S.G. Sinnicks is a two-time Hamilton Music Award winner (Folk Roots Record of the Year, 2009 and 2012, as well as a City of Hamilton Arts Award in 2013). He began playing drums at 11 and at 15 began to play the pubs with everyone from local artists to Canadian legend Stompin’ Tom Connors.

Since transitioning to original songwriting in the 90’s, Sinnicks is now known across Canada and the US as a singer/songwriter in the vein of Nick Lowe or Billy Bragg with a history of dissent and telling the story with words, music and solidarity with a career that spans three decades. His activism is inseparable from his songwriting and his music reflects a deep connection to the labour movement and the plight of the working-class.

Sinnicks‘ latest track reimagines a piece from his back catalogue with a new twist, fashioning it into a modern take on the state of American politics. An earnest lament with a soulful folk/roots sound heightened by the song’s organ and subtle gospel infused backing vocals, “Miss America 2.0” is atmospheric, capturing the duality of love and grief for “a generation that just forgets to count.”

1. Tell us the story of this song, why did you choose to visualize this song specifically?

Both parts love song and lament, Miss America is an observation of a changing society from the caring outsiders point of view. Avoiding sentimentality and cynicism it sees the difficulty of seeing an important family falling out with itself while heading to a troubled future. The song was originally released on the Irishman CD (2012) but retooled for a more modern audience. It was inspired by the increasing divisions in the US that have only gotten more pronounced. The idea to visualize Miss A came mostly from the title and happenstance. Miss America is a play on the lament of missing the America I knew and loved and the old pageantry of Miss America from days gone by. Quaint and every day getting more dated.

2.What was the inspiration behind this video (visuals, storyline, etc.)?

The visual of the aging beauty queen intermixed with me performing the tune fit well. The sash, the crown and the closeups on the makeup table were classic stills from Sunset Blvd on. Total credit for ideas and execution goes to Peter Riddihough the filmmaker who did the video. Peter and myself had worked together on 3 previous videos and his talents were the reason it was even made. The visual was two fold. One scene involved the makeup table lights and close shots and the other was the empty hall where myself and Nora Hutchinson our queen would film our performances. The storyline matched the lyric lines to either myself or the queen and Peter’s eye for colour and texture made it all work.

3.What was the process of making this video?

Two of the keys to do the video was getting the desired location and getting the right actress to play Miss America. Peter knocked it out of the park with both. Nora Hutchinson is an award winning visual artist and educator of long standing and played the role perfectly. Conveying ageing with class and dignity with a devilish look in her eye with no dialogue is not easy and Nora did it. We were incredibly lucky to get her participation. The location was the 100 year old Melrose United church in Hamilton. It featured a large hall with a balcony that could resemble a concert hall, Legion or any kind of community centre where a beauty queen would appear. Nora filmed her parts, I did mine and the rest was in Peters hands to edit, colour and marry with the track of Miss America 2.0.

Ways in Waves is the brainchild of Brian Raine, a multi-instrumentalist and music producer living out of Edmonton, Alberta. With malleable form and the spirit of experimentation at its core, the group began as a live duo, and eventually expanded to a five piece live band with Raine picking up vocals as well as guitar and keys parts. 

Brand new album, Matters to Ash, features intricate pop songwriting performed with dazzling guitars, experimental sound design, mesmerizing drums, and lush vocal textures, with lyrics that are both personal and pointedly political. Listeners will find themselves on a sonic journey through an ever-evolving, one of a kind sound rooted in art-pop, prog-rock, and electronic music.

The LP’s focus track, “Pulled to the Sky,” hears Raine comparing his life from 2019 to now. Expressed in an oblique way, he asked himself “what’s something that would make someone else feel the way I do?” and envisioned a standard romcom with a twist; in the very last scene of the movie, the two leads who have fallen in love with each other notice their hair beginning to stand up on ends, as if suddenly charged with static. Before they can react to this, they find themselves holding onto the patio table for dear life as everyone is pulled inexplicably upward. 

They end up blaming each other for their misery in their final moments, as if some spiteful instinct has come to the surface in this moment of crisis. The narrator of “Pulled to the Sky” has just seen this film and tries their best to brush it off, but then swears they’re beginning to see objects around them float upwards.

I want listeners to reflect on the past several years, to think about all of the people we’ve lost and why we’ve lost them. I want listeners to imagine a world better than the one I describe in my lyrics, and I want people to know how better off we’ll be without all of these right-wing weirdos trying to govern our bodies and our lives. – Brian Raine on Matters to Ash

South African/Canadian multidisciplinary CON THE ARTIST bleeds creativity into anything he touches. From scoring films and producing records, to sound design, video direction and recently a 34-piece orchestra in Greece, CON has his hands in every aspect of his art. With a bold approach and an avant garde vision, his infectious upbeat bops are ready to set off into the stratosphere.

Brand new track, “MONEY (on my mind),” dives deep into the chaotic swirl of thoughts that hit when cash is tight – like when your brain starts buzzing and everything feels a bit unhinged. We’ve all been there, whether it was back in high school, during those broke college days, or just last week. That mental scramble when you’re wondering how you’re going to make ends meet, or if you can even cover the bills – it’s real, and it can drive you a little crazy.

In the music video, CON wanted to bring that internal chaos to life visually. The video is a bunch of dudes in red ski masks jumping around and fighting each other… They represent his brain cells. It’s the battle happening inside your head during those moments of mental mayhem. It was all filmed in CON’s kitchen and living room with some friends.

Here’s a cool tidbit: I started writing this track in LA back in 2022 as an old demo. It was

recorded at Red Bull Studios, and the guitar you hear is actually Albert Hammond Jr.’s from The

Strokes. So, the same guitar on this song was also used on some of The Strokes’ classic records… That’s a fun nugget for me. – CON THE ARTIST

Soft/yacht rock group, Golden Feather, are sharing their upbeat, dynamic, and highly melodic self-titled debut LP. The band see it as an introduction to their sound, featuring many songs that have been honed during their live shows.

Speaking of Golden Feather, the group explains that “in these songs, you’ll experience emotions of loss, hope, uncertainty and certainty misplaced, compassion, and ultimately, love. On this album, we truly become a band. It’s the sound of Golden Feather, and we’re excited to share it with you.”

Golden Feather features the jaunty, sax leaning “Goodbye,” written in light of band member Steve Kiely witnessing his younger brother undergo a major life transformation after facing continuous struggles throughout his upbringing.

A lot of times it seemed like he had given up, our relationship had dwindled to almost nothing, and it seemed like I was just waiting to hear that he had lost his battle, but he chose to keep fighting and overcame his demons to finally become the person that I, and everyone else knew he was. This song celebrates that. – Steve Kiely of Golden Feather

Melissa Furlotte is a singer, songwriter, composer and pianist based in Montreal. Raised in the copper mining town of Murdochville, Quebec, in the picturesque region of the Gaspésie, she grew up playing piano, singing and listening to a mix of popular, folk, country and jazz music. 

In 2021, Melissa released her debut album, Old Road. The collection of 10 original songs was inspired by the landscapes of her youth, adulthood in the big city and the stories in between. Her style has been dubbed fine folk. Releasing Old Road with the support of the Conseil des arts et des lettres du Quebec was an experience of a lifetime. At the same time, it fostered a new desire to reach a larger audience.

Her latest track, “Virginia Creeper,” is the first in a new collection. The wistful single is played on by collaborator/guitarist Joe Grass. The instrumentation includes a warm toned antique converted player piano, recorded simultaneously to add to the song’s deeper meaning.

It’s compelling to tell a human story through the relationship of a brick wall and a “tenacious vine,” even better when the music sets the scene; piano and guitar, cushioning chords and enveloping melody. Every layer has the relationship of two entities. – Melissa Furlotte

In life, we find that the beauty of connection is often shadowed by the pain of loss, and the enduring nature of love is contrasted by the fleeting moments of existence. This duality – the interplay of light and darkness – is at the heart of Sexy Mathematics. Chris Daviduik (guitar, vocals, songwriting) and Matt Aggus (drums) have forged a unique musical bond over the years. Originally formed in 2009, the band began as a synth rock group known for their intense, emotive soundscapes. Over time, their music has evolved, mirroring the complexity of the world around them and their own growth as artists.

The band’s new self-titled album, Sexy Mathematics, is a testament to their evolution. It delves into themes of personal relationships, loneliness, despair, existential crises, and the anxiety about an uncertain future. This record represents a significant leap for the band, who decided to hire producer Stephen Krecklo and mixer Jordon Zadorozny to elevate their music to new heights. The result is a compelling blend of their rock foundations and modern digital synthesizers, creating a rich, atmospheric sound that is both intricate and powerful.

“Responsory” draws stylistic inspiration from The Cure’s “Lovesong,” while its lyrics reflect the resentment we often feel when forced to navigate societal pressures alongside those we disagree with—or even loathe—despite being unable to fully express ourselves, even to those we hold dearest. No matter how close or distant we are, an invisible barrier always seems to obstruct true understanding. Each generation grapples with these struggles, only to pass the burden to the next without any lasting resolution. Even in the face of existential crises like climate change, the cycle persists.

We spent our time working on and refining these songs to bring them all to a level that exceeds the work we’ve done previously, and I believe we’ve succeeded in that respect. The sound is more cohesive, the arrangements are tighter, the melodies are more interesting, and the performance is more polished. At the same time we’ve retained many of the core elements that make the music unique in the first place related to the style of the performance and lyrical content. – Chris Daviduik