Toronto-based artist Puma June’s emotionally charged single, “Love Comes & Goes,” serves as the focal point of her debut A Woman That They Want EP. Known for her vulnerability and rawness, Puma June creates a space where self-love and acceptance take centre stage. This powerful ballad is the most intimate track on her album, as it delicately navigates women’s health and the personal struggles many people face but rarely speak about.
“Love Comes & Goes” draws from Puma June’s own experience, inspired by a phone call from her doctor that left her grappling with the possibility of never having children. The track explores the feeling of being trapped in a body that doesn’t always do what we expect, a poignant reflection on the fear and loneliness that can accompany recognizing one’s own limitations.
The accompanying music video explores the song from a different light, celebrating the 100th birthday of “Nonna” Bernita Smith, the grandmother of director Arden Grier. Nonna turned 100 this past International Women’s Day and has been an activist and singer throughout her lifetime. The video shifts the lyrics’ meaning to self-love/joy in aging and fighting the rhetoric that women’s value depletes as we age. Though bodies and abilities change, worth remains fixed.
Toronto-based rock & roll troubadour Nelson Sobral returns with his new album, três!, featuring the lead single “Must’ve Done Something Right.” Blending blues rock grit with Americana soul, the track is a testament to living on the edge, flirting with disaster, and somehow still landing on your feet. With its tongue-in-cheek lyrics and infectious, guitar-driven groove, “Must’ve Done Something Right” is a heartfelt reflection on life’s ups and downs, delivered with Sobral’s signature charm and swagger.
Inspired by a quiet moment watching his wife play with their two young sons, Sobral penned the track during a family vacation in Japan. Despite his mischievous past, the song celebrates the good fortune that’s followed him through it all.
The song’s title pays tribute to Sobral’s country music heroes, embracing their tradition of witty, self-aware storytelling. With its rootsy Americana vibe infused with rock & roll spirit, “Must’ve Done Something Right” speaks to troublemakers and redemption-seekers alike.
Amanda Abizaid has always been an artist unbound by borders, whether cultural, linguistic or musical.
Her latest release “Hold On My Heart (Bilingual Remix)” has taken on many forms, evolving across languages and styles. Originally written as a pop folk ballad in English through Sundown Sessions in Los Angeles, the song which was co-written with Lindsay Gillis, has since blossomed into a bilingual marvel.
Winning Best Folk and World Music Song awards from the Indie Music Channel, this track further cemented Abizaid’s place as a global artist. Now, with a fresh remix produced by Dave D’Addario, “Hold On My Heart (Blilingual Remix)” shows Abizaid’s talent for fusing world music with neo-soul and cinematic electronica into a mesmerizing, emotionally charged experience.
With lyrics that seamlessly transition between English and Arabic, this song re-invents the wheel of remixes and transforms it into a re-awakening of passion and purpose.
Abizaid’s ethereal vocals pull you into a dreamy landscape where Middle Eastern melodies intertwine with lush electronic beats.
Producer Dave D’Addario expertly amplifies the song’s intensity, layering hypnotic rhythms with a pulsing and danceable energy that builds towards a climactic release. This is certainly a song that lingers with the listener long after listening with its gorgeous fusion of nostalgia and modernity.
Abizaid, a Lebanese-American singer-songwriter, is no stranger to crafting music that resonates across cultures. Best known for her Emmy-winning theme song A Place in Time from The 4400, she has collaborated with legends like Stephen Stills and performed alongside Herbie Hancock and Wayne Shorter. Her music, which is often a vehicle for storytelling and activism, has found its way into film, television as well as and international humanitarian efforts, where she has used her platform to promote peace and cross-cultural understanding.
“My multicultural upbringing has enabled me to adapt to different types of people. I’ve always had different kinds of friends, inviting them all to my shows and discussions which I love because it creates an international fanbase and audience allowing for a diverse dialog.”
“My hope is to open our minds to accepting our differences by having positive experiences together and to have my fans have an opportunity to experience my native Country Lebanon in a different light than what they might typically hear on the News. After all, don’t we all want to be happy and enjoy the time we have?”
With “Hold On My Heart (Bilingual Remix)”, Abizaid takes another step in that mission, using music as a universal language. This remix breathes new life into an already memorable song, and offers a fresh take where heartbeats of different worlds come together in harmony.
With “Crash Course Volume 3: Rust Covered Lust”, Animals In Denial closes the loop on a trilogy of sound, taking long-forgotten demos and raw ideas and forging them into something stronger, sharper and more alive than ever before.
The songs that make up this new EP have been completely overhauled with cutting-edge production techniques, AI assisted enhancements, and a relentless drive to elevate past works into its fully realized form. The result is an album that pulses forwards with electricity, aggression, and a kind of nostalgia that surges forwards with teeth bared.
Listen here:
Opening with “Operator”, this song itself is an impressive evolution, born from a beat that haunted Animals in Denial since age 14 after watching The Matrix. Originally pieced together using a lite version of Ableton Live and a handful of drum samples, “Operator” took on a new life when Steven Seibold (Hate Dept/Pigface) stepped in for additional production and mixing.
His expertise helped sharpen the track’s cold, metallic edges, while subtle tweaks – like a reworked third verse and unexpected backing vocals in the chorus – pushed the song into new territory.
Meanwhile, “Coi” immediately plunges the listener into a world of industrial beats and searing guitars. What was once an abandoned demo has transformed into an undeniable force, with a dark and pulsing energy reminiscent of Pretty Hate Machine-era Nine Inch Nails, fused with the density and controlled chaos of The Fragile. It’s the kind of track that demands movement—whether that’s a rhythmic head-nod or full-body immersion in the beat is up to the listener.
Then comes “Rage”, a track that more than lives up to its name. This is a song that doesn’t just explore anger but embodies it. The layers of heavy guitar, thunderous toms and jagged synths create a soundscape that feels like an explosion caught in slow motion, both destructive and oddly beautiful. Originally conceived as an exploration of rage personified, the final song is raw and unrelenting.
The overall EP has a tension about it, with the songs pushing and pulling between the past and a re-invention, between the person who wrote them years ago and the artist bringing them to life today.
The themes that run through the album – fractured relationships, self-discovery, the scars we carry – are given a new weight through the updated production and evolved vocal delivery.
The title itself, “Rust Covered Lust“, suggests something that was once polished but has been left to decay. And that’s exactly what this album does. Rather than discarding past work, it honors it, stripping away the imperfections while keeping the beating heart intact. Christian Imes is reclaiming the songs, and re-shaping them.
By blending industrial, metal, electronic as well as alternative elements with an arsenal of modern production techniques, “Crash Course Volume 3: Rust Covered Lust” does what all great re-visitations should: it re-defines the past.
Whether you have been following the series from the beginning or you are stepping in to the world of Animals In Denial for the first time, “Rust Covered Lust” is sure to be an undeniable force.
Stay current with everything Animals In Denial on the Website, and Facebook.
Following the explosive success of Beat Em, DIEMETIC and Lostrønaut return with “Bored”.
This is a track that takes the heavy, groove driven intensity of its predecessor and warps it into something even more unpredictable.
Listen here:
It’s the kind of sound design that makes Bored feel alive, constantly evolving as it moves forward. Where Bored really shines is in its movement.
DIEMETIC and Lostronaut aren’t content with just throwing out a heavy drop and calling it a day. Instead, “Bored” keeps you guessing with rhythmic switch-ups and unexpected twists that maintain a relentless energy while keeping the listener engaged.
Thematically, the title “Bored” is an ironic choice. This track is anything but dull. Instead, it shows the relentless creative drive of its producers. Rather than re-hashing the same formulas, DIEMETIC and Lostrønaut expand it to innovate, injecting their own personality and unpredictability into their sound.
Andrew Heffernan from Diemetic says:
“After the success of Beat Em, which has amassed nearly 100k streams on Spotify, Lostronaut and I felt like we had tapped into something special – an energy that resonated with fans of heavy, groove-driven dubstep. That track set the bar high, so when we got back in the studio, we wanted to create something that kept that same raw intensity but with a fresh approach.
The track name came naturally because, at the time, we were restless – we were bored of the usual formulas and wanted to break the mold. The result is a track that’s raw, wobbly, and full of movement, hitting hard while keeping the energy fresh. The recording and production process was all about controlled chaos. We experimented with different bass modulations, layering textures to create something that felt alive. Every wobble, every switch-up, was placed with the intent of keeping listeners on edge. This wasn’t just about making a heavy track – it was about making a statement. Bored isn’t just another banger; it’s a reminder that dubstep can still evolve, still surprise, and still hit with undeniable force. If Beat ‘Em showed what Lostronaut and I could do together, Bored is proof that we’re only getting started.“
There is an undeniable swagger to “Bored”. It’s an attitude that says “we’re not here to play it safe.” And it’s exactly this fearlessness that makes Bored stand out in a sea of bass music releases.
In a world where heavy dubstep often falls into patterns of predictable builds and cookie-cutter drops, “Bored” is a refreshing reminder that the genre can still be thrilling, dynamic and, most importantly, fun.
And with this new release, DIEMETIC and Lostrønaut show that the success of Beat Em was just the beginning.
Expect to hear “Bored” dominating festival sets and underground raves alike.
About DIEMETIC
DIEMETIC, the Edmonton-based bass house innovator, has been a driving force in the electronic music scene since 2015, creating high-energy productions and chart-topping releases.
Known for his relentless grooves and hard-hitting sound design, DIEMETIC has performed on major festival stages across North America and internationally, cementing his place as a force to be reckoned with in bass music.
Together, DIEMETIC and Lostrønaut have proven to be a formidable duo, with Beat Em racking up nearly 100k streams and their latest collaboration, Bored, setting a new standard for controlled chaos in bass music.
Apollo & The Human Nation’s “Bitch!” is a firebomb of pop-punk angst, a breakup track that spits venom while pulling listeners onto the dance floor.
Written in the raw throes of heartbreak, the track explodes with searing guitar riffs, rapid-fire lyrics, and an unfiltered emotional release that makes Olivia Rodrigo’s GET HIM BACK! feel restrained by comparison.
Listen in here:
What sets Bitch! apart is its paradoxical nature – it’s rage disguised as a pop song. Apollo initially aimed for a snarling punk assault but a surprising catchiness emerged, creating a more intoxicating juxtaposition of fury and groove.
Lyrically, the song is unapologetic. It is packed with F-bombs and raw emotional catharsis. Some might balk at its unfiltered delivery, but Apollo defends the expletives as essential to the song’s visceral punch.
Beyond its breakup-fueled angst, Bitch! also taps into a broader conversation about empowerment.
Apollo cites Jennifer Fitta’s essay on reclaiming the word “bitch” as an unexpected thematic layer, positioning the song as not just a revenge anthem but also a nod to the sexual liberation of modern women. It’s a track that refuses to be boxed in—equal parts personal wound and cultural statement.
“It’s definitely volcanic for a pop song! Gotta a lot F-bombs,a lot of venom to it! Some suggested I pull back off the expletives for POP’s sake. I tried that but it ended up losing it’s impact. Let’s face it sometimes only launching an f-bomb can describe an intense feeling of hurt and rage!
I wanted to write a song that was straight up, real, in your face and how people really talk and feel, as if they could have written the song themselves. It’s like the working man’s pop song! It’s my opinion that Rock has become to homogenized. To me my BITCH is Rock music getting pissed off again!”
At its core, Bitch! is an eruption of emotion, a middle finger to both heartbreak and musical conformity.
If pop-punk has felt too polished in recent years, Apollo is here to rough it up again. Love it or hate it, Bitch! is impossible to ignore.
Follow Apollo & The Human Nation here on the Website
Modern Mystery 
You must be logged in to post a comment.