Toronto-based, PEI-raised singer-songwriter Kari Lyn unveils her soul-baring new single, “Heavy Weight,” a thought-provoking indie folk anthem that captures the emotional toll of self-imposed pressure, burnout, and the isolating struggle of never feeling like you’re doing enough. Rooted in the rich textures of modern folk, alternative country, and Americana, the track blends rhythmic acoustic grooves with raw, vulnerable storytelling.

Written during a creatively explosive summer on Prince Edward Island, “Heavy Weight” emerged as a reflection of Kari Lyn’s transition into full-time music. “Everyone knows me as someone who is constantly busy… but the truth is, I’m barely keeping up,” she shares. “That’s what led to the writing of this song.”

Originally titled “I Can’t Stay”, the song began as a story about leaving her hometown, until a pivotal moment in the studio with producer Dan Hosh (Wild Rivers, Serena Ryder, Arkells) transformed its course. On a whim, Kari Lyn added the track to their session playlist. When Hosh asked why she didn’t love it, his push to rewrite the chorus and bridge reshaped the song and reignited her connection to it. The result? A haunting, honest anthem now fittingly called “Heavy Weight.”

Every time I listen to this song, I have to stop what I’m doing and just stare at the wall for a while to really reflect on my life. It’s a reminder that we don’t have to do everything alone.

– Kari Lyn

Sourwood, the progressive bluegrass and folk collective based between Waterloo, Ontario, Chicago, and Los Angeles, is releasing their debut single, “On the Road,” a driving and introspective anthem that reckons with the myth of the open road and the dreams of freedom that defined an entire generation.

“‘On the Road’ is my way of finding closure with that ‘beatnik’ mythology—the Kerouac, Easy Rider, even Into the Wild kind of dream—that so deeply influenced my growing up,” explains lead singer and songwriter Lucas Last. “It’s coming to terms with the fact that what was sold to us as an aspirational way of life was, in many ways, a fantasy in a world that has gotten so small.”

“It really stems from growing up in Virginia during that adolescent phase where you just know you need to be somewhere else,” Last reflects. 

The track’s unique opening, with a unison melody played on upright bass and mandolin, sets the tone for the band’s distinct sound. “It felt like it really set the stage for who we are musically,” Last notes.

“A lot of the art I was consuming then just poured gas on that fire. It kicked off a decades-long journey searching for a place to belong. On the Road is almost a caricature of that journey, hitting the key emotional beats of leaving and searching.”

The recording process was a raw, collaborative experience. “We met just two days before recording, and by Thursday, we had the first track cut,” Last shares. “The moment we decided to chop off the last bar of the hook and nailed it in one take summed up the session—no egos, just a group of near-strangers making it work.”

Sourwood recorded this track live off of the floor to capture their authentic sound. “It forced us to trust the process and discover the sound together, right then and there,” Last explains. The result is a fresh, genre-blending sound influenced by bluegrass, folk, jazz, and Celtic traditions.

A standout moment in the song comes with a reference to Neil Young’s “The Needle and the Damage Done,” which is enhanced by a fiddle-mandolin interplay. “It takes what could’ve been a throwaway line and makes it special,” says Last.

From the haunting melodies of “Anya” to the cinematic layers of “Old Man’s Beard,” Forager represents a coming-of-age for Norasea – a culmination of years spent searching for a sound that feels both personal and expansive. “We wanted to create music we’d want to listen to in our free time,” they say. “There aren’t many lyrical tracks that focus this deeply on sound design and bass.”

Norasea formed out of a shared passion for sonic exploration and have quickly become one of the most intriguing acts in the B.C. electronic scene. With genre influences spanning lofi, dubstep, jazz, and psychedelic rock, the duo’s sound has earned them a dedicated fanbase and a spot as finalists in the Vancouver Island DJ Competition.

Through their work with Rainroom Productions and their captivating live performances, Norasea continues to carve out space for emotive, experimental electronic music on the West Coast and beyond.

Vancouver-based pop artist Matías Roden shares his most unapologetically queer and club-ready track yet with “Please” – a synth-pop earworm rooted in heartbreak, self-discovery, and the euphoria of London’s gay nightlife. Featuring a propulsive horn hook, frenetic dancefloor energy, and intimate lyrical detail, “Please” is a bold new chapter from an artist whose sound is as global as it is personal.

Inspired by a month spent immersed in London’s vibrant queer club scene, Roden wrote “Please” after soaking in the sounds of 80s British pop icons like Pet Shop Boys, Bronski Beat, and Human League. That sonic palette of Hi-NRG, Jazz House, and vintage synth-pop courses through every second of the track, which balances emotional vulnerability with dancefloor-ready momentum.

Lyrically, “Please” wrestles with the lingering ache of heartbreak, while teasing out the complexity of pleasure and pain. It’s a milestone moment for Roden as his first release with explicitly queer lyrics.

I wanted the song to feel elegant, but still raw – like a real memory. It’s about falling fast for someone who’s not good for you and knowing they might even enjoy watching you suffer. And at the same time, it’s joyful. It’s nostalgic. It’s me fully stepping into who I am as an artist, as a gay man, and as someone who finds healing in movement. – Matías Roden