Toronto dream-pop artist ARK IDENTITY (Noah Mroueh) unveils his most expansive work yet with Deluxe Nightmare, a surreal and euphoric six-track EP that captures the tension between chaos and clarity. 

At its centre is the title track, a grungy, distorted, cathartic release that transforms a childhood fear into cinematic sound. Built on live one-take drum and guitar beds, “Deluxe Nightmare” is made complete with shouting section cues in the background – a perfectly imperfect moment that mirrors the unravelling of a nightmare in real time.

“As a child, I had this recurring dream of flying monkeys breaking through the glass of my bedroom window,” Noah shares. “I wanted the title track to sound grungy and distorted and almost claustrophobic at times. I used fuzzy guitars, kept some of the rougher vocal takes, and leaned into repetition so it feels like you’re stuck in a loop or a bad dream that you can’t wake up from.”

The musical palette expands from distorted anthems to more intimate reflections across Deluxe Nightmare’s six tracks. ARK IDENTITY threads dream-pop, psychedelic pop, and alternative rock into something wide-ranging yet connected. The EP closes with its title track, which fades out to the surreal sound of screaming monkeys and their flapping wings, a haunting finale that perfectly captures the spirit of Deluxe Nightmare.

Deluxe Nightmare finds its beauty not by avoiding discomfort, but by diving straight into it. “This EP taught me to stop avoiding things that make me uncomfortable,” Noah elaborates. “A lot of these songs started from anxious thoughts or moments of fear, but instead of shutting them out – I leaned into them. That mindset opened me up creatively.”

Fresh off a string of acclaimed releases, 5x JUNO–Award and Polaris Music Prize–nominated artist Julian Taylor returns with “Don’t Let ’Em (Get Inside of Your Head),” a soulful new single that brings together alt-country grit and blues rock urgency with one of modern music’s most distinctive voices: Jim James of My Morning Jacket.

Recorded at Gold Standard alongside Aaron Goldstein, David Engle, Tony Rabalo and Anna Ruddick, the track carries both raw spontaneity and emotional weight. What began years ago as an electronic-leaning demo that Taylor and Engle wrote for film/TV sync has evolved into a fully organic, groove-driven anthem that feels as natural as it is powerful.

“This song came together in such a special, innovative, and exciting way,” Taylor recalls. “It just seemed to flow out of everyone in the room.”

The connection with James came about in true serendipitous fashion. A chance encounter at the LA Forum, where Taylor was performing at the Robbie Robertson Tribute (directed by Martin Scorsese) at the invitation of longtime friend Allison Russell, sparked a friendship between the two artists. Years later, Taylor decided to send James the track.

“When this song was almost done, I thought to send it to Jim and see what he thought of it. He loved it, so I asked if he’d be down to sing on it, and he said yes,” Taylor shares. “I love how our voices blend together – it’s effortless and natural. Jim brings a tender urgency to the track, and it’s an honour and real gift to have him singing on it. He’s a true gem of a human and one of the world’s great unique talents.”

With its smoky, rootsy textures and emotionally charged delivery, “Don’t Let ’Em (Get Inside of Your Head)” captures both the immediacy of live performance and the timeless resonance of classic songwriting. It’s a testament to Taylor’s gift for bridging genres and generations while staying true to his own distinctive voice.

Canadian indie rock artist Elli Hart delivers a fierce declaration of self-worth on her new single “Don’t Be The Victim,” a dark, driving anthem that refuses to bow to anyone’s expectations. Written after a year of career breakthroughs and backhanded remarks, the track transforms frustration into empowerment – a rallying cry for anyone who’s ever been underestimated, dismissed, or told they don’t belong.

“I wrote ‘Don’t Be The Victim’ after my career was finally gaining momentum – I’d been booked for several festivals, and someone casually remarked that I only got those spots because they ‘needed a girl’s name on the poster,’” Hart shares. “It made me think about the long history of women being punished for their strength – like the witch trials, where if you drowned you were innocent, but if you survived, you were condemned. Living in a state of victimhood only serves the bully, and I refuse to give them that power.”

Driven by Hart’s commanding vocals and searing guitar lines, the track walks the line between defiance and grace, serving as a bold reclamation of agency in the face of dismissal. “When people underestimate you, that’s actually your advantage,” she explains. “You don’t need to waste your energy proving them wrong – just keep doing the work. While they’re busy feeding their own egos, you’re quietly building something real.”

Hart’s songs often live in those grey areas where strength and doubt coexist. There’s a lot of animal imagery throughout – lionesses, wolves, ghosts – symbols of instinct, survival, and transformation. Sonically, everything leans dark, haunting, and driving, mirroring that inner push and pull between power and vulnerability.

St. Catharines, Ontario–based singer-songwriter Dre Dupuis makes his full-length debut with a self-titled album that captures the raw immediacy of late-night creation. Recorded entirely in his laundry room on a vintage Tascam Portastudio, the record channels the spirit of DIY pioneers like Guided By Voices while pairing lo-fi textures with the warmth and honesty of intimate songwriting. Blending the punch of The Strokes with the introspective tones of Andy Shauf and the lush harmonies of The Beach Boys, Dre Dupuis offers an unfiltered snapshot of an artist rediscovering his joy in making music.

“I wanted to make a record on my own at home,” Dupuis shares. “I finally decided to save up some cash, quit my job at the time, and go all in.” The result is an album born from catharsis and curiosity – a late-night collection of ideas written and recorded in the quiet corners of his basement. “There’s no big concept tying these songs together,” he adds. “They were all written and recorded at night. Just the ramblings of a guy and his Portastudio in his laundry room.”

At the heart of the album is “Daylight,” the hypnotic opener and one of the first tracks written for the record. Built from sampled drums, self-recorded percussion, and live one-pass mixing, the song encapsulates Dupuis’ handcrafted process and dedication to simplicity. “I wrote it last November when I bunkered down in my basement and started writing the record,” he recalls. “I drank coffee late at night and didn’t sleep until I had a finished song.”

Cathartic and straightforward, “Daylight” feels like a deep breath after a long stretch in the dark – a fitting introduction to an album born from perseverance and self-rediscovery. “There was a point in my life where I could feel myself losing the joy of making music,” Dupuis says. “It took longer than I hoped to get back here, but I had a blast writing and recording this record with the Portastudio.”

Acclaimed singer-songwriter and music industry trailblazer Tara Shannon returns with her deeply personal new album Cover Story – a heartfelt tribute to the Canadian female artists who shaped her own artistry. Produced by legendary industry visionary Jim Ed Norman (The Eagles, Anne Murray, Kenny Rogers), the record offers a stunning reimagining of timeless songs alongside one moving original: the reflective, soul-soothing single “Think I’ll Stay Alone.”

“Cover Story is a love letter to Canadian music that pays tribute to the incredible Canadian female artists who influenced my own artistry through the years,” says Shannon. “Making cover songs your own while honouring those who inspired you is a balancing act – this record taught me to trust my instincts and lean into what makes me, me.”

Built on warm keys and an intimate vocal delivery, the album’s focus track, “Think I’ll Stay Alone,” co-written with Jonathan Helfand in Nashville, is the project’s sole original composition – a tender reflection on solitude, healing, and self-acceptance. “I wanted to write something that felt like taking a deep breath after getting through a difficult time,” Shannon explains. “It’s about realizing that being alone doesn’t have to mean being lonely.”

Recorded with Jim Ed Norman’s signature orchestral touch and anchored by the exquisite piano work of Gordon Mote, Cover Story captures both the power and vulnerability of Shannon’s journey. Each song reflects a chapter of transformation – from navigating a painful divorce to rediscovering the woman and artist she was before “mother” and “wife.”

“Jim Ed was really good for reminding me to stay in the performance – the story of it – and not get in my head about things,” Shannon shares. “It was just incredible working with someone who’s been part of the soundtrack of my life.”

Montreal-based art rock trio DahL unveil their arresting new single, “High Tide” – a nautical fugitive romance that sails straight into the imagination. Equal parts prison break and polar expedition, the track anchors the listener, drags them under, and refuses to let go.

Inspired by Atlas of Remote Islands by Judith Schalansky, “High Tide” conjures a bleak escape story set on a fragment of land surrounded by wreckage, penguins, and saltwater static. The song follows a silent passenger – Hightide – as the narrator delivers a fragmented, feverish monologue of exile and flight. The identities of these castaways remain uncertain: prisoners, explorers, or simply stranded souls. What remains is their grim camaraderie, soaked in isolation and nautical tension.

The song’s title refers to this ambiguous companion – part name, part mood, part cipher. “Maybe the two characters were prisoners. Maybe they were explorers who became stranded. Maybe the island itself was the prison. They may have once been friends, or even lovers, but none of that is spelled out,” explains frontperson guitarist/vocalist Nassir Liselle. “Hightide is a presence more felt than heard – a rising pressure, a pull toward movement, a sense that something is about to break.”

Recorded at Studio Saint Zo in Montreal with Monty Munro (Preoccupations), the track was built piece by piece, culminating in a session that left even the producer stumped. “Someone asked Monty, ‘So what does this song sound like?’” recalls Liselle. “He paused, nodded thoughtfully, and said, ‘I have no idea… but I like it.’ That was the moment I put my head in my hands. Deep down, we were trying to make something accessible, and somehow ended up in this strange, emotionally-charged grey zone that doesn’t quite behave. Classic us.”

Stylistically, “High Tide” strips back DahL’s usual sequenced layers in favour of a more physical sound. The focus shifts to percussion and bass – grounding the song in a tension and momentum that mirrors their live shows. Atmospheric textures remain, but the result feels more immediate, like being in the room with the band.