DIEMETIC Breaks the Mold with Bass-Heavy Chaos on New Release “Bored”

jpg-original

Following the explosive success of Beat Em, DIEMETIC and Lostrønaut return with Bored”.

This is a track that takes the heavy, groove driven intensity of its predecessor and warps it into something even more unpredictable.

Listen here:

It’s the kind of sound design that makes Bored feel alive, constantly evolving as it moves forward. Where Bored really shines is in its movement.

DIEMETIC and Lostronaut aren’t content with just throwing out a heavy drop and calling it a day. Instead, “Bored” keeps you guessing with rhythmic switch-ups and unexpected twists that maintain a relentless energy while keeping the listener engaged.

Thematically, the title “Bored” is an ironic choice. This track is anything but dull. Instead, it shows the relentless creative drive of its producers. Rather than re-hashing the same formulas, DIEMETIC and Lostrønaut expand it to innovate, injecting their own personality and unpredictability into their sound.

Andrew Heffernan from Diemetic says:

“After the success of Beat Em, which has amassed nearly 100k streams on Spotify, Lostronaut and I felt like we had tapped into something special – an energy that resonated with fans of heavy, groove-driven dubstep. That track set the bar high, so when we got back in the studio, we wanted to create something that kept that same raw intensity but with a fresh approach.

The track name came naturally because, at the time, we were restless – we were bored of the usual formulas and wanted to break the mold. The result is a track that’s raw, wobbly, and full of movement, hitting hard while keeping the energy fresh. The recording and production process was all about controlled chaos. We experimented with different bass modulations, layering textures to create something that felt alive. Every wobble, every switch-up, was placed with the intent of keeping listeners on edge. This wasn’t just about making a heavy track – it was about making a statement. Bored isn’t just another banger; it’s a reminder that dubstep can still evolve, still surprise, and still hit with undeniable force. If Beat ‘Em showed what Lostronaut and I could do together, Bored is proof that we’re only getting started.

There is an undeniable swagger to “Bored”. It’s an attitude that says “we’re not here to play it safe.” And it’s exactly this fearlessness that makes Bored stand out in a sea of bass music releases.

In a world where heavy dubstep often falls into patterns of predictable builds and cookie-cutter drops, “Bored” is a refreshing reminder that the genre can still be thrilling, dynamic and, most importantly, fun.

And with this new release, DIEMETIC and Lostrønaut show that the success of Beat Em was just the beginning.

Expect to hear “Bored” dominating festival sets and underground raves alike.

Copy-of-IMG-1589

About DIEMETIC

DIEMETIC, the Edmonton-based bass house innovator, has been a driving force in the electronic music scene since 2015, creating high-energy productions and chart-topping releases.

Known for his relentless grooves and hard-hitting sound design, DIEMETIC has performed on major festival stages across North America and internationally, cementing his place as a force to be reckoned with in bass music.

Together, DIEMETIC and Lostrønaut have proven to be a formidable duo, with Beat Em racking up nearly 100k streams and their latest collaboration, Bored, setting a new standard for controlled chaos in bass music.

Follow DIEMETIC on Instagram.

Stream music on Spotify and Apple Music






Apollo & The Human Nation’s “B****!” is a Pop-Punk Firebomb That Demands to Be Heard

Apollo-ATHN-Bitch-Cover-FNL

Apollo & The Human Nation’s “Bitch!” is a firebomb of pop-punk angst, a breakup track that spits venom while pulling listeners onto the dance floor.

Written in the raw throes of heartbreak, the track explodes with searing guitar riffs, rapid-fire lyrics, and an unfiltered emotional release that makes Olivia Rodrigo’s GET HIM BACK! feel restrained by comparison.

Listen in here:

What sets Bitch! apart is its paradoxical nature – it’s rage disguised as a pop song. Apollo initially aimed for a snarling punk assault but a surprising catchiness emerged, creating a more intoxicating juxtaposition of fury and groove.

Lyrically, the song is unapologetic. It is packed with F-bombs and raw emotional catharsis. Some might balk at its unfiltered delivery, but Apollo defends the expletives as essential to the song’s visceral punch.

Beyond its breakup-fueled angst, Bitch! also taps into a broader conversation about empowerment.

Apollo cites Jennifer Fitta’s essay on reclaiming the word “bitch” as an unexpected thematic layer, positioning the song as not just a revenge anthem but also a nod to the sexual liberation of modern women. It’s a track that refuses to be boxed in—equal parts personal wound and cultural statement.

It’s definitely volcanic for a pop song! Gotta a lot F-bombs,a lot of venom to it! Some suggested I pull back off the expletives for POP’s sake. I tried that but it ended up losing it’s impact. Let’s face it sometimes only launching an f-bomb can describe an intense feeling of hurt and rage!

I wanted to write a song that was straight up, real, in your face and how people really talk and feel, as if they could have written the song themselves. It’s like the working man’s pop song! It’s my opinion that Rock has become to homogenized. To me my BITCH is Rock music getting pissed off again!” 

At its core, Bitch! is an eruption of emotion, a middle finger to both heartbreak and musical conformity.

If pop-punk has felt too polished in recent years, Apollo is here to rough it up again. Love it or hate it, Bitch! is impossible to ignore.

Follow Apollo & The Human Nation here on the Website

Stream music on Spotify, Soundcloud and Apple Music.

Banman Drops Uplifting Hip Hop EP ‘Ups & Downs’ with new single “Didn’t See Me Coming”

Banman, a rising hip-hop artist from Hamilton, Ontario unveils his powerful new EP, Ups & Downs — a concept album designed to be experienced in sequence. The project chronicles Banman’s journey through addiction and recovery, offering raw, honest reflections wrapped in catchy beats and sharp lyricism.

The EP’s focus track, “Didn’t See Me Coming,” radiates an infectious, uplifting energy with an old-school West Coast vibe. The song embodies Banman’s vision of emerging from the shadows to make an undeniable impact, both personally and musically. Written six years ago, it finally finds its moment, recorded in just two hours with a flow that’s been honed through relentless practice.

These songs have taught me patience. I could’ve released them years ago, but I wasn’t ready. Now, it feels like the perfect time.Banman

Jenny Palacios Releases Playful and Angsty New Single “Took”

Toronto-based indie pop singer-songwriter Jenny Palacios unveils her playful and angsty new single, “Took,” a dynamic blend of rock, alt pop, and pop rock that explores the complexities of digital identity and self-worth. With an infectious energy and tongue-in-cheek irony, “Took” captures Jenny’s struggle with internet culture and the pressures of maintaining an artist persona online.

Took” is a reflection of Jenny’s realization that constantly seeking validation online was taking a toll on her sense of self. The song delves into the suffocating feeling of being influenced by people she’s never met, and the unrealistic standards of appearance and behavior dictated by social media.

The official music video for “Took” brings this narrative to life with playful yet poignant visuals, highlighting the internal conflict between authenticity and online curation.

This was the moment I realized I might have a bad relationship with the internet. All these people I don’t know, all these things I have to buy to feel worthy, how I’m meant to act, how to move, how to look, think or talk as an artist online. I mean, I’ve been in bands from a young age, posting online all throughout and only at this point of reflection did I clue into like—being close to all of this, trying to get noticed might be costing me who I am. It’s suffocating.Jenny Palacios

Kari Lyn Shares Stunning New Folk Single, “Fall (I’m Not Ready)”

Prince Edward Island-born singer-songwriter Kari Lyn returns with her heartfelt new single, “Fall (I’m Not Ready),” a deeply introspective folk-rock anthem that captures the fear and excitement of stepping into the unknown. With raw vulnerability and cinematic storytelling, the song reflects Kari Lyn’s personal struggles with change, self-doubt, and the courage to move forward.


Written in a moment of subconscious creativity—literally in her sleep—“Fall (I’m Not Ready)” emerged after an emotional breakthrough in therapy. Waking up in the middle of the night, she instinctively recorded a voice memo, snoring and all, capturing lyrics and melodies nearly identical to the final version.

Produced by Dan Hosh (Wild Rivers, Serena Ryder, Arkells), the track seamlessly blends Kari Lyn’s folk roots with subtle rock influences, channeling a sound she describes as “if Noah Kahan and Taylor Swift had a baby.” The result is a nostalgic, road trip-ready anthem layered with emotional depth.

I really feel like I’ve been holding myself back from success. Consciously, I’ve wanted to share my story for a long time, but subconsciously, I’ve been too scared. Writing this song in my sleep felt like my subconscious was telling me it’s time.Kari Lyn

Tommy Douglas Keenan Embraces Fleeting Romance on New Single “Oh Melody”

Winnipeg singer-songwriter Tommy Douglas Keenan crafts songs of heartache, longing, and humour—none more so than his latest single, “Oh Melody,” a woozy, late-night reflection on an intoxicating, ephemeral connection. The song captures the sweetness and sadness of a romance that was never meant to last, living only in the perfect moment.

Originally written for a “song every week” club, “Oh Melody” took on new life in collaboration with Matt Peters (Begonia, Royal Canoe, Dead Men). Recorded with Peters’ vast collection of sonic toys, the track features ethereal guitar, soaring synths, and the mesmerizing guest vocals of Natalie Bohrn (Slow Spirit), whose counterpoint melodies heighten the song’s dreamlike quality.

I wanted the backup vocalist to take a front seat, improvising a melody while I repeat the first verse in duet with her. The counterpoint of the two voices suggests two people having separate experiences that harmonize for the moment. They know they’re not going home together—so this is all they’ve got.Tommy Douglas Keenan