Vancouver-based alt-rock duo Dear Rouge unveil a poignant reimagining of their breakout single with “Black To Gold (Stripped),” a raw and reflective version that strips the song back to its emotional core, placing the spotlight on its lyrics of resilience, self-worth, and rising through adversity.

Written during a quiet drive across the prairies of Saskatchewan, the lyrics for “Black To Gold” were inspired by C.S. Lewis’ The Lion, The Witch and The Wardrobe – specifically the character Edmund, whose redemption arc mirrored the emotional undertones the band wanted to capture. The stripped version offers a moment of deep introspection, shedding the original’s bold gloss in favour of acoustic intimacy.

We’ve always had grit and gloss in our DNA. “Black To Gold” was the first track to really connect with a wider audience because it’s irrefutably who we are. The stripped version reminds us of why we wrote it – to share the hope that even when you’ve made mistakes or lost your way, love is still the answer, and strength can still be found.

I remember driving across the prairies of Saskatchewan when the lyrics of the song came to mind. I had just finished reading one of my favourite childhood stories – The Lion, The Witch and The Wardrobe. Edmund made me feel sad – sad that he lost his way, sad that he was the one to make Aslan die. And yet, he was vital to the kingdom getting free. From day one, Dear Rouge has always believed hope is around the corner. That our hearts beat the sound of hope. –Danielle McTaggart

Kingston, Ontario’s Kasador are thrilled to announce the release of their brand new EP, Kasador I. Featuring a powerful grunge anthem, “Butterflies,” the EP ushers in a bold new era for the band, blending raw energy with introspective lyricism.

This collection of songs marks the band’s strongest and most confident work to date, following their successful 2023 album Youth and years of touring across Canada and the US. With Kasador I, the band embraces creative freedom, allowing their personalities to shine through their music in its purest form.

The album’s focus track, “Butterflies,” is a thundering grunge anthem that showcases Kasador at their most powerful. Inspired by frontman Cameron Wyatt’s experience with tachysensia, a condition that distorts reality and causes time to feel like it’s moving quickly, “Butterflies” embodies the struggle of hiding inner turmoil while trying to carry on. 

“Everyone has difficult emotions and struggles, but finding the strength to be vulnerable and forthcoming about personal struggles can be so, so difficult,” says Wyatt.

“You’ll find yourself in beautiful and unexpected places when you give yourself total creative freedom,” Wyatt shares. “The quicker you can figure out the identity of a song and what makes it special and then commit to serving that, the better.”

Kasador recorded Kasador I with a newfound sense of camaraderie and creative confidence. “It was the easiest and most enjoyable experience we’ve had to date [recording],” the band reflects. “We went in with a strong collective vision and a trust in ourselves and each other.”

The band’s commitment to authenticity and raw energy shines through on Kasador I. “We have a stronger identity and self-belief in what we’re doing, and that confidence is what has allowed us to break free from some of the rules we might’ve imposed upon ourselves in the past,” Wyatt explains.

Hamilton, ON-based singer-songwriter Bernadette Connors unveils her powerful new single, “White Magnolia”—a deeply personal and emotionally raw anthem about patience, faith, and trusting the timing of life. With a haunting vocal performance, soaring melodies, and a gripping blend of Southern Rock, Americana, and Indie Folk, the song captures the tension of longing and the beauty of surrendering to the unknown.

Written in collaboration with John-Angus MacDonald (The Trews) during a time of creative and personal transition, “White Magnolia” is a reflection on the slow, often frustrating journey of chasing a dream. The magnolia—symbolizing rare, fleeting beauty—serves as a poignant metaphor for the rewards of perseverance.

The track came to life through a collaborative and emotionally charged recording process. Produced by Stu Weinberg, whose experimental and bold approach pushed Bernadette to embrace vulnerability, “White Magnolia” evolved into a cathartic release. With Jeremy Kleynhans on drums (and knee slaps), Anthony Carone (Arkells) on keyboards, and Mike Bruce providing backup vocals, the track carries a rich, full-bodied sound that blends rootsy authenticity with modern production.

The song’s standout moment—a massive, cathartic note coming out of the bridge—was a spontaneous in-studio choice. Encouraged by Weinberg’s unwavering belief in her abilities, Bernadette delivered a spine-tingling vocal performance that elevated the entire track.

With the release of their new single ‘Solid’, via Cutters Records / The Orchard, GRAMMY-nominated, ARIA award-winning electronic trailblazers Cut Copy make their long-awaited return—reigniting the pulse that’s defined two decades of transcendent dance music and emotional clarity.

‘Solid’ is Cut Copy’s first original release in five years, following 2020’s Freeze, Melt—a critically praised album that saw the Melbourne-originating band exploring new depths of atmosphere and restraint. Where Freeze, Meltinvited listeners to lean inward, ‘Solid’ gently lifts them forward, guided by the buoyant energy of Cut Copy’s signature synth work, delicate rhythmic builds, and a lyrical core that feels both intimate and universal.

Originally imagined as an instrumental, ‘Solid’shifted shape during a moment of creative clarity. It opens with subdued textures—softly pulsing keys and mellowed basslines—before gradually swelling into something more expansive: twinkling synth layers, tactile percussive hits, and a mantra-like chorus that repeats with quiet insistence: “We’ll be solid.”The result is a track that offers space for both movement and reflection—a kind of danceable resilience.

Speaking on the song, frontman Dan Whitford shares:
“I wrote the song as a reminder to myself that things will be ok, even when life gets turned on its head and it feels like there’s no way forward. I hope in some small way it gives other people a little nudge forward in the direction of their dreams. Hang in there… we’ll be solid.”

Written during a period of personal transformation, ‘Solid’ distills the kind of emotional duality Cut Copy has always excelled at: songs that are just as cathartic on a festival stage as they are through headphones at midnight.

The release also comes with a limited-edition, double-sided 12″ vinyl available for pre-order on the band’s website, featuring an exclusive B-side titled ‘A Decade Long Sunset’.

Since its beginnings as a solo recording project by Whitford, Cut Copy has evolved into one of Australia’s most influential and globally celebrated bands, now consisting of Whitford, guitarist Tim Hoey, drummer Mitchell Scott, and bassist Ben Browning. Across six studio albums, the group has shaped the global electronic landscape while refusing to sit still. From the luminous highs of 2008’s In Ghost Colours to the textural explorations of Zonoscope and Haiku From Zero, the band has navigated a sonic journey marked by curiosity, craft, and a connection to the dancefloor.

Their accolades are as numerous as they are varied: In Ghost Colours was named among Pitchfork’s top albums of the 2000s, Zonoscopeearned a GRAMMY nomination and won ARIA’s Best Dance Release, and their expansive remix and DJing work—captured in efforts like Fabriclive.29 and Oceans Apart—cemented their influence beyond the studio.

Cut Copy’s music has found life in cultural moments big and small, from festival main stages like Coachella, Lollapalooza, Primavera, and Big Day Out, to sync placements across film, TV, and commercials—FIFA 18, Dolby, Levi’s® campaigns, and beyond.

With ‘Solid’, Cut Copy reemerges not simply to continue their legacy but to expand it. The single marks the start of a new chapter—one built on the same foundation of heartfelt songwriting, forward-thinking production, and an enduring sense of joy. As the band quietly hints, more new music is expected in 2025.

After five years of silence, Cut Copy has returned. They never lost the beat. And now, with ‘Solid’, they’re inviting us back into motion.

Cardboard Sessions is a trailblazing fusion of music, art, and innovation, created by Signal Snowboards and Ernest Packaging. This dynamic video series challenges traditional jam sessions, offering an unpredictable and raw exploration of sound. The twist? The musicians play on instruments crafted entirely from cardboard—guitars, drums, and more—transforming the way music is created and experienced.

Originally born from the collaboration known as Cardboard Chaos, this project was meant to showcase how cardboard could be used in both music and action sports. Cardboard Chaos brought to life groundbreaking instruments, like the Cardboard Fender Stratocaster and Cardboard Drums, which caught the attention of music icons such as Chester Bennington of Linkin Park and Eric Kretz of Stone Temple Pilots. These unique creations pushed boundaries and earned support from legendary musicians who helped bring them to life.

When the world paused during the pandemic, the Cardboard Chaos project entered a temporary hiatus. But creativity doesn’t stop—it simply evolves. And so, Cardboard Sessions was born. This fresh iteration places the focus squarely on the musicians, allowing them to improvise and experiment with these one-of-a-kind instruments in an unscripted, free-form format.

What sets Cardboard Sessions apart is its complete unpredictability. There’s no rehearsing, no script—just pure, spontaneous music-making. Seasoned musicians and up-and-coming talent alike dive into these experimental sessions, creating an exciting blend of sound that’s as unique as the instruments they play.

From ZZ Top’s Billy Gibbons to Dinosaur Jr.’s J Mascis and Guns N’ Roses’ Matt Sorum, the show has attracted legendary artists, each adding their own flavor to the raw and creative power of cardboard instruments. The series also features performances from LP, Marcus King, Meg Myers, and other musicians like Robby Krieger of The Doors and Stephen Perkins of Stone Temple Pilots. Even pro-skateboarder and musician Ray Barbee showcased his improvisational skills, turning spontaneous jams into musical gold.

In a truly remarkable moment, the show even reunited legendary singer Terry Reid after a two-decade hiatus, reinforcing that Cardboard Sessions is about more than just the instruments. It’s about the connection between musicians, their shared love of music, and the joy of rediscovering the art of jamming.

Each episode of Cardboard Sessions invites viewers into a world where anything can happen. It’s a must-watch for music lovers, innovators, and anyone intrigued by what happens when musicians step outside the box—literally and figuratively.

Connect with Cardboard Sessions via: Youtube // Instagram

King Ludd, the brainchild of seasoned producer and engineer Michael Keire, delivers a blistering debut on “Trouble,” a post-hardcore anthem fueled by tenacity, resilience, and the raw chaos of creation. With influences spanning from Fugazi to The Mars Volta, “Trouble” thrives in tension, embracing a cinematic, narrative-driven structure that transcends traditional song formulas.

The track is born from a deep admiration for the sincerity and drive found in music and art, channeling the energy of punk, the playfulness of experimental noise, and the fearless spirit of “skate and destroy.” Keire crafts an auditory experience where each section unfolds like a scene in a film, utilizing soundscapes and tone as essential storytelling elements.

Featuring Luke Bentham (The Dirty Nil) on lead guitar, Theo Mckibbon (The Trews) on drums, Linnea Siggelkow (Ellis) on backing vocals, Jon Harvey (The Wild High) on bass, Marco Bressette (Dead Tired) on rhythm/lead guitar and even more Hamilton, ON talent.

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

The story of the song is far more interesting than my reasoning behind visualizing it. It’s visualized because it’s my first song lol!

The story behind the song is something I’ll try to condense. 

When I was in university I was thinking about starting a project where I played guitar even though I didn’t know how to play yet (and still dont to be honest (I know the names of two chords)). Previously I drummed in a few fun bands but never went further than that. So I texted my friend Marco Bresette who is a fantastic guitar player and is now in Dead Tried if he could give me some lessons. He said the last thing I needed was lessons and to just start playing and have fun. So that’s what I did. I went and bought a cheap Godin guitar, found a peavey rage somewhere and got clumsily writing. I formed Luddite which played a few shows, recorded a few demos (one where Adam Bentley sang, who sings on this version) and then things fizzled out. I don’t think I was ready for the project yet and hadn’t come into my own in many ways.

Years (many) went by. I started making records and working in studios as an engineer/producer and then last year I got the itch to start expressing myself and developing the songs. So, it seemed fitting to hit up Marco again and see if he could lend a hand getting things off the ground. He came by and we laid down some guides and talked about what I had done. I was very insecure about my writing because it was coming completely from ear with no grounding in theory. Marco was really stoked on everything and kept reassuring me it didn’t need to be more and that my simple chords were actually a cool way to voice things. Ultimately, he gave me permission to do it my way which I am so thankful for and think I needed for my confidence. Marco suggested I get Theo McKibbon involved who plays in Dead Tired with him. That felt right since I was working with Jon Harvey and Theo played in Monster Truck with him. Theo was super excited about the tunes, he laid down some incredible passes totally crushing it and after that the momentum was developed to keep things going. I hit up Adam again, as well as, some people who I had crossed paths in those months, we recorded, and here we are.

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

I knew I wanted a simple video that was almost photographic in its nature. I loved the way 

renaissance painting was used in Kanye’s power for instance. I loved the way balance was being used in Kendrick videos. And I knew simple meant cheaper and attainable. Plus, I feel I have learned so much about making the most out of simplicity from David Byrne. He’s a master of that. 

There’s a room in my studios building where several artists using mixed mediums work. And one of those people happens to be John Smith. He’s a pal and we’ve worked together before. I knew he did cool things visually, often lo-fi and experimental, even though he’s had huge successes he tends to keep it real, so to speak, and I told him a total random collection of ideas I had while we listened to the song.

I love odd couples. I love the duality of them. From Run the Jewels to Perfect Strangers, what’s not to like? So I said, I’d love to do something with the presentation of something like American Gothic or Prodigy’s Firestarter, and maybe find a middle ground, where the odd couple is just there, occupying space like a criminal line up, and use that Kendrick setting reference to create something visually pleasing. We also mentioned David Lynch like 10 times…so thats in there too, but in a Lynchian way that you cant really put your finger on….perfect, hed liked that I imagine.

He sat with the idea and hit me back with how he wanted to film it and the location idea. I started hunting. I asked my pal Andy if we could use his parents house as I knew it was the 90’s setting John was looking for as a contrast to the intensity of the song. He was down (thank you Richardson family) and we had a plan.

3.What was the process of making this video?

After brain storming the idea we spent 2-3 hours in the Richardson house while John set up a few very old VHS cameras he had. We did like 10 passes in two places, one being a couch and the other the dining room, and we ended up using the dining room. He then told us he was going to play the song in double time and film it in regular time so when it slows down to regular speed the visuals create a weird dreamy effect. No skin off my back…I just sat around trying to be there and also not detract. But, poor Adam was struggling to make sense of the lyrics and song at that new speed. It’s a punk song with weird back phrasing vocals and fairly sophisticated rhythmic/cadence play that is hard at regular speed let alone thrash metal speeds. He did a great job and the beauty of the design is that even when he doesn’t nail it only adds to the dreamy and unsettling feel of things. There wasn’t much more to it. More or less, I just tried to give some really talented people some ideas to play with and then we had a song and video. I’m very grateful and happy with what happened.