Nova Scotia via London, UK singer-songwriter Jont‘s new single, “Fingers Crossed,” is a powerful and emotionally charged anthem that dives deep into the complexities of forgiveness, accountability, and the transformative process of taking control of one’s own emotional freedom. The song offers an unflinching exploration of the personal struggle to let go of anger and pain, turning them into liberation rather than allowing them to fester into resentment.

Jont‘s music has always carried a sense of introspection, and “Fingers Crossed” is no exception. It comes from a place of yearning for release—release from waiting for someone else to acknowledge their wrongdoing. The song highlights how we often find ourselves trapped in the prison of unspoken grievances, waiting for apologies that may never come, all the while neglecting the fact that we have the power to release ourselves from this self-imposed captivity.

1. Tell us the story of this song, why did you choose to visualize this song specifically? 

The story of this song is the story of the world we live in: at the heart of our lives, all our communities, is the tension between masculine and feminine energy, played out most obviously by how women and men have been in conflict with each other for thousands of years. The arrowhead of our evolution as a species is us…. Behind us (the shaft of the arrow) is made up of all our ancestors and past lives…. All of these have been affected and shaped by this masculine / feminine wound, this complex trauma that haunts our species that stems in essence from the illusion of separation. 

You can watch the video and very easily see what “the story” of the song is. I wouldn’t insult your intelligence. But the greater story that is being told is that of the ongoing disharmony and pain we live out in our intimate relationships and which we are addicted to and think of as normal.

2.What was the inspiration behind this video (visuals, storyline, etc.)? 

The song on its own is quite a different experience than the video. There is no female vocal, it is not a duet. It is more along the lines of a classic angry love song – it feels like my take on Idiot Wind (Dylan), with a bit more of a Rock the Kasbah feel. But the video gave us a chance to deepen the themes and enhance the ambiguity and the chorus message about blame by having the couple sing the song together. There was no inspiration as such behind the water / ketchup / compost / electrocution – it was just an idea that came to me in the bath that seemed like a  handy metaphor that was both funny and accurate.

3.What was the process of making this video?

It was quick. Holly Stevens (the actor who plays my partner) had to leave at a certain time and by the time the set was finished we only had about an hour to film everything. We also knew we couldn’t shoot any of the messy parts twice. So it was quite a pressurized and condensed process –  as with the recording of the song which was done in just a couple of takes – and that lends some life and freshness to it.

Toronto-based singer-songwriter and filmmaker pssyclwz unveils her mesmerizing new single, “odessa (she-side),” a haunting and melancholic cover of Caribou’s original track, “Odessa.” This alternative electronic anthem brings a fresh, female perspective to the song while capturing the introspective, hypnotic mood of the original. The track showcases pssyclwz’s ethereal vocals, which seamlessly replace some of the instrumental elements, creating a unique and intimate version of the song.

“odessa (she-side)” is inspired by pssyclwz’s long-time wish for a female-driven take on Caribou’s iconic song. She recalls hearing the original version over a decade ago and being drawn to the idea of a “girl version,” much like other memorable reinterpretations of popular songs from the early 2000s. The track is a labour of love and finally exists after numerous attempts to capture its perfect balance between technical mastery and emotional authenticity.

“odessa (she-side)” embodies the core themes pssyclwz frequently explores in her music—offbeat perspectives, emotional vulnerability, and the complexity of human experience. Her music is unapologetically different, offering a refreshing take on the mainstream by speaking to often overlooked emotions and experiences.

“Odessa” was a song I’ve always wanted to cover, but I knew it had to be more than just a copy. I tried everything from live instrumental to acapella versions, but it was producer Samuel Kochany’s beat that really brought this concept to life. I wanted to honour the original, but also add my own spin. Using my voice to replace some of the instrumental components was ambitious, but we didn’t give up on the idea, and I’m really glad we stuck with it. – pssyclwz

Vancouver-based artist Matías Roden unveils his introspective new single, “Disease with No Name,” a midtempo indie pop/soft rock ballad that explores themes of existential dread, depression, and self-examination. Drawing inspiration from a personal struggle with chronic pain and the frustration of being dismissed by doctors, Roden transforms these emotions into a larger meditation on the feeling that something in life is missing—but being unable to pinpoint what that is.

Infused with the atmospheric textures of early ‘90s pop rock and structured like an EDM track, “Disease with No Name” builds on anthemic instrumentals, icy synths, and cinematic swells to evoke a sense of melancholy, movement, and catharsis. Co-produced by Louise Burns (Hotel Mira, Haley Blais), the song captures the tension between pain and self-discovery, making for an evocative and deeply personal listening experience.

I wanted this song to feel both intimate and grand—like you’re sitting alone with your thoughts, but they’re expanding beyond the room, beyond the city, into something huge and uncontainable. – Matías Roden

California-based folk artist Ynana Rose breathes new life into the classic Argentinian folk song “Los Ejes de Mi Carreta” with a stunning new rendition featuring Arturo Lugo. A melancholic yet hypnotic milonga, the song tells the story of a lone gaucho in the pampas, his carriage wheels echoing his solitude as he embraces the path ahead. The track’s haunting beauty, led by Ynana’s heartfelt vocal delivery and rich acoustic instrumentation, pays homage to the song’s deep-rooted history while adding a uniquely personal touch.

Originally composed and performed by legendary musician and ethnographer Atahualpa Yupanqui, this 1950s folk gem carries a quiet intensity. Ynana Rose’s version features traditional bandoneón recorded in Argentina, vocals recorded in both California and Mexico, and percussive elements that enhance the song’s hypnotic rhythm, making for a truly international collaboration.

I fell in love with Latin American folk music while living in Guanajuato, Mexico, and this song became a part of me. My bandmates taught it to me years ago, and it’s an honor to finally record it with my dear friend Arturo Lugo. This track is a tribute to the beautiful tradition of passing music down through generations. – Ynana Rose

Over the past decade, Brock Geiger has established himself as a sought-after collaborator, contributing to nearly 50 records and touring internationally with a range of artists. His debut full-length album, Some Nights, is a culmination of his rich musical journey—melding deeply personal storytelling with innovative production. Co-produced with longtime collaborator, & Grammy award–winner, Will Maclellan, the album seamlessly moves between groove-driven energy and ambient intimacy, featuring contributions from Matt Chamberlain, Sam Gendel, Gabe Noel, and longtime friends Clea Anaïs and Kaelen Ohm.

“Some Nights,” the title track of Brock Geiger’s charming debut album, is a hypnotic, dance-floor-ready anthem that blends indie-pop swagger with art-rock grit. Originally conceived during Geiger’s time experimenting with electronic textures in his synth duo Étamine, the track took on new life as a grimy, groove-forward piece, fusing vintage drum machines with wobbly Hofner bass lines and off-kilter sequencing. Inspired by the unpredictable nature of a turbulent relationship, “Some Nights” juxtaposes dark lyrical themes with an infectious, club-tinged energy.

Produced at the legendary Sound City Studios in Los Angeles by Geiger and Maclellan (Phoebe Bridgers, Taylor Swift, The Killers), “Some Nights” leans into experimental recording techniques to craft its distinct sonic world. A formant-shifted vocal manipulates the song’s perspective, heightening the mood of seductive unease, while moments of  binaural recording captures the sound of the song playing from inside a club—literally blasting the track through massive monitors while recording the bleed from outside the studio doors. Combined with a swaggering drum performance from Matt Chamberlain (Mac Miller, Fiona Apple, David Bowie), the result is an intoxicating, high-energy track that feels like Prince and LCD Soundsystem jamming in a neon-lit after-hours backroom.

Brooklyn-based dream pop duo The Dream Eaters return with their latest single, “Program Me, I’m A Machine,” a synth-driven, hypnotic track that blends robotic detachment with eerie human emotion. Channeling elements of retro-futurism and deadpan humor, the song explores the blurred line between devotion and submission—asking whether true autonomy is ever possible in a world obsessed with control. “Program Me, I’m A Machine” is taken from the pair’s upcoming EP, The Dream Eaters Quarterly Report: Q125, out April 18, 2025.

With its pulsing beats, shimmering synths, and Elizabeth LeBaron’s mesmerizing vocals, “Program Me, I’m A Machine” evokes a sense of nostalgia while feeling distinctly modern. The track’s mechanical yet emotive delivery mirrors its thematic core: an AI-like partner programmed for compliance but perhaps harboring something more beneath the surface.

The accompanying music video, filmed at Green Lung Studios in Red Hook, Brooklyn, brings this vision to life with dynamic visuals and offbeat choreography. “Our drummer/dancer, Steve Fugitt’s dancing was particularly strong that day (when isn’t it perfect, though?), and I shimmied quite a bit myself—poor robot moves and all,” says LeBaron. “We were really feeling this one and just having a lot of fun.”

Beyond its infectious hooks and sci-fi aesthetic, “Program Me, I’m A Machine” carries a deeper message. “It feels both in the past and also in the future, but also the present?” LeBaron muses. “Almost like the desire to control women’s bodies is timeless…”