Shealagh Rose is a singer-songwriter and multi-instrumentalist hailing from Hamilton, Ontario. Developing her voice and songwriting in Toronto at Humber College’s Bachelor of Music program, she worked with mentors like Rik Emmett (Triumph), and had the opportunity to record backup vocals with legendary producer Ken Scott. She was a regional finalist in CBC’s 2017 Searchlight competition with the song, “Dream,” off of her debut Island EP. Lush with soulful vocals, addicting progressions, and beautiful string sections, the record boasts the aesthetic of indie folk anthems.
Shealagh’s sophomore release teases of her earlier works while introducing grittier sounds and blending the lines between folk music and contemporary pop. On “Radio Silence,” the first single from her upcoming sophomore EP, Shealagh’s motivation to write the single came from a fallout with a friend where neither was speaking to each other. Sonically, the track was purposefully written with gritty guitar, synth, pads and a more emotional vocal performance to encapture the feeling of an argument in the composition.
Now more than ever I’m sure we’ve all experienced that feeling of isolation, or feeling cut off from people; when efforts to reach out are met with an indifferent or brief response. Or even when it becomes too much that making the effort to reach out to people just becomes bothersome, leading to a vicious cycle. – Shealagh Rose
North Carolina born, Mexico City based vocalist, songwriter, and producer, Meraki Trice is sharing a new single entitled “Waste Your Breath,” written in the aftermath of a transactional relationship.
The hazy and ethereal song mixes analog, digital, and acoustic sounds to create a richly produced soundscape which Meraki likens to the feeling of walking in the clouds or floating in the air. “Waste Your Breath” blends elements of electronic music, R&B and pop to create a highly melodic plane of existence.
I allowed him to control my narrative for too long, while I was aware he was lying about his intentions. This song to me is a retort to him, refuting his claims and laying bare the reality of our superficial relationship. –Meraki Trice
“I sort of thought that getting sober was going to fix all my problems with relationships, and then
I would just be fine,” laughs Nova Scotian singer-songwriter Mo Kenney. “Drinking was causing all the issues I was having, but it was just the tip of the iceberg; quitting made all my problems more clear but didn’t resolve any of them.”
The artist’s just-released fifth studio album, From Nowhere, delves into the alt-folk singer-songwriter’s subsequent investigations into the root causes of their interpersonal dramas, occupying that liminal and trepidatious time when one is compelled to move but unsure where they might be headed.
The album’s nursery rhyme-like title track, “From Nowhere,” captures an unsettling yet dream-like feeling, as Kenney and their friend, keys player Siobhan Martin, depict Kenney’s childhood growing up in the “middle of nowhere” in Nova Scotia. “It happened to me, it happened to me like it happened to you,” Kenney gently calls during the song’s chorus over an eerie organ melody played by Martin.
Robert Thomas has crafted songs for legends like Kenny Rogers, Bonnie Raitt and the Dixie Chicks. After four decades in the background as a staff songwriter, Thomas stepped into the spotlight as a performer in a major way in 2022/23 performing to 74 consecutive standing ovations across Canada, the U.S. and Europe, and garnering an East Coast Music Association nomination for “Entertainer of the Year”along the way.
Robert’s new acoustic single, the richly metaphorical “A River Runs Through,” was produced by JUNO Award-winner Catherine MacLellan and inspired by the idyllic beauty of the river country beside his home in Waterford, New Brunswick and, like his mentor Johnny Cash before him, the lateness of the hour in his own career and lifetime more generally.
This song is an expression of the profound gratitude I feel for the beauty and times I have experienced alone and with my two sons over a lifetime in the Waterford Valley. At the same time, it also gives voice to the daunting realization that my time will soon be at hand and that my river has almost reached the sea. I must say, there is a little trepidation about what comes next and, like Johnny Cash before me, I hope Gabriel’s horn is out there to guide us all home.– Robert Thomas
Christian Imes, the driving force behind Animals In Denial, delivers a potent blend of industrial rock and electronica with latest single “Coi.”
“Coi” is a track that has been a long time in the making. Initially composed in 2003, it began with electronic sequences created using Acid Pro 4, a tool that allowed Christian to stitch together the core of what would become a powerful and compelling piece.
The track was initially intended as a pitch for one of his earlier bands, but the project was shelved when the band’s singer felt there wasn’t enough room for lyrics. However Christian knew there was something special within the track’s groovy, hard-hitting beats and dark atmosphere, so he tucked it away for years until the timing felt right to revisit it.
Listen in here:
“Coi” channels the spirit of Nine Inch Nails and takes much of its inspiration from albums like The Fragile and Pretty Hate Machine. These influences are clear in the driving, industrial beats which are combined with a massive wall of sound created by searing guitar lines that cut through the electronic undercurrent. Imes explains that he wanted the track to be something that rocked as hard as metal but still had a danceable, rhythmic groove.
The result is a track that balances heaviness and energy, perfect for both head-banging and losing yourself in its hypnotic rhythm.
One of the standout elements of “Coi” is its guitar work. Christian used his Epiphone Les Paul Special 2 to lay down both the rhythm and lead tracks, capturing a raw, gritty sound that perfectly complements the song’s darker vibe. His 85 Gibson Les Paul Studio, which was a cherished birthday gift from his mother, was used to add more depth and richness to the lead lines in the chorus, as well as fatten up the rest of the sound to give a sense of power. The guitar parts came naturally, with many of the recordings being first takes.
While the bass lines were created using a sample pack and a keyboard, they blend in and add a weighty low-end that helps to anchor the frenetic energy of the drums and guitars.
Christian’s attention to detail in production, even when using non-traditional instruments, shines through in every aspect of the song.
Recorded with a Shure SM58 microphone and enhanced using the Nectar plugin and a mic modeler plugin, Imes delivers a raw and emotionally charged performance.
The lyrics reflect his feelings of betrayal, frustration, and emotional turmoil after a toxic relationship. Imes recounts how the relationship, marked by manipulation, dishonesty, and infidelity which left him feeling used and lost. Lines like, “I’m sick on the in, you’re sick on the out,” capture the disconnect between his efforts to heal and his ex-partner’s refusal to confront her own demons. At the time, Christian was navigating challenges related to PTSD and ASD, which added to the complexity of the situation.
“Lyrically, this is another one that was about one of my ex-girlfriends. It’s not nice but she treated me about as bad as you can possibly treat someone. From the hot and cold, to endless lies about stuff you should never lie about. She was my first after school serious relationship and I got really invested, and in retrospect the signs, flags, whatever, were there. I was also seeing doctors and therapists to deal with PTSD and ASD and trying to figure out “me” is why I think I missed some clear signals that we would’ve been better as friends.”
Reflecting on the lyrics today, Imes acknowledges that both he and his ex-partner were dealing with unresolved pain, but at the time of writing “Coi,” he was still deeply hurt. He now sees the relationship from a more mature perspective, recognizing that it was a combination of their struggles that led to its unraveling.
Christian Imes, the brain behind Animals In Denial, is an artist who defies boundaries and challenges the status quo. His music merges elements of alternative rock, industrial, electronic, and even pop. As a neurodivergent artist, Christian shares a unique perspective and experience with Asperger’s syndrome, creating songs that speak to the human existence in profound and innovative ways.
A devoted family man, Christian can often be found jamming with his sons, passing on his love for music and creativity. His ethos can be summed up in his own words: “I just want to live my life surrounded by music.”
As the latest addition to the Animals In Denial discography, “Coi” solidifies Christian’s place as a visionary in the alternative and industrial rock music genres.
“Coi”is now available on all streaming platforms, including Spotify, Apple Music, and YouTube.
Singer songwriter Gretta Ziller’s re-imagining of her decade-old track, “Hell’s Half Acre,” breathes new life into the song with a sense of maturity and emotional depth.
First released on her debut EP, this song has always held a special place in Gretta’s heart, as it marked the beginning of her journey into the music industry. 10 years later, she revisits the song with a fresh perspective.
The track tells the story of leaving a toxic relationship – a tale of realizing that the rebellious allure of someone who seemed exciting at first was damaging. The lyrics evoke a sense of regret and resolve, with lines like “You’re a wild horse running, but I can’t keep up anymore,” echoing the feeling of moving on from something that no longer serves you.
Gretta’s voice is earthy and full of heart, carrying the weight of the song’s message with an acoustic driven Americana sound. Reflecting on her decision to bring this song back, Gretta says:
“I didn’t get to make a video for the original recording, so this time I wanted to create something that hinted at the story but also allowed the listener to connect emotionally.”
The video to accompany the single is filmed in a DIY style by Gretta and her partner. It captures a raw, organic feel that complements the song’s themes of escape and self-discovery. Shot on the west side of Melbourne with landscapes and shrines providing the backdrop, the visuals contain both a physical and emotional journey.
“I wanted layered visuals to suggest the feeling of leaving, without being too literal. I want people to fill in the blanks and connect with the story in their own way.”
This new rendition of “Hell’s Half Acre” re-visits and re-shapes the song and offers listeners a powerful reflection on how much can change in ten years. With this re-release, Gretta Ziller proves that some songs, like the emotions they capture, are timeless.
About Gretta Ziller
Gretta Ziller is no stranger to blending genres in her music. She often incorporates elements of country, rock, pop, and blues into her unique brand of Americana.
The Melbourne-based singer-songwriter has made a name for herself with her powerful vocals and thoughtful lyrics, earning praise for her ability to convey raw emotion and authenticity in every performance.
Ziller has a background that includes training in classical music. But it’s her exploration of Americana that has brought her widespread acclaim.
“I wanted to push the boundaries of what Americana could be, mixing in all the styles that have influenced me over the years.”
With the re-release of “Hell’s Half Acre” Gretta Ziller proves that some songs, like the emotions that they capture, are timeless.
Modern Mystery 