Toronto-based alternative rock band Eleven Minutes Late returns with “Caligo,” a rhythmic, captivating single that fuses Latin-inspired grooves with rock energy and undeniable dancefloor spirit. Built around a magnetic drum beat and layered with each member’s distinct musical personality, “Caligo” is an invitation to move – a soundtrack for catching someone’s eye across the room and feeling that instant spark.
From the first rehearsal, “Caligo” was about harnessing joy and letting it loose. “It’s the kind of song that makes you want to move,” says drummer Luis. “It started with a Latin groove and turned into something that feels like each of us – upbeat, and just fun as hell.” Lead guitarist Vincent adds, “It’s an up-tempo party song that encourages the listener to let loose and get lost in the rhythm without thinking too hard.”
The track evolved organically from a simple idea into a full-band creation. Luis brought in the heartbeat of the song – a Latin-style drum pattern – and the band built it up layer by layer, blending bouncy basslines, wah-infused rhythm guitar, and a bright lead melody. Even the song’s title was a collaborative process, arising from an inside joke, a Pinterest search for “cool Latin words,” and a unanimous band vote.
Toronto-based indie pop/rock artist Brodie Christ returns with his new single “Now I Can’t Dance,” a joyful, reverent love song orbiting devotion and desire. With an energetic pulse and interstellar metaphor, “Now I Can’t Dance” is a tribute to awe—in partnership, in politics, and in the gravity of love.
“I wanted to write a tribute song to my partner. She is a powerhouse and an inspiration. She is the type of person that exudes high levels of both beauty and intelligence. She is a person that people orbit around. I wanted to express that her entire being creates gravity and here I am just trying to float around and be part of her solar system,” says Christ.
Built on an expressive bassline by Kyle T Bass, locked-in drums from Miles Gibbons, and a light, looped vocal sample woven through the verses, the track is a sonic standout on Christ’s upcoming full-length album Big Feelings (out October 15, 2025).
Listen to “Now I Can’t Dance” HERE. Watch the official video for “Now I Can’t Dance” HERE.
The song’s infectious rhythm and heady metaphor are backed by unexpected depth. Although it started as a love song, Christ couldn’t avoid societal critiques.
“Even in writing a tribute song, I found it hard not to be political. My frustration around widely accepted ideas of nation states and borders, control of people and migration, and privatization of assets like water comes through. The view from space allows perspective to see how petty, silly, and fabricated walls and borders are. I am inspired by a quote from Thor Heyerdahl: ‘Borders? I have never seen one, but I have heard they exist in the minds of some people.’”
There’s both lightness and weight in “Now I Can’t Dance,” a contrast that feels foundational to Brodie Christ’s approach as a songwriter.
It’s work, getting loose, gotta leave it all in the other room It’s work, on the floor, gotta clean it till our feet go raw
Thematically, Christ continues his deep dive into the fragile and funny parts of the human condition. Big Feelings, recorded following a string of life-altering events—including the loss of his father, the birth of his daughter, and a full shift in lifestyle—finds Christ grappling with both personal evolution and public chaos.
“Each song on Big Feelings packs an emotional punch,” he explains. “I used to think of the songs as an outlet, a means to share emotions I couldn’t express in my everyday life. But now, I need to really feel and communicate these everyday feelings as they come up, no matter how difficult. The songs can tackle bigger things.”
“Now I Can’t Dance” feels both celestial and grounded—an honest celebration of being pulled into someone else’s orbit, willing to spin there, reverently and rhythmically.
Vancouver-based pop artist Matías Roden latest single is “On the Run” – a melancholic, joyful, and ultimately bittersweet synth-pop track about a common gay male experience: the fear of commitment and the instinct to flee just as things start to get real. It’s a “pre-heartbreak song,” as Roden calls it, capturing the electric high of early romance alongside the creeping sense of its inevitable end.
Framed by country-inspired songwriting, dark synth textures, and a hooky pop-rock spirit, “On the Run” channels disparate influences – from sunset car rides to Depeche Mode – into a compelling story of fleeting love and fragile connection. Co-produced with acclaimed Canadian artist Louise Burns, the song features drums crafted entirely by Roden, who chopped and stitched together samples to build the pulsing heartbeat of the track.
Written after a short-lived relationship where both intimacy and impermanence were inescapable, “On the Run” leans into dualities: sparse, minimalist verses that give way to denser, sweeping choruses before stripping back to near silence in its final moments. The ebb and flow echo the unpredictable rhythms of desire, fear, and longing.
The official video for “On the Run” mirrors the song’s wistful tension with a clever country-inspired concept that blends queer visibility and political commentary. It follows two cowboys fleeing America for Canada, culminating in a kiss beneath a massive Canadian flag – a direct nod to Bruce Springsteen’s iconic “Born in the USA” imagery (as is the single artwork which is a mirror image of Springsteen’s iconic Born in the USA album cover, just with a Canadian flag instead of American). It features a defiantly Canadian twist at a time where the country is grappling with issues of nationhood and identity as its relationship with its southern neighbour is tested.
Featuring actor Connor Riopel (Amazon Prime’s Laid), the video pays tribute to Roden’s adopted homeland while sparking conversation about LGBTQ+ rights, national identity, and belonging.
Kenzy Kyx has never been afraid to bare her soul, but with “I’m So Glad” she proves that empowerment can be just as powerful as vulnerability.
Where her earlier work leaned into more melancholy, this new single bursts with cheeky confidence. It’s a glitter coated reminder that joy can be the sweetest revenge.
Listen here:
From the first shimmering notes, “I’m So Glad” struts in like the soundtrack to your best post breakup night out. The production, which is helmed by Kyle Delfatti and Max Bunster at Wildwood Sound, sparkles with playful details. It has tight rhythms, buoyant melodies and flourishes that keep the song light on its feet. You can feel the late night studio energy baked into every bar, a mix of laughter, creativity and a shared obsession with pop done right.
At the center of it all is Kenzy’s voice. Sultry yet soaring, carrying both the relief and the sass of the lyrics. There’s a interesting blend of influences here. Sabrina Carpenter’s wink, Gwen Stefani’s bite, and just a hint of Stevie Nicks’s timeless edge. But Kenzy is completely unique with her vocals. She is in control, playful and unafraid to poke fun at a chapter that once felt heavy.
What makes the track stick, though, is its universality.
“I’m So Glad” captures that euphoric moment when the weight finally lifts and you realize you’re free. It’s not about heartbreak – it’s about release. And in a pop landscape that sometimes takes itself too seriously, Kenzy’s tongue in cheek liberation song feels like a breath of fresh air.
With cover art shot by Athena Khalifeh, the single looks like freedom too. Together, the visuals and the music form a bold statement. Kenzy Kyx isn’t just moving forward, she’s dancing forward and is inviting the rest of us to join her.
With its bittersweet lyricism and warm Americana tone, George Collins’s “By the Time” has already earned praise as one of his most evocative tracks to date.
Now, the newly released music video gives the song a cinematic heartbeat, placing Collins in a dimly lit Prague steakhouse as he strums, sings and pens a final farewell letter to a soon-to-be ex.
Directed by Thomas Cruz and Jarda Malina, and featuring a cameo by Max Munson – the real-life owner of Max’s Steakhouse – this video is full of intimate details. From the half-finished whiskey glass to the knowing glances of a friendly bartender.
Look closer, and you’ll even spot a Dave Matthews Band poster tucked into the scenery, a nod to one of Collins’s lifelong inspirations, and hear his previous single Open Up drifting faintly in the background.
In this conversation, Collins opens up about the song’s origins, the creative choices behind the video and why capturing its acoustic, roots-driven soul on screen was just as important as getting every chord change right.
Watch the Official Music Video here:
Tell us the story of this song, why did you choose to visualize this song specifically in this way?
I came up with the riff while I was noodling around on my acoustic guitar many years ago, and it immediately struck me as extremely catchy.
The opening line, “By the time you’ll be getting ’round to reading this,” popped into my head at the same time, as those lyrics seemed to fit the riff very well in rhythmic terms.
I filed it away for a long time and started writing the song in earnest last year.
The chord changes are quite interesting, full of unresolved tension by deliberately moving outside the key and employing lots of seventh chords, to match the troubled tone of the lyrics.
From the outset, I was hearing the influence of Tom Petty on this tune, and when I started working with my producer to bring the song to life in the studio, I specifically suggested we aim for a similar Americana vibe as Tom Petty’s “Wildflowers,” which was produced by the legendary Rick Rubin, who is an absolute genius and one of my favorite producers.
As we developed the track, the influence of other great songwriters such as Chris Stapleton, Steve Earle, Johnny Cash, George Strait, Ray Davies (one of the finest storytellers in all of music) and Jimmy Buffett (ditto) also became apparent.
Although I have written almost all my songs on my acoustic guitar, this is the first fully produced acoustic track that I have released. In the past, we took my acoustic demos and fleshed them out with a band in the studio, and I have recorded stripped-down acoustic versions of my previous singles, but this is the first time I deliberately kept the track close to its acoustic roots, to better capture the Americana/Outlaw Country vibe of the song. So you’ll hear many influences in this song, but I also hope that “By the Time” is recognizably me.
What was the inspiration behind this new video (visuals, storyline, etc.)?
In my mind’s eye I imagined a scene like that of the cover art for Led Zeppelin’s last studio album, “In Through the Out Door,” in which a man is sitting on a stool in a dingy dive bar burning a “Dear John” letter.
With the phrase “By the time you’ll be getting ’round to reading this” in my head, I realized that the narrator of my song would not be reading or burning a “Dear John” letter, but rather writing one to his soon-to-be-Ex.
In a bar, of course.Once I imagined the scenario, the lyrics flowed quite naturally — fortunately, and unlike most of my other songs, this one has no autobiographical connotations whatsoever!
What was the process of making the video?
One of my closest friends in Prague, Max Munson, owns Max’s Steakhouse, a classic steakhouse modeled on those from his native Chicago.
He runs a lot of great ads for his establishment, which are created in conjunction with Thomas Cruz of Thomas Cruz Studio and Jarda Malina of Moneyshot Studio in Prague.
Once I decided that I wanted a live music video for “By the Time” (rather than the animated lyric videos for my other tracks to date), and that I wanted it to be shot in a bar, I knew that Max’s Steakhouse would be the perfect location, and that Thomas and Jarda, with their previous experience of filming in the Steakhouse, would be perfect for creating this video.
I met with Thomas several times to discuss the song and exchange ideas for the video, and I invited Max to make a cameo appearance as the friendly bartender. We agreed early on that there would be two major features of the video: Me singing the song with my guitar, and me writing the letter at the bar.
I arrived early at the Steakhouse early on a Saturday morning, when the restaurant was closed. Thomas and Jarda were already setting up lights in the main dining room, and I helped move tables and chairs away to clear a space for my solo performance. I’d brought several of my guitars and a variety of shirts, which Thomas tested under the lights before choosing a creamy color that would match the warm hues of the room.
With Jarda handling the lights, I sat on a barstool and sang “By the Time” over and over as Thomas filmed me from a variety of angles – I probably played the song fifty times before Thomas was satisfied that he had enough to work with.
Then we moved into the barroom. Max and I chose a bottle of Elijah Craig as a prop – I actually drank apple juice during the filming, though Max did have to pour several glasses of whiskey so we could show the bottle getting progressively emptier. I enjoyed those glasses, however, only after the filming was completed.
I had written several versions of the lyrics on parchment, each showing the “letter” in various stages of completion. Again, with Jarda manning the lights, Thomas filmed me from numerous angles as I sat and sipped and wrote and pondered: Close-ups of my hand moving across the page, close-ups of me stroking my chin and staring off into space, long shots of Max carrying a rack of glasses from the kitchen to the bar before offering me a refill of my bourbon.
Overall, we must have filmed for eight hours for what was eventually edited into a video that clocks in under four minutes.
In the editing process, Thomas had the brilliant idea to have my previous single, “Open Up,” playing in the background as I’m sitting at the bar. That song, about remaining vulnerable and open to love in spite of disappointments, is the perfect setup for “By the Time,” which is ultimately about liberation and moving hopefully into the future.
I am grateful to Thomas, Jarda and Max for capturing this vibe and helping me bring my song to life so beautifully.
Sturle Dagsland is a highly acclaimed genre-bending artist from Norway. With a wild and unique performance he captivates the audience and takes the listeners on an adventurous journey. Together with his brother Sjur they have toured extensively at festivals all across the world, from Shanghai to New York, GreSturle Dagsland is a highly acclaimed genre-bending artist from Norway. With a wild and unique performance he captivates the audience and takes the listeners on an adventurous journey. Together with his brother Sjur they have toured extensively at festivals all across the world, from Shanghai to New York, Greenland and all the way to the Source of the Nile in Africa. The two brothers conjure an expressive ever-changing soundscape with a distinctive sonic palette and an uncompromising whirlwind of sound. Dominated by Sturle’s astonishing voice their sound evolves from the ethereal and beautiful to wild and abrasive in a matter of seconds.
His second album Dreams and Conjurations to be released on October 10, 2025. Having released his first heavy experimental single,“Galdring,” today Sturle releases a more ambient electronic and avant garde, “Whispering Forest, Echoing Mountains.”
“Whispering Forest, Echoing Mountains” is presenting the listeners for both the melancholic and playful side of Dagsland’s songwriting. Throughout the song Sturle utilizes his own Norwegian folk inspired singing technique, a particular style associated with being out in the mountains looking over and caring for the goats and cattle. The style may also be associated with the sort of singing the joyous animal characters of the Norwegian fairy tales would be chanting while hiking through the woods on an adventure.
Sturle explains:“The first ideas of the song came about during a late night walk through the Hutongs of Beijing. The people living there were very welcoming and after a while me and my brother were invited into the home of an old half-blind man that showed us around. He had a cozy home and while his relatives were preparing for supper he opened a big case in the living room. Inside the case was this old and dusty Guzheng, which is a traditional Chinese harp. The man put it on his lap and slowly strung a chord while reciting a riddle about a dream he had about the Norwegian mountains and the magical creatures he believed lived in our forest. All of a sudden he stopped playing and said: “Now it is your turn”. We started playing and improvising and after a while we all ended up playing together until the end of the night. As a direct result of the jam we engaged in the first ideas of the song was created… A couple of years later we came across some recordings from that night and continued pursuing the ideas of that song in our family´s cabin in the mountains. In a way, I also feel this is our tree climbing song. To me it feels like being in the forest meeting friendly squirrels and bullfinch birds while hanging upside down from a tree branch.”
Expect the unexpected and lean into a musical odyssey that conjures sounds of the netherworlds and intertwines old primordial knowledge with avant-garde pop music, screaming metal, folk music and immersive electronic soundscapes; From the beautiful and haunting ambient landscapes of “Windharp,” the Norwegian folk dance inspired track “Hallingen,”the self-collected ghost stories which inspired “Kwaidan,” the genuine joyfulness of “Whispering Forest, Echoing Mountains” and “The Ritual”- a song inspired by a raw shamanistic ritual that Sturle once found himself engaged in.
Armed with a brigade of instruments the two multi-instrumentalists are utilizing a wide array of different melodic instruments; including Nordic folk instruments like Nyckelharpa and goat horns, to Chinese Guzheng, West-African Kora, Marxophone, Fula flute, Hungarian Cimbalom, Waterphone and dozens of different folk instruments that they have gathered during their travels. The soundscape is pushed further blending them with distorted imperfect sounds, synthesizers and custom made electronics. Although mostly recorded in their hometown of Stavanger, where the brothers have their studio, they put together different segments of the album in different locations across the world absorbing the various landscapes to inspire the record; these ranged from remote cabins in the Norwegian mountaintops to abandoned industrial estates, retired Soviet Navy ships in Eastern Europe, Villages in Uganda and in a desolated clocktower during a snowstorm on the Faroe Islands. These untraditional and often enchanting recording
environments breathe into the album’s rich tapestry . The duo’s artistic creations encompass several genres; both the tranquil and intimate “Drifter” as well as the shamanistic performance of “Galdring,” a vehement musical expression fueled by primal screams, ceremonial Sámi drums, wooden logs, bones, harps and distant cow horns before segueing into an intense blend of world music.
Early 2021 Sturle Dagsland released their first full-length album. Their debut won one of the prestigious Edvard Awards, honoring the best Norwegian albums of the year. Their sophomore album demonstrates the potent symbiosis of the two brothers, threading intricate melodies and sounds through their Norwegian roots, incorporating inspiration of both their indigenous ancestry, primal expressions, dreams, rituals, as well as imaginative and futuristic concepts.
Wild, expressive, and truly idiosyncratic, the long-awaited sophomore album by one of Norway’s most innovative and experimental talents will be released on October 10, 2025.
Modern Mystery 