King Ludd, the brainchild of seasoned producer and engineer Michael Keire, delivers a blistering debut on “Trouble,” a post-hardcore anthem fueled by tenacity, resilience, and the raw chaos of creation. With influences spanning from Fugazi to The Mars Volta, “Trouble” thrives in tension, embracing a cinematic, narrative-driven structure that transcends traditional song formulas.

The track is born from a deep admiration for the sincerity and drive found in music and art, channeling the energy of punk, the playfulness of experimental noise, and the fearless spirit of “skate and destroy.” Keire crafts an auditory experience where each section unfolds like a scene in a film, utilizing soundscapes and tone as essential storytelling elements.

Featuring Luke Bentham (The Dirty Nil) on lead guitar, Theo Mckibbon (The Trews) on drums, Linnea Siggelkow (Ellis) on backing vocals, Jon Harvey (The Wild High) on bass, Marco Bressette (Dead Tired) on rhythm/lead guitar and even more Hamilton, ON talent.

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

The story of the song is far more interesting than my reasoning behind visualizing it. It’s visualized because it’s my first song lol!

The story behind the song is something I’ll try to condense. 

When I was in university I was thinking about starting a project where I played guitar even though I didn’t know how to play yet (and still dont to be honest (I know the names of two chords)). Previously I drummed in a few fun bands but never went further than that. So I texted my friend Marco Bresette who is a fantastic guitar player and is now in Dead Tried if he could give me some lessons. He said the last thing I needed was lessons and to just start playing and have fun. So that’s what I did. I went and bought a cheap Godin guitar, found a peavey rage somewhere and got clumsily writing. I formed Luddite which played a few shows, recorded a few demos (one where Adam Bentley sang, who sings on this version) and then things fizzled out. I don’t think I was ready for the project yet and hadn’t come into my own in many ways.

Years (many) went by. I started making records and working in studios as an engineer/producer and then last year I got the itch to start expressing myself and developing the songs. So, it seemed fitting to hit up Marco again and see if he could lend a hand getting things off the ground. He came by and we laid down some guides and talked about what I had done. I was very insecure about my writing because it was coming completely from ear with no grounding in theory. Marco was really stoked on everything and kept reassuring me it didn’t need to be more and that my simple chords were actually a cool way to voice things. Ultimately, he gave me permission to do it my way which I am so thankful for and think I needed for my confidence. Marco suggested I get Theo McKibbon involved who plays in Dead Tired with him. That felt right since I was working with Jon Harvey and Theo played in Monster Truck with him. Theo was super excited about the tunes, he laid down some incredible passes totally crushing it and after that the momentum was developed to keep things going. I hit up Adam again, as well as, some people who I had crossed paths in those months, we recorded, and here we are.

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

I knew I wanted a simple video that was almost photographic in its nature. I loved the way 

renaissance painting was used in Kanye’s power for instance. I loved the way balance was being used in Kendrick videos. And I knew simple meant cheaper and attainable. Plus, I feel I have learned so much about making the most out of simplicity from David Byrne. He’s a master of that. 

There’s a room in my studios building where several artists using mixed mediums work. And one of those people happens to be John Smith. He’s a pal and we’ve worked together before. I knew he did cool things visually, often lo-fi and experimental, even though he’s had huge successes he tends to keep it real, so to speak, and I told him a total random collection of ideas I had while we listened to the song.

I love odd couples. I love the duality of them. From Run the Jewels to Perfect Strangers, what’s not to like? So I said, I’d love to do something with the presentation of something like American Gothic or Prodigy’s Firestarter, and maybe find a middle ground, where the odd couple is just there, occupying space like a criminal line up, and use that Kendrick setting reference to create something visually pleasing. We also mentioned David Lynch like 10 times…so thats in there too, but in a Lynchian way that you cant really put your finger on….perfect, hed liked that I imagine.

He sat with the idea and hit me back with how he wanted to film it and the location idea. I started hunting. I asked my pal Andy if we could use his parents house as I knew it was the 90’s setting John was looking for as a contrast to the intensity of the song. He was down (thank you Richardson family) and we had a plan.

3.What was the process of making this video?

After brain storming the idea we spent 2-3 hours in the Richardson house while John set up a few very old VHS cameras he had. We did like 10 passes in two places, one being a couch and the other the dining room, and we ended up using the dining room. He then told us he was going to play the song in double time and film it in regular time so when it slows down to regular speed the visuals create a weird dreamy effect. No skin off my back…I just sat around trying to be there and also not detract. But, poor Adam was struggling to make sense of the lyrics and song at that new speed. It’s a punk song with weird back phrasing vocals and fairly sophisticated rhythmic/cadence play that is hard at regular speed let alone thrash metal speeds. He did a great job and the beauty of the design is that even when he doesn’t nail it only adds to the dreamy and unsettling feel of things. There wasn’t much more to it. More or less, I just tried to give some really talented people some ideas to play with and then we had a song and video. I’m very grateful and happy with what happened.

Canadian singer-songwriter Ian James Bain, a core member of Nicolette & the Nobodies and guitar player for Jeremie Albino, unveils his latest single, “Come & Gone,” a heartfelt country ballad that reflects on the struggle of trying to make a career in music while grappling with self-doubt, burnout, and the pull of nostalgia. A deeply personal track, “Come & Gone” paints a vivid picture of the uphill battle faced by independent artists, balancing romanticized dreams with the harsh realities of life on the road.

Rooted in classic country storytelling but infused with Bain’s distinctive modern edge, “Come & Gone” blends traditional form with unexpected chord changes, creating a sound that is both timeless and fresh. Lush pedal steel and warm, twangy guitars carry Bain‘s introspective lyrics, culminating in a song that feels both melancholic and reaffirming.

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

My buddy Taylor Wallace is a filmmaker and musician swung by the house on a cold gray day to film a few songs. I wasn’t sure what I wanted to play so we started with a new one that I had recently finished. I had a feeling we might lead with ‘Come & Gone’ so I figured it would be a good idea to cut that one as well. 
I was a little tired and a little hungover so I knocked it down a key to make it a little easier to sing and give the performance a more relaxed vibe. I like the way it turned out and I’ve been playing this one in G ever since.

2.What were you feeling inspired by the day of this performance?

Hard to say because this was filmed almost a year ago now but it’s probably a safe bet that I was feeling inspired by Keith Whitley.

3.What was the process of making this video?

Taylor called me asking if I wanted to shoot some live content. I said hell yeah. He swung by with a few lights and a couple of cameras, I put on my boots for “authenticity” we set up in my living room and I plunked out a few tunes. I kept messing up the lyrics on the last verse but we got it eventually. Fast forward a few months and I said I was finally releasing the tunes and he whipped up a nice cut and here we are.

Nova Scotia via London, UK singer-songwriter Jont‘s new single, “Fingers Crossed,” is a powerful and emotionally charged anthem that dives deep into the complexities of forgiveness, accountability, and the transformative process of taking control of one’s own emotional freedom. The song offers an unflinching exploration of the personal struggle to let go of anger and pain, turning them into liberation rather than allowing them to fester into resentment.

Jont‘s music has always carried a sense of introspection, and “Fingers Crossed” is no exception. It comes from a place of yearning for release—release from waiting for someone else to acknowledge their wrongdoing. The song highlights how we often find ourselves trapped in the prison of unspoken grievances, waiting for apologies that may never come, all the while neglecting the fact that we have the power to release ourselves from this self-imposed captivity.

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

The story of this song is the story of the world we live in: at the heart of our lives, all our communities, is the tension between masculine and feminine energy, played out most obviously by how women and men have been in conflict with each other for thousands of years. The arrowhead of our evolution as a species is us…. Behind us (the shaft of the arrow) is made up of all our ancestors and past lives…. All of these have been affected and shaped by this masculine / feminine wound, this complex trauma that haunts our species that stems in essence from the illusion of separation. 

You can watch the video and very easily see what “the story” of the song is. I wouldn’t insult your intelligence. But the greater story that is being told is that of the ongoing disharmony and pain we live out in our intimate relationships and which we are addicted to and think of as normal.

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

The song on its own is quite a different experience than the video. There is no female vocal, it is not a duet. It is more along the lines of a classic angry love song – it feels like my take on Idiot Wind (Dylan), with a bit more of a Rock the Kasbah feel. But the video gave us a chance to deepen the themes and enhance the ambiguity and the chorus message about blame by having the couple sing the song together. There was no inspiration as such behind the water / ketchup / compost / electrocution – it was just an idea that came to me in the bath that seemed like a  handy metaphor that was both funny and accurate.

3.What was the process of making this video?

It was quick. Holly Stevens (the actor who plays my partner) had to leave at a certain time and by the time the set was finished we only had about an hour to film everything. We also knew we couldn’t shoot any of the messy parts twice. So it was quite a pressurized and condensed process –  as with the recording of the song which was done in just a couple of takes – and that lends some life and freshness to it.

Toronto-based singer-songwriter and filmmaker pssyclwz unveils her mesmerizing new single, “odessa (she-side),” a haunting and melancholic cover of Caribou’s original track, “Odessa.” This alternative electronic anthem brings a fresh, female perspective to the song while capturing the introspective, hypnotic mood of the original. The track showcases pssyclwz’s ethereal vocals, which seamlessly replace some of the instrumental elements, creating a unique and intimate version of the song.

“odessa (she-side)” is inspired by pssyclwz’s long-time wish for a female-driven take on Caribou’s iconic song. She recalls hearing the original version over a decade ago and being drawn to the idea of a “girl version,” much like other memorable reinterpretations of popular songs from the early 2000s. The track is a labour of love and finally exists after numerous attempts to capture its perfect balance between technical mastery and emotional authenticity.

“odessa (she-side)” embodies the core themes pssyclwz frequently explores in her music—offbeat perspectives, emotional vulnerability, and the complexity of human experience. Her music is unapologetically different, offering a refreshing take on the mainstream by speaking to often overlooked emotions and experiences.

“Odessa” was a song I’ve always wanted to cover, but I knew it had to be more than just a copy. I tried everything from live instrumental to acapella versions, but it was producer Samuel Kochany’s beat that really brought this concept to life. I wanted to honour the original, but also add my own spin. Using my voice to replace some of the instrumental components was ambitious, but we didn’t give up on the idea, and I’m really glad we stuck with it. – pssyclwz

Vancouver-based artist Matías Roden unveils his introspective new single, “Disease with No Name,” a midtempo indie pop/soft rock ballad that explores themes of existential dread, depression, and self-examination. Drawing inspiration from a personal struggle with chronic pain and the frustration of being dismissed by doctors, Roden transforms these emotions into a larger meditation on the feeling that something in life is missing—but being unable to pinpoint what that is.

Infused with the atmospheric textures of early ‘90s pop rock and structured like an EDM track, “Disease with No Name” builds on anthemic instrumentals, icy synths, and cinematic swells to evoke a sense of melancholy, movement, and catharsis. Co-produced by Louise Burns (Hotel Mira, Haley Blais), the song captures the tension between pain and self-discovery, making for an evocative and deeply personal listening experience.

I wanted this song to feel both intimate and grand—like you’re sitting alone with your thoughts, but they’re expanding beyond the room, beyond the city, into something huge and uncontainable. – Matías Roden

California-based folk artist Ynana Rose breathes new life into the classic Argentinian folk song “Los Ejes de Mi Carreta” with a stunning new rendition featuring Arturo Lugo. A melancholic yet hypnotic milonga, the song tells the story of a lone gaucho in the pampas, his carriage wheels echoing his solitude as he embraces the path ahead. The track’s haunting beauty, led by Ynana’s heartfelt vocal delivery and rich acoustic instrumentation, pays homage to the song’s deep-rooted history while adding a uniquely personal touch.

Originally composed and performed by legendary musician and ethnographer Atahualpa Yupanqui, this 1950s folk gem carries a quiet intensity. Ynana Rose’s version features traditional bandoneón recorded in Argentina, vocals recorded in both California and Mexico, and percussive elements that enhance the song’s hypnotic rhythm, making for a truly international collaboration.

I fell in love with Latin American folk music while living in Guanajuato, Mexico, and this song became a part of me. My bandmates taught it to me years ago, and it’s an honor to finally record it with my dear friend Arturo Lugo. This track is a tribute to the beautiful tradition of passing music down through generations. – Ynana Rose