Sarah Brix is a Canadian singer/songwriter multi-instrumentalist performing in the genre of alternative pop. Now based in Toronto, Sarah was born and raised in the picturesque town of Elora before moving to the city to pursue a career in music. She recently graduated from Seneca College for performance, songwriting and music production and since then has performed at multiple Toronto venues such as The Supermarket and Handlebar.
Sarah’s brand new single, “Ended Here,” tells the story of being ghosted by her best friend and working through the loss and plethora of emotions that she experienced. The song was produced by Columbian producer and mixing engineer JUYI.
The song was inspired by the experience I went through when I was ghosted by my best friend. For three years, we had been inseparable and one day she completely cut off communication out of nowhere. This song not only tells the story of working through my emotions but is also a message to my long lost friend. – Sarah Brix
Snez is the artist name of Ezra Mendel, a hip hop artist from the Annapolis Valley, NS. Snez’s versatile fusion of elements from rock and pop with hip hop and rap are key aspects of his style. As a young teen, he dropped his first two singles which immediately garnered attention in his home town and would be asked to freestyle at parties, leading to being referred to as the “Jewish kid who can actually rap.” He is currently building his local and online audience and working on his first full-length release.
The inspiration for new single, “Never Enough,” comes from Snez’s regular inner back-and-forth dialogue about his struggle with substance abuse, pride, overthinking and self-worth. He also opted out of working with a professional producer to record, mix and master the track themselves to add a personal and unpolished feel to the raw lyrics.
The music video for “Never Enough” by Snez is a visual representation of the fight for control between a man struggling with substance abuse and the temptations that follow him. The video begins with the man seeing a daunting woman with black eyes in the bushes, representing these self-deprecating impulses. The man returns from the pool as a blue, more erratic version of himself. The unnamed woman is seen lurking in the background throughout the video and providing substances to the man, who has been entirely consumed by this blue alter-ego.
The lyrics feature a fight for control between my two conflicting personalities, Ezra and Snez; a desperate man trying to keep his head above water, and the drugged up alter ego pulling him under. For the last several years I have been struggling with substance abuse, and in trying to better my lifestyle, stay sober and make better decisions I noticed something always compels me to do otherwise. – Snez
In this era of bottomless content consumption, pssyclwz is committed to creating campy content for outsiders who can’t relate to songs written by popular girls. After a year of imagination and production, the pssyclwz EP dropped May 2024 and was very well received. pssyclwz can’t stop/won’t stop writing bangers to turn bad days into dope tracks, and will continue to release singles while she works on her debut album.
pssyclwz and self-proclaimed “goddess in progress hermaphrodite” Delilah Jolie have spent over a decade collaborating, spirituality bonding through their worship of Lana Del Rey, and supporting their respective creative pursuits. The duo teamed up on the brand new single, “party animalz,” an acoustic sad girl song turned party bop. Reminiscent of Bloodhound Gang’s “The Bad Touch,” this summer jam oozes 90s nostalgia.
I’m all about the alter ego when it comes to art and wish everyone embraced this perfect medium to understand their “shadow side.” The hypersexualization of pssyclwz that seems like a direct contradiction to healing is very much in gest and a commentary on being misunderstood in my pursuit of validation, but thankfully writing music has filled that void. For all the times I haven’t been able to say what I mean, it’s very satisfying to find the perfectly sassy words and to share them as intended without stuttering or defecating. – pssyclwz
Opeongo is the moniker of Keegan Trumpour and an ever-rotating cast of musicians. Keegan is from Midland, Ontario. Opeongo has released two full length albums (2019’s Miasma and 2021’s we’ll all go with the will-o’-the-wisp); fall 2024’s Eventual Mt. Lee marks their third release, with a fourth underway in the near future.
Like everything you’ll hear on Eventual Mt. Lee, the mournful single, “Ceiling Rats,” was inspired by the passing of Keegan’s best friend, Liam Steffler; inspired, too, by the beautiful, albeit short, existence he blessed those around him with. At the time of his passing, they were living together in a basement unit on Westmount Avenue in Toronto, Ontario. There was a problem with rats or mice or rodents of some sort in the ceiling in between their unit and the folks on the main floor.
After Liam passed, Keegan was sorting through all of his stuff in the apartment, and he liked to imagine that it was his late pal’s ghost that he was hearing, rather than a bunch of rats roaming around. Not too great at humour amidst intense grief, the song’s title is Keegan’s self-described “sad attempt” at such.
Bobby Vickers, performing under his iconic alter ego Bud E. Luv, delivers a striking revival of the classic “Music to Watch Girls By” that both honors the song’s history and reframes it for modern times.
In his new interpretation, Bud E. Luv expertly balances nostalgia with fresh, sophisticated flair, crafting a rendition that feels both familiar and entirely new.
Watch the music video here:
Bud E. Luv is no stranger to reinventing classic tunes. Created by Vickers more than 35 years ago, the character has become a fixture in San Francisco’s vibrant music scene, with performances at legendary venues like Bimbo’s, The Fillmore, and Paradise Lounge.
Bud E. Luv’s alter ego allows Vickers to explore an array of musical genres, from jazz and swing to pop, all while remaining timeless. His extensive career has taken him to stages across major cities like New York, Los Angeles, Seattle, and Boston, where he’s performed for prestigious audiences, including at events like the MTV-televised Osbourne vow renewal and Super Bowl Eve celebrations.
The black-and-white music video accompanying this release is directed by Tom Donald, the founder of San Francisco’s hiTrecords.
Set in the elegant Mr. Tipple’s Jazz Club, the sparse backdrop of empty seats evokes a sense of introspection, drawing the viewer into Bud E. Luv’s contemplative performance.
The mysterious figure of Ilana Niernberger, who is Luv’s only member in the audience, adds a layer of intrigue. Her eventual disappearance is most reminiscent of an Ingmar Bergman film and gives us a symbolic and haunting touch, suggesting that what we admire often exists only in fleeting moments.
Vocally, Bud E. Luv offers a smooth, nuanced performance that strips away the kitsch associated with some earlier versions of the song.
This includes Andy William’s popular but often overly polished rendition. Luv’s phrasing, rich with emotion and subtlety, brings out the layers of complexity within the song, making it clear that his version is not merely about watching or objectifying but also about celebrating people in all of their diversity.
Tom Donald’s direction also plays a pivotal role in modernizing the piece. By focusing on the respectful recognition of beauty rather than its objectification, Donald transforms “Music to Watch Girls By” from a product of its era into a meditation on human connection.
He smartly acknowledges the original’s historical context without being confined by it, presenting a version that speaks to contemporary sensibilities:
“The world is there and meant to be recognized, valued, and respected,” Donald says. “Mr Luv understands the essential dynamic between people; he’s lived long enough and seen enough of the world to know that it’s not about degrading the visage, but instead honoring and celebrating it in all its forms.”
This project reinforces Bud E. Luv’s status as a timeless entertainer. His ability to adapt to changing times while maintaining the integrity of his performance persona is impressive.
For fans of classic standards as well as newcomers, this is a definitive version of “Music to Watch Girls By” that deserves attention.
Jason Sinay’s most recent single, “Play It Alone,” marks an exciting shift in his career.
After parting ways with The Dirty Knobs, Sinay has poured his energy into a solo project that promises to be both deeply personal and musically rich. This new track is the second single from his upcoming double album “The Mountain”.
“Play It Alone” is a compelling blend of heartland rock and introspective lyricism. Sinay’s guitar work is as sharp as ever, but it’s his vulnerable vocals that take the stage. The song’s steady beat and rich instrumentation create a warm backdrop for Sinay’s message about finding independence and navigating life’s rough patches.
The chorus hits a universal note with lines like “some things you can’t fight but it’s all right… everybody’s got to play alone” to capture the essence of what it is to move on.
The song’s arrangement is both simple and effective. Sinay’s guitar work is a central element, but it’s the way it intertwines with Phil Parlapiano’s contributions on keys, mandolin, and harmonica along with the steady rhythm section featuring Lance Morrison on bass and Matt Laug on drums, that creates such a rich, textured sound.
This blend of instrumentation provides a warm, engaging backdrop for Sinay’s introspective lyrics.
In discussing his work on The Mountain, Sinay reflects on a period of intense self-examination and creativity:
“I hit a breaking point on the road,” he admits, highlighting the challenges he faced after his departure from the Dirty Knobs.
This difficult period prompted him to revisit old material and explore new ideas, ultimately leading to the creation of what he considers the most important solo record of his career.
With the help of producer Martin Pradler, known for his work with Ry Cooder and John Mayer, Sinay has written a song that will resonate his audience with a level of authenticity that is rare in music today:
“I needed to go and play alone and do my own thing, and have my own journey,” Sinay says. “It’s about leaving a situation unapologetically, but still saying, “Sorry you feel that way. I get it.”
“I’ve been very blessed in my life. I’ve been so fortunate. And there’s so much need in the world right now. Like, more than ever. It’s just beyond belief. I just want people to enjoy the music, and I really, really want to get out there and play this music for people. Because ultimately playing live is where I shine. That’s my favorite medium.”
“Play It Alone” is a sign of Sinay’s evolving solo career. His transition from celebrated guitarist to a standout solo artist together with a talent for creating rich, textured music makes this a stand out track.
Los Angeles-based, Sinay has performed with legends like Keith Richards, Neil Young, and Jackson Browne. He’s best known for his 15-year tenure with Mike Campbell’s band, the Dirty Knobs, but has now embraced his solo career with The Mountain, a double album produced by Martin Pradler.
The first disc features a full band, while the second is a stripped-down acoustic version of the same songs.
Inspired by Led Zeppelin, Sinay began playing guitar at age nine and has since gigged with iconic musicians throughout his career. After leaving the Dirty Knobs in 2022, Sinay focused on The Mountain, which he considers his most important solo record. He’s eager to return to the stage and is planning to donate the album’s proceeds to charity.
Modern Mystery 