Martha Johnson is a founding member and the lead singer of the Canadian art pop band Martha and the Muffins which formed in 1977. Her career, spanning more than four decades and eleven albums, has had many highlights. In 2000, Martha was diagnosed with Parkinson’s Disease and was eventually forced to stop performing live.
April is Parkinson’s Awareness Month. Martha Johnson and Company’s “Slow Emotion” began with the suggestion of her neurologist Dr. Fasano at Krembil Research Institute/University Health Network in Toronto. He encouraged Martha to collaborate on a song with another of his patients, songwriter/musician Fabio Dwyer, to show that life and creativity doesn’t end with a diagnosis. Released on April 11th, World Parkinson’s Day, the uplifting anthem was largely performed by musicians and singers with PD.
“I came up with the title, Slow Emotion, years ago and it seemed like a good fit with the theme of accepting and adapting to the changes both physically and emotionally you go through when you are living with PD. I’m hoping that people are moved by the song to a place of better understanding. Parkinson’s is continuously a life changing event for me. Life is what you make of it and you’ll have a better time if you just slow down a little and really take it all in.” –Martha Johnson With the support of Krembil Research Institute/University Health Network and Parkinson Canada, there is an accompanying documentary by Toronto filmmaker Jason Cipparrone that looks at the creation of “Slow Emotion.”
Indie pop artist stardrop is a creative force from Thunder Bay, ON. She partnered with Tennyson King and Dan Hosh to produce her debut EP, I Feel Everything, which showcases catchy, soulful self-love anthems that celebrate femininity, authenticity, and resilience.
Fueled by big feelings, stardrop is using the power of music to rewrite her narrative and explore a new way of existing in the world. “After many years of feeling completely disconnected from myself and my self-worth, I was ready to claim my own space in this world,” she elaborates. “It was a real ‘fake it til to make it’ type of thing, or rather, ‘sing it til you believe it.’”
The lyrics for focus track “Tiger” poured out of her like magic, at a time she longed for the strength and courage to feel powerful and begin to heal. The tiger represents the instinctive animal laying dormant inside, ready to protect us when needed.
In collaboration with cinematographer Scott MacKay, the “Tiger” music video explores the effects trauma has on the ability to be present. It demonstrates an out-of-body experience by creatively distorting reality in different ways.
Winnipeg’s Tyler Del Pino has always struggled to fit in, and there’s nothing like his music that truly challenges the concept of genre and delivers his one-of-a-kind brand of Canadiana. Del Pino has a pure passion for songwriting and an honest sound infused with starry-eyed narratives; a hybrid of Rock-Pop, Americana, and East Coast folk-rock that stays true to the roots of timeless tunes.
Unlike Del Pino’s usual bright and upbeat tunes, “Wolf In The Hen House” is rooted in raw anger. It’s a rock anthem with a punch, a departure from his usual vibe that adds a whole new dimension to his music. The song delves into the portrayal of a sinister individual, drawing from various observations in Del Pino’s life. It’s a deep dive into the depths of human deceit and malice, crafted from the shady characters that he has personally encountered over the years.
“I wrote this during a period in 2018 when I was grappling with my own encounters with less-than-desirable individuals,” says Tyler Del Pino. “This coincided with the second year of Trump’s presidency, a time when political drama seemed to unfold daily. It sparked contemplation—what truly makes someone a snake? What twisted journey leads them to embrace deception and malice?”
Wren Astra embodies a unique blend of creativity and academia, seamlessly navigating her roles as an indie blues musician and a respected professor at USC.
Her new single, “Concussed”, is a profound exploration of societal issues, drawing from a diverse range of musical influences to tell the story of experiencing concussion at the hands of an abuser.
It is a powerful and emotionally charged song that delves into the harrowing experience of living through physical assault and the complex dynamics of trauma bonds.
The decision to release it on leap year day adds an extra layer of symbolism, reflecting the disorienting and surreal nature of the events depicted in the song:
“This was a very difficult video for the crew and actors to make. I wanted it to be a graphic and realistic retelling of the very real events that survivors live through. I want viewers and listeners to live through and feel why many of us return over and over to our abuser with hope that things will turn out differently.“
The collaboration with guest vocalist Zero Surico of @for3sthills brings additional depth to the vocals, amplifying the intensity of the message. It’s evident that a lot of thought and emotion went into creating both the music and the accompanying video, making it a compelling and thought-provoking piece of art.
The song also explores the confusing thoughts, feelings, and physical disorientation that occurs in real time of an abuse event. It features Wren Astra reading the legal restraining order for her abuser as she whispers, with haunting melancholy vocals by Surico and the moody strings of guest celloist Christopher McCarthy.
In her dedication to inclusivity, Wren actively collaborates with artists from marginalized communities, diversifying the artistic landscape and fostering a sense of representation and belonging.
Crafting the Wren Astra brand as an outlet for pain and trauma through music reflects a courageous and inspired endeavor. Music’s capacity to convey profound emotions serves as a perfect medium for sharing her story and fostering healing, not only for herself but also for others who have encountered similar challenges.
Through her interdisciplinary approach, informed by her background in social justice medicine and medical writing, she brings depth to her music, offering insights into the systemic issues she addresses.
Wren ensures that her commitment to inclusivity extends to her live performances, creating spaces where individuals of all backgrounds and identities feel welcomed and celebrated.
Her work serves as a powerful catalyst for social change, inspiring others to join the fight for justice and equality through artistic expression.
Lady Charles’ latest release, “Bedroom Pop,” featuring Zoe Towne, is a mesmerizing journey into the evocative ambiance of the early 2010s indie music scene.
Channeling the spirit of DIY creativity and the raw intimacy of lo-fi sounds, the song serves as a poignant tribute to an era where artists carved out their own spaces within the musical landscape, often from the comfort of their own bedrooms.
At its core, “Bedroom Pop” weaves a narrative rich in themes of self-discovery, collaboration, and the shadows that lurk beneath the surface of the music industry. Through a lyrical exploration of the protagonist’s journey, Lady Charles confronts the spectre of exploitation and the quest for autonomy in a world where artistic integrity can often be compromised.
The song unfolds like a conversation between friends, each verse and chorus revealing layers of emotional depth and introspection. Zoe Towne’s ethereal vocals provide a captivating counterpoint to Lady Charles’ introspective lyrics, adding an additional dimension to the song.
“I have seen a lot of predatory behaviour aimed at young, talented artists, and I wanted to affirm that if you’re finding yourself disrespected or worse you do not owe anything to these types” says Charles of the lyric.
“I’ve always felt very protective of my artistic friends’ output, and there is little more disheartening than seeing someone’s energy sucked away by the promise of success with a hidden cost. The song isn’t inspired by a particular experience, and that’s partially just because of how unfortunately widespread this is. I have helped bands re-record their demos after producers began to demand dates in return for what was supposed to be free help, I have been kicked out of a band only to find out that a remaining member isolated and verbally abused the other once it was just the two of them. I have seen incredibly talented people absolutely burned out by the ludicrous parasatism of these types.”
Musically, “Bedroom Pop” represents a departure from Lady Charles’ usual style, incorporating a blend of major and minor 7th chords that evoke a sense of harmonic richness and complexity.
The inclusion of saxophone refrains and a soulful guitar solo further enhances the song’s atmospheric allure, transporting listeners to a realm where the boundaries between reality and imagination blur.
“The song differs a bit from my usual writing. I used a lot of major and minor 7th chords and arranged the progression such that adjacent chords share harmonic content but the entire progression doesn’t stay in one key. It’s effectively like how a lot of jazz is composed, and I did it because it has a certain airy, open sound that I associate with dreaminess – a major tendency with bedroom pop music is a certain hazy dreamlike quality and because the track isn’t actually that lo-fi I think it helps evoke that atmosphere well. The chorus is a bit more like a traditional pop chorus, and I think it anchors the flow of the verses well – here the lyric is far more direct and less stream of consciousness. The guitar solo is completely opposite my playing on Manic Pixie Dream World – a clean, gentle melodic line drenched in reverb not unlike what you might find in bedroom and dream pop of the era.”
Drawing from personal experiences and influences ranging from David Bowie to the glam-rock era, Lady Charles infuses “Bedroom Pop” with a sense of authenticity and vulnerability.
With its thought provoking lyrics and captivating dreamy sound, the song leaves a lasting impression and invites listeners to embrace their own unique voice and creative vision.
Custie is an emerging alternative pop artist hailing from London, Ontario. His distinct sound explores pop music as it intersects with singer-songwriter, R&B and alternative music.
His song, “ON E, AND EVERYTHING IN BETWEEN,” deals with themes related to addiction. Although Custie hasn’t personally struggled with addiction, it has affected the lives of people close to him. E stands for ecstasy in the broadest sense, and also energy. There’s been this uptick in songs about energy, the cosmic pull of stars and planets, and attributing behaviours and interactions to continuums beyond our capability of understanding. Though Custie doesn’t believe in astrology, he always seems to write romantic things that bring the possibility of it to light.
1. Tell us the story of this song, why did you choose to visualize this song specifically?
Every song I write has a specific visual identity by the time it’s done, and a lot of what you hear sonically is trying to plot the texture and topography of that space/place (that the story of the song decides) and map it on a record when the record gets to its second or third pass. It’s often the hardest part trying to understand the locale of the song and then allowing some sort of partnership between a song and its video. Trying to understand how to present where you imagine a song’s story playing out in the real world has to convey believability but suspend disbelief, yet have some pretense at realism… that’s my style, at least. Basically if you ignore everything else I just said and just focus on one thing, it would be that the partnership is paramount.
2.What was the inspiration behind this video (visuals, storyline, etc.)?
This video has a longer cut that I might release at some point, but the short one I released basically distills a longer story about what it would be like to live and eventually die in a car with a ghost as the driver, driving you nowhere. The story actually comes from an old friendship where I used to ask someone to give me a ride home a lot, and what feelings came from that. I guess the video concept is rooted in the ghost thing as some allegorical reach to depict what really happened. But I also find myself compelled by the magnetism of real, troubled people and their freewheeling energy.
3.What was the process of making this video?
The process was rooted in a lot of experimentation as an editor. I’m not a video editor by any means, but I like to approach the editing suite like I do a digital audio workstation. Most things I do musically are patchwork experiments and I like to apply the same technique to filmmaking. I don’t think I could ever work with an editor, but the guy who shot it–a friend named Benjamin Collins–knew what I was going for and gave me the tools I needed.
‘E’ is an attempt to stylize and leave much of the song up to listener interpretation. By giving things concrete names, it makes everything very topical. I always like to find a way to have my listeners move with me by presenting a song with a certain kind of allure in mystery. Hence the ‘E’ – it stands for anything you’d like. – Custie
Modern Mystery 