closer, more immediate connection between player and listener. These are not interludes so much as anchors and reminders that, for all its breadth, the album remains deeply personal at heart.
Across the record, there’s a careful balance at play. Full ensemble arrangements sit comfortably alongside more sparse, folk-leaning textures, with each informing the other, each adding weight where needed or space where appropriate. The sequencing reflects this beautifully, guiding the listener through a series of shifting perspectives without ever losing its sense of direction.
But beyond its technical and structural strengths, what truly defines American Heartland is its sense of presence. This is music that feels lived-in, and brought to life through genuine human interaction. You can hear this come across in the phrasing, in the interplay, and in the way each piece seems to evolve organically rather than follow a rigid blueprint.
American Heartland is less about individual standout moments and more about the journey it creates as a whole. It’s an album that invites you in, asks you to stay and rewards that time with layers of detail.
About Todd Mosby
There are artists who follow tradition, and then there are those who expand it, quietly reshaping musical language through curiosity, discipline and a deep sense of purpose. Todd Mosby has spent his career doing exactly that, forging a distinctive voice that bridges continents, cultures and compositional philosophies.
Born and raised in Missouri, Mosby’s music remains deeply connected to the landscapes of his origin, yet it rarely stays confined to any one place. His work is defined by a seamless integration of Western guitar traditions with the tonal depth and expressive nuance of North Indian classical music, a path shaped through years of dedicated study and immersion. This cross-cultural approach informs not just his technique, but the very architecture of his compositions where melody leads and harmony follows with fluid, intentional grace.
Mosby’s playing is marked by clarity, space and a vocal-like phrasing that allows each note to resonate fully. Whether working within a single tonal center or exploring parallel harmonic movement, his music unfolds organically, guided as much by instinct as by structure.
A committed collaborator, Mosby has worked alongside some of the most respected musicians in contemporary jazz and beyond, valuing the immediacy and depth that only live interaction can provide. For him, music is not a solitary pursuit but a shared experience.
That vision reaches a new level of clarity on American Heartland. Anchored by Mosby’s guitar work and guided by two time Grammy-winning producer Jeffrey Weber, the album features contributions from some of the most respected players in contemporary music. Among them are Vinnie Colaiuta, whose drumming brings both precision and elasticity to the rhythmic foundation, and Leland Sklar, whose unmistakable bass tone adds warmth and depth. Tom Scott lends his signature woodwind voice, shaping the album’s melodic contours with a seasoned, expressive touch, while Michael Manring introduces a more fluid, almost orchestral approach to the instrument. The rhythmic and harmonic palette is further expanded by Luis Conte on percussion and Dapo Torimiro on piano and keys, whose playing helps shape the album’s tonal atmosphere. Around them, a wider ensemble, including brass, strings, and vocalists such as Lola Kristine and Laura Vall, adds texture, color, and emotional nuance to the broader sonic landscape.
Across his work, Mosby continues to balance structure with spontaneity, intimacy with scale. His compositions move effortlessly between solo acoustic reflections and full ensemble arrangements, always guided by a clear emotional throughline. With projects like American Heartland, he continues to refine this vision, crafting immersive, emotionally resonant works that invite listeners into a world shaped by memory, movement, and the enduring influence of place.
The Imaginary Band, the latest project from longtime Chilliwack, BC musician Andrew Christopher, expands from concept to fully realized collaboration on their self-titled debut album. Blending folk, rock, and Americana influences, the record captures the spontaneity and chemistry that happens when talented musicians gather in the same room and let creativity lead the way.
“I had written the songs and recorded some acoustic versions,” Andrew explains. “Then these incredible musicians came into my life and we just had to finish the songs with their added touches of brilliance.” What followed was a recording experience that felt both focused and free-flowing. Over two intense days in the studio, each musician stepped fully into their role while maintaining a supportive and lighthearted atmosphere. “We knew our assignments,” he recalls. “But of course, we kept it fun, lighthearted, and encouraging in a supportive atmosphere. People trying to out-solo each other in healthy competition was a highlight.”
At the heart of the album is its lead single, “If You Only Knew,” an unrelenting yet heartfelt folk-rock track that explores accountability and communication within personal relationships. The song balances its aggressive musical drive with a deeper emotional message: understanding often begins by turning inward.
“The title reflects the central idea of the song,” Andrew shares. “If you only knew what was really going on then you may be able to accept some responsibility and find ways that you can help the relationship.”
One memorable moment from the recording process involved a surprising shift in instrumentation. Originally, local guitar legend Trevor McDonald was set to record the track’s solo while contributing electric guitar across the record. Instead, he suggested experimenting with a violin solo. After some discussion, Christopher and keyboardist Devon Jared ultimately felt the song needed a guitar lead, leading Jared to step in and deliver the fiery solo that defines the track’s climax.
Warm but urgent, reflective yet propulsive, “If You Only Knew” captures the spirit that defines the entire album: real musicians playing real instruments, collaborating in real time. It’s a reminder that connection, honesty, and shared creativity can turn a collection of songs into something much bigger than any individual contributor.
With Pretty Demons (Remastered 2026), Andrew Spice revisits his acclaimed 2003 debut with renewed clarity and resonance. Rooted in piano-driven indie songwriting, the album captures the emotional turbulence of coming-of-age as a queer person in the late 1990s; a time when finding belonging often meant confronting hostility, isolation, and fear. Upon its original release, Pretty Demons received raves from publication after publication: “so sensitive it will break your heart” (The Varsity), “a genuine talent whose lyrics are carefully wrought poems” (NOW Magazine), “manages to put his finger on our collective hearts” (The Toronto Star). The album was also nominated for Outstanding Debut Recording at the OutMusic Awards. Now, more than two decades later, its themes of love, loss, identity, and survival remain strikingly relevant.
Following the success of Pretty Demons, Spice’s next step was unusual: He earned a Ph.D. and became a clinical psychologist. Then, while continuing to practice in psychology, he made a nearly-unprecedented return to the music industry after 22 years with the release of 2025’s With Animals. Produced by two-time JUNO Award nominee Matthew Barber, With Animals garnered worldwide press acclaim, international airplay, and tour dates at esteemed Canadian venues such as the National Arts Centre in Ottawa.
The release of Pretty Demons (Remastered 2026) marks a thoughtful return to Spice’s roots after his sophomore album. Originally recorded under the guidance of producer and three-time JUNO Award-nominee Emm Gryner, Pretty Demons carries a deeply personal history between artist and collaborator. Spice first met Gryner at age 16 in 1998 while she was opening for Alanis Morissette in Winnipeg. After sending Gryner a cassette tape of demos, the two began a creative partnership that ultimately led to Spice signing with her label and moving to Toronto to begin recording Pretty Demons. “The transition from making tapes in my parents’ basement as a teenager to crafting a full album in the studio with Emm Gryner, who is one of my heroes, was a dream come true,” Spice recalls. “Remastering Pretty Demons in 2026 reaffirmed my pride in the record, feeling that it could resonate with listeners perhaps even more today than it did in 2003.”
Anchoring the album is its haunting lead single, “Unafraid,” a moody and emotionally charged track that reflects on the dangers and anxieties of growing up queer in rural Manitoba during the late 90s and early 2000s. While the song’s title gestures toward a desired state of freedom and safety, the tension within the music reveals how distant that feeling can sometimes seem. Even now, in 2026, across the world these dangers are still present and in some ways worse.
At the centre of both the album and “Unafraid” lies Spice’s unmistakable musical foundation: voice and piano. From that intimate core, Gryner layered subtle arrangements ranging from classically influenced strings to keyboards and programming. The 2026 remaster highlights these details with renewed depth, particularly the rich vocal harmonies Gryner crafted, drawing on her experience performing as a vocalist with David Bowie’s touring band.
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