Forester Debuts Ambitious New Punk Single “You Were Born”

Edmonton’s Forester returns with Young Guns, a raw and restless new EP anchored by the lead single “You Were Born.” Balancing turbulent punk energy with brooding alternative rock grit, the record captures a band looking back on their scars, mistakes, and fleeting nights with both urgency and tenderness. It’s a reflection of growth and survival – an unflinching portrait of who they were and how far they’ve come.

While “You Were Born” may be the EP’s most urgent cut, Young Guns as a whole is about much more than fighting for the light. Written and recorded across studios, apartments, and rehearsal spaces – sometimes years apart – the collection pieces together moments of clarity, pain, joy, freedom, turbulence, and regret into a raw document of becoming. “The weight of past mistakes, friendships, and fleeting nights feel a little heavier now,” pianist Keenan Gregory reflects. “Writing and releasing these songs is our way of keeping them alive just a little longer.”

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You Were Born” is a storm of words and emotions, written about how an argument can spiral past the point of no return, leaving wounds that linger long after the silence falls. “It’s about the instant you realize that a line has been crossed, and the heavy silence that follows when love and hurt collide,” Keenan shares. Fueled by jagged guitars, pounding drums, and a defiant vocal delivery, the track distills rage, regret, and resilience into three frantic minutes.
Sometimes, though, songs take years to reveal themselves. “‘You Were Born’ was one of those songs we had to wait for,” says Keenan. “The second verse was written over email almost five years after the rest of the track. We had wanted that section to lift, but were at a loss of how to do it until one day James [Banks] sent over a guitar riff and drum idea that set the pace. I responded with the  piano part instantly, Wayne [Axani] had the vocal locked in, and suddenly it was alive. Despite this song having a long gap in between writing periods, once that new idea had sparked, the final piece of the puzzle came together within an hour or two.”

Revvnant’s Brand New Album “Death Drive” – A Dark, Genre Defying Journey Through Human Nature

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Revvnant’s brand new album Death Drive is a record forged from emotional intensity, political awareness and something of an unflinching reflection on the state of the world.

Across its eight full songs and one experimental interlude, the album explores despair and rage as well as moments of fragile hope, pulling the listener into its atmospheric vortex.

Listen here:

The tracks themselves are as diverse as they are visceral with each one carrying a specific narrative. The opener “Death Cult” lashes out at Christian Nationalism with ferocious energy, while “Horror” functions as a call to action against the rise of American fascism.

“Rise” is a meditation on climate despair, pairing mournful piano with swirling Mellotron, Moog synths and hypnotic drum programming. “Alien World” reflects on the disorientation of the Covid pandemic, whereas “Neukölln” captures the tension between depression and wanderlusting euphoria. Songs like “Rusted Hearts” and “Damascus” witness urban poverty, addiction and cycles of extreme violence across the globe, meanwhile the closing track “Into the Grey” channels the awe and terror of mountains into a sprawling and immersive sonic landscape.

The production on this album is a careful balance between an expansive sound and something more inwardly intense. Schutzman recorded and produced the majority of the album in his home studio, layering piano, synthesizers, drum programming and vocals with a meticulous ear.

Guest musicians include guitarists, bassists, drummers and backing vocalists who all add a depth and texture that enhances the album without overshadowing its overall core vision. All vocals were recorded and the album mixed by J. Robbins at Magpie Cage Studio in Baltimore, and mastered by Paul Logus at PLX Mastering.

What makes Death Drive particularly compelling is its texture and the way it combines different influences. From the brooding and dark atmospherics of industrial and doom, the hypnotic pulse of trip hop, and the melodic sensibilities of dream pop all converge. There is an overall tension throughout between glimmers of beauty and hope, with chaos and doom, hope with despair, all mirroring the human impulses it explores.

Schutzman explains:

“The underlying theme of this album is in the title – Human nature’s fundamental drive toward self destruction, as exemplified by our current world.

David Lynch once said he didn’t like making films with only one genre. I’m the same way with my music. I love for a band like Radiohead is equally important to the inspiration I take from Black Sabbath. The power of Paul Simon’s songwriting has shaped me as much as that of Trent Reznor.

I let all of my influences bleed together, consciously and unconsciously, until they stew into something I hope resembles like originality. The sound can make ‘industry’ people scratch their heads, but I don’t care. It’s who I am musically, and can’t do anything to hide it.”

For listeners willing to engage, Death Drive is an immersive and truly thought provoking journey. It’s music that demands attention, reflection and shows Revvnant’s commitment to intensity and artistic integrity.

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About Revvnant

Revvnant is the creation of Elias Schutzman, formerly the drummer for The Flying Eyes and Black Lung. Moving beyond percussion, Schutzman embraced analog synthesizers, drum machines, Mellotron, fuzz pedals and lead vocals to create a project that draws inspiration from trip hop, dream pop, industrial and doom.

Although this is primarily his solo vision, Revvnant often expands into a collaborative collective, featuring contributors on guitar, bass, drums, keys and backing vocals. The project’s first show was a sold out support slot for Orville Peck in 2019, followed by appearances at festivals such as Freak Valley Festival, sharing stages with Black Mountain, High On Fire, and Red Fang.

Find out more about Revvnant on here

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Esther Anaya’s Latest Single Channels Emotion and Dance Energy

With their latest single, “More Than A Feeling”, Esther Anaya, Parker Matthews, and JAYEM deliver a track that embodies passion, energy, and connection. The song captures that euphoric moment when music transcends sound and becomes pure emotion, pulling listeners into a state where rhythm meets soul.

Esther Anaya—DJ, singer, violinist, producer, and Official DJ of the Los Angeles Chargers—infuses the record with her signature electric violin and emotive vocals, giving it a bold and organic edge. Known for collaborations with Thomas Gold and Snoop Dogg, Anaya elevates the track with both intensity and intimacy. Parker Matthews contributes soaring vocals that anchor the record in raw emotion, while JAYEM’s driving production style keeps the dance floor alive from start to finish.

The release will be accompanied by an official music video, translating the song’s energy into powerful imagery that blends performance and storytelling. This collaboration is more than just a track—it’s an anthem of release, unity, and elevation, delivering exactly what the title promises: more than a feeling.

With Colombian roots and over 20 years of musical training, Anaya has captivated audiences worldwide. Her career highlights include supporting Rihanna and Kanye West, opening for Maluma on his European tour, collaborating with Lil Yachty, and performing at major festivals such as EDC Mexico, Coca-Cola Flow, and Baja BeachFest. For the past three seasons, she’s served as the official DJ for the NFL’s Los Angeles Chargers, performing at marquee events including Super Bowl 2023, Pro Bowl 2023, F1 Mexico City 2024, Anaheim Ducks games, and the PGA’s Waste Management Open 2025.

From classical conservatory training to global stages, Anaya’s versatility and artistry have also led to branded partnerships with Cadillac and iHeartMedia, as well as DJ residencies at Zouk Nightclub Las Vegas and E11even Miami, sharing stages with icons like David Guetta, Calvin Harris, Zedd, and DJ Snake.

“More Than A Feeling” is out now and is poised to electrify dance floors worldwide.

Lakaff Finds New Heights With “may.Be” and “Jambles”

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There’s a reason Washington D.C.’s Lakaff keeps calling his sound “heart music.” This is not a gimmick but a mission. A singer songwriter, multi instrumentalist and producer who started ou on French horn and euphonium before teaching himself bass, guitar and production, Lakaff has been steadily building a catalogue of songs since 2023 that blur the lines between indie rock, hip hop, and electronic music. His latest two singles “may.Be” and “Jambles” show just how far that vision has come.

Released earlier this year, “may.Be” is Lakaff’s first Dolby Atmos release and the kind of track that makes you want to sit between the speakers.

It’s built on a sleek electro groove, layering artful drums, shimmering guitar and silky flute and sax lines from Grammy winning guest Johnny Butler.

Emmy winning engineer Cheryl Ottenritter handled the Atmos mastering. This is a song that defines Lakaff’s “heart music.”

Where “may.Be” is expansive and collaborative, “Jambles” is more stripped back and personal. Lakaff channels the wiry guitar energy of early Strokes records, then threads it through the trap style percussion he admired from artists like Future.

Instead of leaning on a drum machine for thetrap meets guitar vibe, he tracked live, kit oriented sounds, giving the song a punchy and human edge beneath its clattering hi-hats and pulsing bassline. Lyrically, it’s a collage of daily life fragments gathered over time, dotted with sly nods to Oasis, “Sk8er Boi,” and other personal touchstones.

Together the two songs function as a kind of diptych. “may.Be” reveals Lakaff the collaborator, reaching outward with a lush and immersive production.

“Jambles” shows Lakaff the diarist, boiling down his influences into something lean and immediate. Both singles are recognisably his. They are playful, soulful and just a little bit restless, constantly looking for new ways to join the organic with the synthetic.

If these tracks are any indication, Lakaff’s “heart music” is becoming something of a signature sound. With more Atmos mastered singles already in the pipeline and live shows on the horizon, both “may.Be” and “Jambles” show an artist whose sound is emerging and coming into focus – immersive, genre blurring and designed to resonate well.

About Lakaff

Lakaff is a Washington D.C. based singer-songwriter, multi-instrumentalist and producer. Raised on school band brass instruments (French horn, then euphonium), he discovered rock in middle school and taught himself bass while playing along to Aerosmith records, and soon added guitar, vocals, and production to his skill set.

Since 2023 he has steadily released tracks that mix indie rock guitars, trap inspired percussion, dexterous bass lines, horns and other unexpected textures, taking cues from artists as varied as Oasis, Disclosure, Shania Twain, The Prodigy, Kasabian, and 50 Cent.

His singles feature artwork by visual artist Masato Okano, known for designs for Metallica and Murphy’s Law, and collaborations with Grammy winning saxophonist Johnny Butler and Emmy winning audio engineer Cheryl Ottenritter.

With more Atmos mastered singles planned and live performances on the horizon, Lakaff is carving out a distinctive place in today’s music landscape – quirky, playful, and soulful.

Stream music on Spotify and Apple Music

Willem James Cowan Debut New Single, “You Will (A Brief Reminder to Look Up)”

Willem James Cowan’s new single, “You Will (A Brief Reminder to Look Up),” is a warm, Laurel Canyon–inspired ode to optimism – a gentle reminder that no matter how heavy life feels, things will get better. Breezy yet reflective, the track blends folk, rock, singer/songwriter, and Americana influences to create an uplifting space that feels both timeless and personal.

The spark for the song came in an unlikely place – a movie theatre. “A couple months after ending a long-term relationship, my brother and I went to see the movie Beau is Afraid,” Cowan recalls. “The movie as a whole didn’t have a huge impact on me, but I was really inspired by the dream sequence about three-quarters of the way through where a woman is prophesying a character’s life. Each sentence starts with the phrase ‘you will’ as she details the events to come, and I really liked the way it sounded. I had to pull my phone out and write the idea down (against theatre etiquette – sorry everyone). I went home and wrote the lyrics with the same idea. This song is a reminder to myself and others that no matter how down you feel, things will get better.”

Excuses Excuses Take Aim at Social Media’s Divisive Grip on Empowering New Single, “Nothing At All”

Toronto alt-punk rockers Excuses Excuses return with “Nothing At All,” an anthemic, defiant, and raw rallying cry that questions the impact of social media on our increasingly divided world. The track cuts through the noise to encourage listeners to reject the curated smokescreens algorithms present and reclaim an honest, individual perspective on life.

Delivering a searing commentary on conformity, the emptiness of regurgitated online opinions, and the loss of original thought in the digital age, “Nothing At All” serves as a reminder that we don’t need to feed into the game that media and politics try to push on us – we still have a chance to be ourselves and to be united in this world.

“‘Nothing At All’ directly calls out the effects of social media on our brains and the flaws in our resulting actions as a society,” explains guitarist/vocalist Kyle C. Wilton. “Though a lot of people either don’t see it or choose not to realize it, the truth is that we have been changed by this modern way of life. I think this song sheds a much needed light on the reality of the situation.”

At its core, “Nothing At All” is about breaking the cycle – refusing to be just another voice in the echo chamber, and instead striving for a more positive, authentic, and united future.