Kristen Anzelc is a dynamic songwriter and vocalist who immerses herself in music and pop culture. Her artistic journey began early, propelling her to become a Top 10 finalist in Johnny Wright’s “Search for the Next Super Group.” Demonstrating her passion for songwriting, Kristen co-wrote a song that earned the artist she helped write for a coveted spot in the semifinals of Eurovision 2018.
Kristen is excited to release her upcoming debut EP and is now sharing its first single, the melancholic and resilient,“Scars.” Proudly funded by FACTOR Canada, this project marks a significant milestone in her artistic evolution. After taking a break from music, she feels that the timing is finally right. As a big fan of horror movies and Halloween, it feels serendipitous that her return to music aligns with her favourite time of year.
Sleepkit is a band who can genuinely be described as mind-expanding; from the nucleus of their songwriting to the texturally-ornamented arrangements, they manage to imbue each aspect of their music with a sly veneer of otherness. Sprung from the minds of songwriters, singers & co-founders Ryan Bourne (Chad VanGaalen, Ghostkeeper, Plant City Band) and Marie Sulkowski (Texture Twins), Sleepkit’s repertoire showcases a band whose serious understanding of the pop song is buffered by beautifully detailed texture and a penchant for the slightly skewed.
Bolstered by the addition of drummer Eric Hamelin (Alvvays, Joyful Talk, Ghostkeeper) and multi-instrumentalist Joleen Toner (Crystal Eyes, Plant City Band), Sleepkit are sharing their sophomore album, Camp Emotion, a nuanced and emotionally unarmoured refinement of their singular brand of experimental pop. Produced by Scott ‘Monty’ Munro, a prolific producer and multi-instrumentalist known for his work with Preoccupations, Chad VanGaalen, Lab Coast, and Ghostkeeper, Camp Emotion actualizes their idiosyncratic art-pop vision in a shimmering opus that explores the outer edges of song creation – functioning as well as a dancefloor soundtrack as it does a hazy, late-night headphone session through inner space.
The music behind “Camp Emotion,” the LP’s title track, came out of a late-night solo campfire session where Bourne was jamming on a little Yamaha Portasound keyboard. “The dubby feel of the demo reminded me vaguely of “Ghetto Defendant’’ by The Clash, so I asked Hamelin if he’d be our Allen Ginsberg,” Bourne explains. “He recited these great automatic phrases – partially addressing his son Sonny – into this giant old sampler Monty had gifted us, which we then messed with using varispeed and delay until they sounded totally demented.” The original campfire recording book-ends the track.
The album is an honest document of where we were at personally, collectively and musically – a really free exploration of emotion, psyche, spirit, tone, harmony and song craft. We’d tossed around calling it ‘Spectral,’ as a reference both to mental health stuff we’d experienced and the spectrum of visible light (with a nod to the paranormal), but landed on ‘Camp Emotion’, which seemed to evoke all of that but also sounded like a culty summer camp for neurodivergent adults… so it’s a kind of catharsis and meditation on our inner and outer worlds, for better and worse, with a specific devotion musically to the weird and the beautiful.
Though each song on ‘Camp Emotion’ stands on own, the album is meant to be enjoyed in one unbroken sitting. The songs run one into the next with a few second break at the halfway mark, like sides of a mixtape – a little reprieve from the fragmented, attention-eroding mode in which we tend to consume media and, more and more, art itself. Long live the LP!
As obsessed with pop culture as he is detached from it, Toronto singer-songwriter and filmmaker David Jane brings a versed insight to the contemporary perspective, writing songs that are grounded in disconnection, uncertainty and desire. His voice is as honest as the thoughts and emotions he writes about.
Following the 2020 release of David’s debut EP, Welcome to Today, he discovered new found inspiration in his lingering passion for film and enrolled at the Vancouver Film School. There, he found an amalgamation of community, creativity and adventure, fell in love for the first time and met many kindred spirits. Upon his return, David wrote, directed and produced his first short film, Apnea, which will officially premiere at Toronto’s acclaimed Blood in the Snow horror festival next month (November 2024).
Personally, however, the return home came with many new challenges. In Vancouver’s uncanny aftermath, David returned to a home that no longer felt like home, as if his life in Vancouver was left stranded outside of time. In reconnecting to the world and to himself as a person, however, David reconnected with himself as an artist as well, and, to process this transformative experience – the love, adventure and loss – he turned back to songwriting.
Brand new single, “Garden Out Back,” paves the way for a new set of songs that showcase a moment lost in time, reminiscing in hues of melancholic beauty. Inspired by David’s year in Vancouver and the slow fade ending of a relationship that began there, it begins by chronicling the helpless sense of futility in a long distance relationship before exploding into a desperate yearning to return to that lost time.
“Garden Out Back” marked my second collaboration with producer and multi-instrumentalist Sam Arion, perhaps best known for his solo project Mute Choir, and what’s been so great about Sam is that he’s able to create these deeply contemplative, ambient sonic atmospheres within the typical acoustic, somewhat traditional/folk-inspired structures I gravitate towards. The end-product then becomes this mix of traditional acoustic, lyric-focused songwriting that still centralizes the vocalist and the words while seamlessly pairing that with a very modern, contemplative, atmospheric soundscape. – David Jane
In a world where music often feels crafted to fit industry molds, chasing trends or filling a commercial void, Laura Baron’s new album Beauty in the Broken stands out for its authenticity and artistic intuition.
Her songs don’t follow any pre-set formulas or calculated gimmicks but, instead, they flow with a natural grace, shaped by genuine emotion and life’s unpredictability.
Listen in here:
Guided by the rhythms of experience, each track feels like a reflection of a specific moment.
From the uplifting energy of “Walking on Water” to the quiet introspection of the title track, Baron lets the music lead her and allows for an organic exploration of joy, heartbreak, and healing.
It’s this sense of freedom – this refusal to cater to anything but the soul of the song – that makes Beauty in the Broken such a compelling listen. Baron’s warm and dynamic vocals have the ability to glide over the upbeat instrumentation.
In the title track, “Beauty In The Broken”, the song marries delicate acoustic guitar and tender strings, creating an atmosphere that is both intimate and expansive. The poeticism in the lyrics conveying a profound sense of healing and acceptance, reminding us of the grace that can emerge from even the most challenging experiences.
Then there’s “Misfits and Renegades,” a celebratory track that pulses with energy and infectious optimism. Blending folk and blues, the song’s vibrant piano lines and vocal harmonies create an empowering narrative about embracing individuality and defying expectations.
Baron also brings a touch of romance and intimacy with “Enchanté,” a lush and atmospheric track that blends folk and jazz in a way that recalls the emotional complexity of early Nick Drake. The song’s soft, tender melodies underscored by rich guitar work and a dreamy vibe that transports you into the world of quiet longing and connection.
Perhaps most surprising is her re-imagining of the 1931 classic “Dream a Little Dream.” With its gentle, stripped-down arrangement, Baron gives the song a new life, elevating it with intricate guitar work and lush vocal harmonies. It’s a beautiful moment on the album, showing an ability to take something familiar and turn it into something completely her own.
Produced with precision by Marco Delmar, the sound is lush and inticate without being over produced.
With the title to guide us, we are swept up in the flow of the album. The great thing about music like this is that the listener can allow the music to conjure our own thoughts, allowing enough space to take its own unique message and arrive at its own conclusions about life.
As an artist, Laura Baron has always been known for her ability to connect deeply with her audience, and Beauty in the Broken is no exception.
A longtime fixture of the DMV music scene, Baron has earned accolades for her work, including multiple Wammie Awards for her previous album, Heart of the Great Unknown.
But wiith Beauty in the Broken, she builds on this legacy even more and delivers a collection of songs that feel timeless in their emotional honesty and artistic integrity.
Blonde & Grey’s latest album release “Drifting Through The Universe” is a thoughtful, immersive dive into classic rock-inspired melodies layered with a contemporary edge.
Kathy Olsen and Neil Friend have created something special here – this is a record that feels as though it’s been lovingly pieced together from the past while gazing firmly toward the future.
The lead single, “All The Time,” is the perfect opener, with Olsen’s soulful vocals and Friend’s effortlessly smooth guitar work creating a sound that is comforting and fresh. It’s a song that sticks with you, warm and melodic, like it’s been waiting on your favorite playlist.
Listen in here:
Friend says about the song:
“I started looping a beat and then record 20-30 seconds of some music on top of that and then toss on some lyrics without spending time worrying about what was coming out – just record it! I took 10 of these and asked the Blonde & Grey community which they like best and this one won.
I used the initial lyrics as the chorus – “All the Time Wondering how it’s gonna be…” I later added verses and a bridge.
I suppose the thinking is we are always wondering what’s to happen next, based on what/who we’re following, decisions we make, where we’ve gone. And it’s an endless process.“
The rest of the album unfolds like a story as it moves through tender reflections and lighter, playful moments.
“Since I Got You” has a breezy sweetness, while “Let’s Jangle” lives up to its name, full of charm and bright energy. Olsen’s flute dances through the arrangements, adding a magical, almost whimsical quality to the songs. It’s a touch that sets them apart and reminds you of the days when rock was unafraid to experiment.
This album feels like a leap forward from their previous release, Face the Music. There’s a stronger sense of identity here, as though Blonde & Grey have really leaned into what makes them unique.
Tracks like “Mud Mills Road” and “Gracie’s Grace” from their earlier work hinted at their potential, but Drifting Through The Universe delivers on it, with a sound that is both cohesive and diverse.
Blonde & Grey have always been about connection, and you can feel that here. Not just in the songs, but in the spirit of the album. They’ve built a reputation as incredible live performers, whether that is in small, cozy venues or online streams, and that authenticity translates beautifully into this record.
About Blonde & Grey
Blonde & Grey, the dynamic duo of Neil Friend and Kathy Olsen, are a true example of the enduring power of music to bridge time, generations, and genres.
Based in Danbury, Connecticut, the duo bring together their unique musical backgrounds into a sound that’s as heartfelt as it is versatile.
Neil Friend, singer-songwriter and guitarist, brings decades of experience from playing in New York’s iconic CBGB scene to crafting songs that traverse decades. His partner, Kathy Olsen, adds a touch of elegance with her virtuosic flute playing and radiant harmonies and draws on her classical training and years as a music educator.
Together, they have cultivated a style that is equal parts folk, rock, and modern pop, infused with nostalgia and innovation in equal measure.
If you’re a fan of Fleetwood Mac, The Moody Blues, or just music that feels honest and deeply human, then their new album “Drifting Through The Universe” deserves your time.
Keep up to date with Blonde & Grey on their Website.
Shane Pendergast has folk music in his blood. Growing up in Prince Edward Island as a lifelong musical artist, he hails from a lineage of storytellers and musicians. Drawing inspiration from the landscapes and lore of his Maritime home, and university years in Toronto performing at pubs. Shane’s songs began to take shape, resonating with themes of community, history, and the sea.
In 2020, Shane returned to PEI, where he founded the Jack Pine Folk Club – a monthly gathering inspired by the coffeehouses of the 1960s, featuring a mix of traditional music and poetry. His 2021 album, Second Wind, won Contemporary Roots Album of the Year at the Music PEI Awards while his 2023 live album, The House Before the Bridge, was nominated for Roots/Traditional Recording of the Year at the East Coast Music Awards.
Shane’s home is nestled next to a river. Whenever he looks out his window, he sees an ever-changing landscape which lent inspiration to the songcraft on “Only Drifting By,” his latest single about significant people in one’s life becoming strangers, and the complex feelings surrounding that. “I was contemplating the people I have drifted away from over the years,” Shane explains. “It was one of the rare songs for me that was written in one sitting.”
Modern Mystery 