ARK IDENTITY‘s new single, “Take Me To Tokyo,” is a high-energy track that captures a yearning for escape and the thrill of new experiences. Blending elements of 80s synth-pop, indie sensibilities, and modern pop, the song is an anthem for those dreaming of breaking free from the ordinary and embracing the unknown. “Take Me To Tokyo” is both a personal expression and a universal anthem of wanderlust, inviting listeners to reflect on the impulse to explore and reinvent themselves.

The song’s inspiration comes from a long-held dream between ARK IDENTITY‘s Noah Mroueh and his best friend to one day visit Tokyo—a dream that has yet to be realized. The track blends that aspirational longing with the infectious energy of chasing adventure.

“Musically, it began as a droning synth idea that we jammed on with Ron Lapota, my producer. It evolved into a track about breaking away from routine, chasing something new, and embracing uncertainty,” Noah explains.

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

This song has an interesting backstory. Going to Tokyo has been a dream of mine for years. Ever since high school, my best friend and I talked about going to Tokyo, but life always seemed to get in the way. Even after our college and university days, we never had the time or funds to make the trip. The stars just never aligned. This dream trip was the inspiration for Take Me to Tokyo.

On the surface, the track may be interpreted as a party song, but it’s really about escape, urgency, and self-reflection. It’s meant to capture that feeling of being stuck—whether mentally or physically—and making the choice to chase something new. For me, on a deeper level, Tokyo isn’t just a place. It represents breaking free from old cycles and stepping into the unknown.

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

The inspiration came from both the song’s themes and the visual aesthetic of Tokyo itself. We wanted to capture the feeling of searching for something bigger—wandering through neon-lit streets, caught between urgency and mystery. We also aimed to give the video an ’80s-inspired cinematic look, using bold colors and dramatic lighting to heighten the sense of adventure.

As an independent artist working on a shoestring budget, we had to get really creative. We couldn’t afford to fly to Tokyo to film a video, so our director and editor curated stock footage that felt authentic to the world we wanted to build. Together, we crafted visuals that felt cohesive with the footage we did film, making the video feel as if it was all coming from one unified source.

3.What was the process of making this video?

With a limited budget, we knew we had to think outside the box to bring this vision to life. We filmed it at the Orange Lounge, a cool recording studio in Toronto filled with interesting textures and colors. We meticulously selected stock footage that captured the right energy and emotion, piecing together a story that felt cinematic and real.We focused on visuals that matched the ’80s-inspired aesthetic with bold neon colors. 

Now, with the release of Take Me to Tokyo as the first single off the new upcoming EP, that high school dream is turning into a reality. To help promote the song, my best friend and I are actually going to Tokyo to film social media content while we’re there. One of the most exciting parts of the trip is that we plan to visit some of the exact locations featured in the music video, bringing the visual journey full circle. In a way, this video is just the beginning—the real-life Tokyo adventure is just getting started.

Willem James Cowan’s new single, “Jam Jar,” is a raw, visceral anthem about self-reflection, the fallout of emotional mistakes, and the deep, spiraling thoughts that often follow. The track captures the feeling of being stuck in a loop of self-doubt and regret, all wrapped up in a striking folk-rock sound.

Inspired by a fight with his then-girlfriend, “Jam Jar” finds Cowan reflecting on a moment of fault while trying to understand things from the other person’s perspective. “We were out at a party, and I was at fault. While we were on our way home on the Toronto streetcar, I was trying to imagine things from her shoes—buried in a grave I designed,” says Cowan. The song’s narrative feels as personal as it does universal, touching on themes of vulnerability, guilt, and the struggle of owning up to one’s mistakes.

The title “Jam Jar” holds its own significance, referencing a lyric in the first verse: “My empty head now weighs a ton, I should really sell it to someone floating inside a jam jar.” Cowan describes it as “a little self-pitying, a little cynical, maybe. It’s about being tired of screwing up and letting someone down.” Initially titled “Bell Jar,” the final title serves to distance the song from a Sylvia Plath homage while still evoking feelings of entrapment.

The track’s production offers a stark contrast to Cowan’s usual style, blending his developed folk-rock sound with his more recent experimentations in electronic sounds. “This song kind of asked to just be a straight-up folk-rock song,” says Cowan. “Sometimes the best choice is the easiest one.” The bridge of the song, in particular, takes on a feeling of isolation, mimicking the spiraling thoughts of someone grappling with regret, before it blends back into the rest of the track, providing a sense of emotional resolution.

A standout lyric for Cowan comes from the line: “Too late to toss out all the vulgar things I wrote down. They stained the table underneath.” He explains, “I like the imagery of it, and I think it’s a pretty straightforward metaphor that people can likely relate to.”

“Jam Jar” is a striking addition to Cowan’s growing catalog, drawing upon his core themes of anxiety, relationships, and mental health. His songs often explore the balance between emotional vulnerability and the upbeat, punchy tempos that characterize some of his favourite tracks from the records he loves.

Alternative rock artist Stonehocker’s striking new single, “Hello Mr. Hyde,” sets the tone for his brand new album of the same name. Rooted in honest introspection, the track delves into the metaphor of addiction, likening the infamous character of Mr. Hyde to the personal demons that lurk within us all.

Stonehocker’s new album, Hello Mr. Hyde, is an unfiltered journey through self-discovery and surrender. Written while working through a 12-step program, the album reflects the themes of struggle, revelation, and ultimate acceptance. At its core, Hello Mr. Hyde embodies the first three steps of any recovery process, culminating in a surrender to a higher power—a concept rarely explored so openly in modern music.

Inspired by Robert Louis Stevenson’s novel The Strange Case of Dr. Jekyll and Mr. Hyde, Stonehocker saw a profound connection between Hyde and the struggle against addiction. The song acknowledges those inner battles, offering a thought-provoking and deeply personal narrative.
“Hello Mr. Hyde” is made even more special with the return of drummer Jeff Towers, a longtime collaborator. The two first worked together on Stonehocker’s 2008 album, Mail Me a Smile, which carried a distinct punk influence. After reconnecting at one of Jeff’s drum clinics on “single drum theory,” Stonehocker invited him to lend that unique technique to this track, creating a distinctive rhythmic feel that sets it apart from the rest of the album.

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.