Montreal-based multi-instrumentalist and composer Cédric Dind-Lavoie returns with “Chrysalide,” a textural, comforting, and quietly melancholic instrumental piece that moves between shelter and transformation. Rooted in folktronica and electroacoustic exploration, the track unfolds like a memory. 

Intimate, enveloping, and gently evolving, it’s taken from Cédric’s upcoming album, Collages (2019–2022), a new series of studio explorations and reinterpretations of music originally created for contemporary dance and documentary film, set for release on April 17th.

“Chrysalide” took shape naturally around a two-part guitar motif. That repeating pattern inspired an arrangement steeped in childhood nostalgia, evoking the warmth and safety of a familiar refuge. From there, the composition expanded outward, layering subtle textures while maintaining a restrained emotional core.

The title “Chrysalide” reflects both protection and change. Suggesting the soothing nature of a cocoon while alluding to metamorphosis, the name mirrors the passage from childhood to adulthood, a space where vulnerability and growth coexist.

What distinguishes the track is its meticulous textural exploration. Modified guitar, harmonium, bass synth, autoharp, and carefully manipulated samples (many created from cardboard boxes) form an unexpected yet cohesive palette. The result is a surprising blend of organic and experimental elements, shaped into a soundscape that feels tactile and immersive.

For Cédric, production choices are always guided by intimacy. Even as the instrumentation shifts from project to project, his approach remains consistent: recording sounds closely and interpreting them with restraint and gentleness. The goal is not grandeur, but proximity; an enveloping sonic environment that invites listeners inward.

Japan-born, Canada-raised artist Justin Maki shares “Wasting Time,” a slow-groove R&B ballad that transforms uncertainty into devotion. Hopeful and hypnotic, the track blends soulful textures with alternative pop sensibilities, exploring the idea that time spent with the right person can never truly be wasted. It’s the latest single to be shared from his upcoming new album, Technicolor Dreams, set for release on June 26th, 2026.

The song began during a winter 2023 writing session between Maki and his longtime friend/collaborator Josh Ellison. What started as a casual studio hang quickly turned into something more focused once a novel guitar riff sparked momentum in the room. “I was fiddling around with some R&B chords and after a while it morphed into this concrete riff,” Maki recalls. “Josh and I quickly built a complementary production around it and suddenly this dark, slow-groove R&B track started to take shape.”

At first, the song leaned toward self-doubt. As a full-time musician constantly on the road and living outside conventional routines, Maki imagined warning a potential partner away from the unpredictability of his lifestyle. “The original idea was me telling someone not to waste time on me,” he explains. “Being a musician means weird hours, lots of travel, and a life that isn’t always stable or traditional.”

That perspective shifted later when Maki revisited the song in the studio with JUNO Award–winning production duo VAŪLTS (David Mohacsi and Maïa Davies). Together, they reframed its meaning into something far more hopeful: the idea that time spent together, even aimlessly, can be deeply meaningful.

Built around a pulsing groove and layered vocals, “Wasting Time” carries a dreamy, almost weightless energy. One of its most distinctive moments arrives in the refrain, where a high-octave vocal line floats above Maki’s lead. “I was actually resistant to it at first,” he admits. “But after sitting with it, I realized it really assists with the song’s unique fingerprint.”

For Maki, the finished track evokes a sense of calm and surrender. “It feels like swaying on a comfy hammock in the dark under the stars,” he says. “I just think it feels good… really damn good.”

Following on the heels of recently released single, “Too Old (For This Shit),” Edmonton, AB singer-songwriter Ellie Heath shares “Pushing Forty,” the title track of her upcoming debut album, Pushing Forty (out May 29th).

It’s an energetic and uplifting pop anthem that embraces aging not as a limitation, but as a moment of clarity, confidence and forward motion. Built on driving rhythms and bright production, the track captures the feeling of standing on the edge of a new chapter and reflecting on where you’ve been while moving enthusiastically toward what comes next.

“I wanted this record to feel more upbeat, celebratory and empowering than some of my previous work,” Heath explains. “For the title track specifically, I was chasing the kind of driving, uplifting energy I remember from pop-rock songs I loved in my youth. Writing an empowering pop song about turning 40 felt hilarious, poignant and perfectly timed, especially for people who are now entering a similar life stage.”

The song began with a drum pattern inspired by the feel of The Killers’ “Mr. Brightside,” setting the tone for everything that followed. From there, the chords and melody came together naturally, shaping a track that balances nostalgia with present-day self-awareness. The result is a rare kind of pop song; one written not about youth, but for listeners navigating adulthood with the same desire for joy, energy and connection.

The title itself reflects Heath’s current moment in life. “I turn 40 later this year,” she says. “The title reflects being right on the edge of a new chapter: looking back at where I’ve been, taking stock of where I am now and preparing to move forward with intention.” Rather than treating aging as something to resist, “Pushing Forty” reframes it as something worth celebrating.

The song also marked a turning point creatively. Written early in the album process, it helped define the broader sonic direction of the record, opening the door to a more dance-forward and confident pop sound. The fast, driving rhythm mirrors the song’s central theme of momentum and continues onward without apology or hesitation.

“You In The World” arrives as one of the most quietly powerful moments on Jont’s forthcoming album Walk Right Through (out May 15th). It’s a song that feels less written than revealed. Loving, fulfilled, and deeply reflective, the track unfolds as a universal declaration of connection, gathering together threads of romantic love, parenthood, time passing, and the deeper knowing that there is both only this moment and still meaningful work left to do.

The song emerged at the close of an intense and unusually focused creative cycle. In the spring of 2024, 10 songs arrived over 10 weeks; not summoned, but insistent. “They were wanting to be written,” Jont says. Some carried specific purposes: one written for a friend in hospital who needed reminding of what she still had to return to; another facilitating forgiveness and healing after a long-held rift with an ex-partner. Each song arrived as a response to something real, urgent, and human.

At the end of those 10 weeks, “You In The World” announced itself differently, through a dream. A melody appeared first, wordless but unmistakable. When Jont later picked up a guitar to find its harmonic shape, he instinctively reached for the same chord voicings that had opened the cycle on previously released single, “Dark Days Are Over.” Not the same progression, but the same language. “I knew it would be the end of the cycle,” he reflects. A symmetry had revealed itself.

The words took longer. Weeks of feeling into the song followed, allowing it to gather traces of every person, spirit, and emotion present across the 10-song arc. What emerged is a piece that functions much like an abstract painting suggestive rather than literal, autobiographical without being confined to specifics. The details hint at lived experience, but the song’s true concern is essence: the euphoria of romantic love, the pride and fulfillment of parenthood, the love we hold for our children, the illusion of age, and the deep knowing that while there may only be this moment, we still carry dreams we are called to make real.

“You In The World” resists easy categorization, sitting gently at the intersection of singer-songwriter intimacy and indie-folk warmth. It is both personal and expansive, grounded and transcendent; a song that holds gratitude without complacency, presence without passivity.

With the release of her new single “Triple Threat,” internationally active DJ, violinist, and producer Esther Anaya continues to refine a performance model that blends live musicianship with electronic dance production. Arriving tomorrow on digital platforms, the track reinforces her positioning within the global electronic music market as an artist whose brand is built on versatility, technical skill, and stage-ready energy.

“Triple Threat” sits firmly within the bass house lane, driven by punchy low-end rhythms and structured for high-impact live environments. The production emphasizes momentum and clarity, giving DJs a track that is easy to deploy during peak-energy segments of a set while still offering a recognizable musical signature. That signature comes from Anaya’s use of violin as a primary melodic element, a decision that continues to differentiate her catalog in a genre where sonic identity can often blur across releases.

From an industry standpoint, the release reflects the continued shift toward hybrid performers who operate across multiple roles. Artists who can produce, perform, and visually engage audiences are increasingly favored for large-scale bookings, brand activations, and international events. Anaya’s career trajectory aligns closely with that trend. Her appearances at major venues and global showcases, including SoFi Stadium and the internationally televised Formula 1 Mexico City Grand Prix, demonstrate the kind of cross-market appeal promoters and event organizers now prioritize.

The single also arrives at a time when electronic music audiences are placing renewed value on live instrumentation. While digital production remains the foundation of the genre, performers who introduce physical instruments into their sets are seeing stronger audience engagement and increased booking opportunities across festivals, corporate events, and destination entertainment markets. Anaya has been an early adopter of that model, building a performance style that merges visual spectacle with musical precision.

Commercially, “Triple Threat” is structured to support both streaming and live performance cycles. Its concise arrangement and rhythmic consistency make it suitable for playlist placement across dance and electronic categories, while its high-energy pacing positions it well for festival rotations and club residencies. The track’s production choices reflect a clear understanding of how modern electronic releases function not just as listening experiences, but as tools for performance and brand visibility.

Beyond the immediate release, the single signals continued investment in a long-term artistic identity centered on movement, showmanship, and technical credibility. In a competitive electronic music landscape, consistency of sound and visual presentation often determines staying power. Anaya’s catalog demonstrates a deliberate effort to maintain that consistency while still evolving her production style to meet changing audience expectations.

As “Triple Threat” enters the market, it reinforces Esther Anaya’s standing as a performer who understands both the creative and operational sides of modern electronic music. The release is less about experimentation and more about execution — delivering a track designed to perform reliably in real-world settings where energy, timing, and audience response ultimately define success.

Defying any one label, MMOONN is a deeply textural and cosmic record created by Los Angeles-based composer and producer Nicolas Snyder and interdisciplinary vocalist Odeya Nini. MMOONN merges the improvisational and compositional skill of two artists who have each honed a personal sound for many years: Odeya Nini with her embodied dynamic vocals, and Nicolas Snyder with his textural multi-instrumental work. Today, MMOONN shares the track “Change” along with its ethereal, layered, vast and gorgeous video.

Odeya notes: “Change is a clarion call of unconditional love and acceptance written from the perspective of our beautiful planet.” Nic texted me the lyrics and a rough recording of him singing this song last fall, a few hours before we were scheduled to meet for rehearsal. 

He and I had lots of conversations about what was happening in the Middle East. I was holding (and still do) a lot of distress and pain around what has been (and still is) unfolding there. It is very close to home. This was a moment of him giving me very spacious  words and a lot of love to move through challenging feelings. It’s said from the perspective of the planet – her words, my words, universal words – an unconditional love that is coming from Mother Earth, Gaia, from oneself. An affirmation of love to remind us that no matter what, we are loved, and only love will end the cycle of hatred and destruction towards ourselves and others. 

The initial inspiration for the video was a clip from a 1930’s film called “Le Roi des Aulnes” that we came across. There is a surreal image of a woman seemingly floating on a waterfall. The supernatural mixed with nature was appealing to us. The filming and editing process kept revealing to us what this video wanted to be – a dramatic, emotional and otherworldly expression of the physical body in relationship with dynamic landscapes. Every moment was carefully thought out to represent something both very clear and very abstract. Once in process we also realize we were paying homage to the classic 90s Red Hot Chilli Peppers video – Give It Away. I (Odeya) worked very closely on the vision, cut and edit of this video to truly birth a visual that brings the song to life.” 

MMOONN orients listeners in an enticing, liquid musical realm while also reinventing the spatial possibilities of sound.  There is a sense of sonic terra firma while also inviting a realm of outer space, deep time, and unified consciousness. The tracks on this debut record merge Odeya’s grounded to ethereal vocal range and Nicolas’s lush and electric soundscapes on the Soma Terra, a new kind of synth out of Eastern Europe that looks like a lump of wood with brass nodules and knobs, something at once alien and terrestrial -looking and sounding. Nicolas’s voice is heavily featured as well. He tends to sing high soaring falsettos while Odeya creates a deep and guttural vocal underbelly, often animalesque in timbre.

Odeya Nini and Nicolas Snyder first met in a cavernous tunnel, high in the peaks of the San Gabriel Mountains in 2021. Odeya was performing a solo set with only her voice and its reverberations for the then blossoming outdoor live performance series, “Floating”, in Los Angeles. “The performance felt like something ancient and primal,” says Snyder. “She was making sounds I had never heard in a vocal performance before, but something more than just her voice was being transferred. It awoke something in me. A desire to reconnect with my own voice in a new way.”

Starting out his career as a vocalist in the 2010’s indie band boom, Snyder’s artistry has covered a wide spectrum of projects from cinematography to composing music for animation, film and dance. His most recent work has been composing for HBO Max’s animated space opera Scavenger’s Reign as well as Adult Swim’s psychedelic comedy-thriller Common Side Effects.  “I looked Odeya up after the performance and saw that she gave lessons in something called vocal-embodiment. That sounded intriguing to me. I reached out.” They began meeting for lessons in a wooded grove of Los Angeles’ Elysian Park and quickly realized a kindred musical spirit. “I could tell from the start that Nic had a deep connection with his voice. I felt like our open channels could sense the other’s frequency, which is the space where music is created in real time.” 

After working together for some time, Odeya then sang on some of Snyder’s soundtrack work. The scene in Common Side Effects where Marshall first drops the blue angel mushrooms into a dead pigeon’s beak, bursting into a cosmic scene of rebirth, features Odeya’s vocals. “She just nailed everything, first or second take. “She was super easy to work with” Nic recalls.” A few months later he suggested the two make a collaborative album. “We both had limited time but would get together a few evenings a month with zero concept of what we were going to make and just see what happened”, says Snyder. The first track they made was a five minute long drone track called “Blizzard,” named for the swirling, dense, snow storm-weather landscape. “The Soma Terra has a sound you can just feel and it opened up a world of tactile sonic play between us. “Blizzard” began that play portal for this album” says Odeya. 

Odeya’s work extends the scope of vocal expression, whether as a solo artist, composer, sound healing practitioner or master teacher-facilitator. As Mark Swed wrote in the LA Times: “Nini gave the sheer power of her vocal prowess, reaching notes deep as the earth and reaching twinkling harmonics meant for dog’s ears.”  Celebrated music critic Alex Ross of The New Yorker witnessed Nini’s performance of I See You during Wild Up’s 2021 Darkness Sounding festival and wrote: “One day, I sat with the composer-vocalist Odeya Nini in a small park in Mount Washington, while she performed her piece I See You. No one else was there. It felt like music being reinvented note by note, after the deluge.” It is from this oceanic capacity that Odeya’s musicianship co-creates in MMOONN.

“I expected us to complete the album in a month or two, but it took us nearly a year and a half to complete,” says Snyder. Eventually the duo invited renowned jazz and experimental drummer Max Jaffe to add percussive sparks and propelling rhythms to the tracks. Saxophonist Patrick Shiroishi also lent his powerful sound to the recording of From The Mother. As a group, MMOONN’s first public performance was for a packed audience at the Warehouse at the Geffen Contemporary at MOCA in Los Angeles. The group is now ready to share their sound with the world. Their self-released, self-titled album MMOONN comes out April 10th, 2026.