Ottawa-based singer-songwriter Heliara returns with “I Know That You Love Me,” a refreshingly honest and heartfelt pop track about the beauty and complexity of loving – and being loved by – your opposite. As the newest offering from her upcoming EP Everything’s a Love Song, the single captures the contradictions of real-world relationships, embracing both their joy and imperfection with wit, vulnerability, and irresistible rhythm.

“Falling in love with your polar opposite has its beauties and challenges and this song documents the journey of a very real long-term relationship,” Heliara shares. “It may not be your typical love song, but it is a love song nonetheless, infused with the vulnerability, quirkiness and authenticity that typically characterizes my songwriting.”

Originally written and performed live in 2024, the track took on new life nearly a year later when Heliara revisited and rewrote most of its lyrics, sharpening the focus on authenticity and emotional contrast. Produced by Steve Foley at Audio Valley Recording Studio, the final version brings together lo-fi textures and pop polish – a sonic reflection of the song’s dualities.

“Steve suggested adding this cool lo-fi beat to the verses, which gives them such a neat colour before ascending into the more traditional pop beat of the chorus,” Heliara explains. “There’s also this rhythmic ‘push’ in the chords which gives it an energetic, danceable and interesting flow. The bridge has a more hip-hop style beat under it, which provides a marked contrast to the verses and chorus.”
Balancing vulnerability and confidence, the single continues Heliara’s mission to make music that feels real – songs that mirror the full range of the human experience, from messy to magical. “As a songwriter and creative, I feel that my music gives a voice to those who may see themselves reflected in my own humanity, vulnerabilities and struggles,” Heliara says. “Life can be a wild ride, and we are all in it together!”

Vancouver-based harpist, vocalist, and composer Elisa Thorn unveils her highly anticipated album, xiik, a carefully crafted exploration of melody, expression, and generosity in music-making. Whimsical, curious, and intimate, the album blends experimental indie, folk, and ambient influences while foregrounding Thorn’s harp and voice as the guiding instruments.

“xiik reflects a long pursuit of figuring out how to make the harp express melodies without being overly verbose,” Thorn explains. “I’m pretty hell-bent on getting the harp out of the ‘ornamental’ category of music. It’s tough, due to the nature of the instrument, but also because of people’s expectations.”

Recorded over the past eight years, xiik represents nearly a decade of creative exploration, beginning with Thorn’s first carbon fiber lever harp and her desire to create music that is both solo-performable and expansive in the studio. The album was co-produced by David Vertesi, who understood the nuances of the harp and helped capture its warmth and versatility, and features contributions from Dan Gaucher on drums. An alternate take of the record’s “Lullaby” was produced by LA-based ambient artist Tristan De Liege, further expanding the album’s sonic palette.

Album opener “Idle Talk” is a math-folk track inspired by the history of the word ‘gossip’ and the way female relationships have been perceived throughout history. “The earliest known origin of the word referred to a midwife, then to women who supported a new mother during childbirth, then more generally to women who were friends/supportive of each other,” Thorn explains. “Eventually, it ended up being a derogatory term during the Middle Ages and Renaissance times when the patriarchy started to see female friendships as a threat to its agenda.”

“Idle Talk” also showcases Thorn’s experimentation with unusual time signatures and instrumentation. “My favourite part of this track are the drums, played by Dan Gaucher. I’m also proud of my use of melody in this song – I have been working for a long time with getting the harp to express melody in a direct and succinct way and I feel like that really works here. It’s so fun to play!”

Vancouver-based singer-songwriter Debra-Jean Creelman returns with “Bloom,” a captivating single that captures the ache of self-reflection and the bittersweet beauty of personal growth. Blending soulful vocals with plaintive alt-country textures, “Bloom” is a deeply human exploration of honesty, imperfection, and the quiet courage it takes to face oneself.

Born out of a writing exercise with one of her students, “Bloom” evolved from a simple lyrical prompt into a stirring collaboration with longtime creative partner Sean Cronin. The track was recorded live to tape in a barn in Catskill, NY, with Cronin assembling an all-star ensemble of collaborators, including Noah B. Harley (Spirit Family Reunion), Andy Weaver, Adam Brisbin (Big Thief), and Alex P. Wernquest (recording engineer and owner of Basement Floods Record.)

Creelman later overdubbed her vocals in Vancouver with Dave Genn (54-40, Matthew Good Band) & Kendel Carson (Alan Thomas Doyle; Shania Twain), whose fiddle and harmonies add depth and shimmer to the track.

“The goal was to make something soulful that properly reflected my biggest musical influences and had my vocals front and centre,” Creelman shares. “I wanted it to be something that would translate well live – more of an emotional experience for the listener rather than a cerebral one.”

At once intimate and revelatory, “Bloom” finds Creelman at her most honest – wistful yet grounded, with a delivery that feels timeless and true. It’s the first glimpse into her forthcoming  album Little Town (out December 5th), which flows between genres effortlessly – with her distinct vocals, and Cronin’s cinematic storytelling as the thru line throughout.

Vancouver-based country-folk duo Duke & Goldie return with their luminous sophomore EP Romance and Ramblin’ – a heartfelt collection exploring love, belonging, and the beauty of being an outsider. Led by the raw and anthemic single “Outsider,” the record bridges classic country storytelling with modern reflections on identity and self-discovery.

Produced by acclaimed sonic craftsman Erik P.H. Nielsen (City and Colour, Blue Moon Marquee), Romance and Ramblin’ finds Eric “The Duke” Duquette and Jena “Goldie” Gogo distilling the soul of country music through their own lived experiences. Drawing inspiration from icons like Loretta Lynn, Gram Parsons, and Lucinda Williams, the pair reimagine the heartland sound for a new generation – one defined by vulnerability, warmth, and truth.

“I’ve always been a big fan of classic 70’s outlaw country music – folks like Waylon, Willie and Kristofferson,” says Eric. “Except I don’t live on a ranch, drive a pickup truck, ride horses or have any of the usual country accoutrement. So I felt like a bit of an outsider. When I went back and listened to those old records that I loved so much, I realized that they were singing about being outsiders too. And ultimately, isn’t being an outsider what country is really about?”

That theme of self-acceptance drives “Outsider,” a song that transforms personal reflection into a rallying cry for authenticity. With its stripped-back arrangement – dobro taking the place of pedal steel, minimal electric guitar, and a warm tape delay captured through an old reel-to-reel machine – the track glows with nostalgic grit. The vocal performance, recorded live in the booth while Nielsen manually adjusted the analog delay, captures the immediacy of classic country storytelling.

“I’m proud that my dad’s wisdom made it into this song,” Eric adds. “He’s always been a huge supporter of my music, and he used to tell me to be a leader, not a follower – advice I still try to live up to every day.”

Australian-born, Guelph, ON-based rapper, singer, and songwriter Optikz lays everything on the line with The Optikz EP, his most honest and revealing project to date. At its heart lies “Love The Child In Me,” a track that captures the full weight of his healing journey: raw, emotional, and unflinchingly real. The EP’s “Overnight Success” is another song that puts a sharp exclamation mark on his 20+ year long journey as Optikz.

After years of struggling with multiple addiction, mental, emotional, physical health challenges and the outstretching lifelong impact of complex childhood trauma, Optikz (born Darren Piper) has transformed his pain into art – crafting a body of work that isn’t just music, but a road map to recovery. The Optikz EP took more than a decade to complete, reflecting the patience, perseverance, and growth of a man determined to reclaim his story.

Recorded between 2012 and 2024, The Optikz EP was built across multiple studios including Revelation Sound (Guelph), Studio A (Kitchener), Metalworks Studios (Mississauga), Bink Sound (USA), Dras Studio (Germany) and finally Grey Wall Sound (Guelph), the home studio Optikz constructed himself. The project features mixing by JUNO/Grammy-nominated assistant engineer Jeff Crake (Metalworks Studios, Mississauga), JUNO–nominated assistant engineer Yanni Caldas (Metalworks Studios, Mississauga), Grammy–nominated mix engineer Blake Eiseman (Bink Sound, USA) and Sony Music-signed German engineer, producer David Hull “Dras” (Dras Studio, Germany).

“Love The Child In Me” embodies the emotional core of the EP – a song about facing buried pain, forgiving yourself, and finding strength in vulnerability. Written as part of Optikz’s recovery journey, the track explores the lifelong work of learning to love the younger self who endured so much. “It’s about learning to love the child in me that needed (and still needs) love, protection, support, guidance and ultimately to be heard because his voice and power were taken from him when he was little,” he explains.

While the subject matter is heavy, the message is one of empowerment. By breaking the silence around complex childhood trauma, specifically speaking to male survivors, Optikz gives a voice to those who’ve felt unseen or invalidated. “It’s still hard knowing this song is out there,” he admits, “but I needed to talk about it and receive support which sadly I didn’t get as a child. To my fellow survivors of childhood trauma, specifically male survivors of child sexual abuse, you are not alone. It was not your fault. You can heal, you can say ‘I love the child in me.’ This is your song as much as it is mine.”