Victoria, BC-based artist Jesse Roper returns with “Sweet Little Caroline,” an upbeat, infectious new single that blends blues swagger with a head-bobbing groove. Driven by feel-good energy and Roper’s signature guitar flair, the track transforms youthful memories and teenage romance into a catchy, knee-bouncing Americana anthem.

“I heard ‘Sweet Little Caroline’ as a stomp-clap blues boogie,” Roper explains. “While my producer Gus (van Go) heard it as a Beastie Boys inspired head-bob slowed down for the jeep people. We went all the way in that direction and I’m glad we did. Instead of just dancing to it with my arms, it gets to my knees and hips too.”

The story behind the song reaches back to Roper’s adolescence. Inspired by a relationship from that time, “Sweet little Caroline” captures the thrill of young love mixed with the awkward tension of parental disapproval. “I used to date this girl way back when I was a teenager,” he recalls. “Her dad thought I was no good whatsoever and he really went lengths to let me know. I’d get all excited to go pick her up for a night out and he’d put a damper on the excitement.”

While the relationship didn’t last, the memory stuck around long enough to spark the playful spirit of “Sweet Little Caroline.” The result is a song that pairs Roper’s blues-inflected Americana sound with a groove designed to get listeners moving. With its catchy rhythm, upbeat mood, and undeniable charm, the track captures the kind of feel-good momentum that defines Roper’s approach to songwriting.

Following the announcement of his new album, The Afterlife Sessions (out April 24th, 2026), and its first single, “At the Bridge,” Canadian singer-songwriter Allen Dobb shares “Lone Tree of Your Heart,” a contemplative, uplifting folk/roots single that captures the quiet longing and joy of connection to both place and memory. The track draws inspiration from Dobb’s forested home in British Columbia, and thoughts about returning to a life back on the family farm after years of being away.

“I live in a beautiful, forested area, and every day I walk in the forest, climb the hills, and go to favourite open spots where I can see the sky above and the valleys below,” Dobb explains. “The song came from a feeling of longing; wanting to be out on the road, touring more, but also enjoying being at home and finding contentment with a simple lifestyle.” In the song, that idea is held in the story of a young man who returns to take over his family ranch after going out into the world to find adventure.

What sets “Lone Tree of Your Heart” apart is its blending of acoustic bluegrass instrumentation and folk storytelling. The track features Dobb on guitar, joined by Ryland Moranz on banjo, Dan Fremlin on mandolin, Rob Becker on upright bass, and Trent Freeman on fiddle. “I knew very early that it was going to be a track suited perfectly to acoustic guitar, mandolin, banjo, fiddle and bass,” Dobb notes. “ and that was our basic format for The Afterlife Sessions.” 

The lyrics are rich in imagery and emotion, drawing listeners into a world of quiet reflection and human connection. “My songs are often serious, but I really try to find the beauty in life’s experiences,” Dobb shares. “There is one prominent hill nearby called Lone Tree Hill.  It has a craggy, single tree on its top that is visible from nearly all directions. The lone tree is a great metaphor for feelings about longing, and loneliness.The idea of two lone trees merging into one in the shadows of the moonlight is one of love.

“Lone Tree of Your Heart” continues Allen Dobb’s exploration of beauty, landscape, and lived experience. Uplifting yet contemplative, the song invites listeners to feel the connection between human longing and the natural world.

TubeFreeks return with “Flower,” a gripping new single co-written with Sevendust guitarist Clint Lowery, blending muscular hard rock with modern melodic tension. The Frederick, Maryland band harness thick guitars, dynamic rhythms, and a vocal performance that balances grit with emotional clarity. The result is a track that hits hard without feeling rigid and stays melodic without losing its edge.

Driven by restless drums and tightly locked guitar lines, “Flower” carries the verses with simmering momentum, then bursts open in the chorus, trading tension for release in a way that feels both deliberate and earned. Frontman Paul van Valkenburgh delivers a performance that is raw yet precise, packing emotional weight without sacrificing power.

The collaboration with Lowery brings a sense of structure and polish, yet TubeFreeks remain unmistakably themselves. The songwriting avoids nostalgia, channeling post-grunge energy through a modern production lens that keeps the track firmly rooted in the present.

Accompanying the single is a striking music video directed by Tom Flynn. Saturated gold tones and sweeping natural landscapes frame a visual story of longing, distance, and pursuit, amplifying the song’s emotional resonance.

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

Hi, the song was a collaboration between us (Tubefreeks) and Clint Lowery of Sevendust.  The verse riff was very dark so we wanted a wide open chorus.  So you’ll notice the music is very simple behind the chorus.  Creating the lyrics, the word “Flower” just came to me right away, almost as if it’s a person, where the “watching me fall” would be what that person would do…. So, the chorus lyrics were there from the beginning and we knew we had a dual meaning song.  So we tried to add verse lyrics that vacillate between hopeful yet hurtful.  Hopefully listeners can also attach their own meaning to it.

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

We chose to create the video for it as we felt it would be a great single.  The video producer, Tom Flynn, actually came up with the concept of the woman who is basically a ghost who is elusive and keeps turning into a flower.  As I’m walking through the park, I keep seeing what I think is a woman, but when I get to where she was, only a flower remains.  You’ll have to watch the video to see what happens at the end!! Ha!  The park Tom chose to film in worked out great!  The dead grass really brings the flowers to life as they stick out!

What was the process of making this video?

The video was filmed in two locations.  The outside portion with the ghostly lady was filmed at the park, which was located in Long Beach, NY.  The indoor portion was filmed near there and filmed on a sync wall.  The thing about the filming that makes it look so good is that Tom really knows how to film with the sync walls so you always see the proper background.

British indie songwriter Saul Damelyn continues to carve out a quietly compelling presence with the release of his second single and video, “We Broke the Rules.” Accompanied by a striking visual directed by collaborator Vanessa Brassey, the track offers a gentle yet assured step forward from his debut single “Museum of Love,” further introducing listeners to an artist grounded in sincerity and timeless songwriting craft.

At the heart of the new single is the luminous vocal performance of Phoebe White, whose voice brings a soft, ethereal dimension to the track. Her delivery complements Damelyn’s understated musical approach, allowing the song’s emotional core to unfold naturally. Rather than leaning on heavy production or overt dramatics, “We Broke the Rules” thrives in its restraint, emphasizing melody, lyrical clarity, and atmosphere.

The accompanying lyric video mirrors this sensibility. Brassey’s direction favors simplicity and fluidity, focusing on movement and tone rather than narrative complexity. The result is a tranquil visual experience that underscores the song’s themes—quiet rebellion, emotional honesty, and the courage to follow one’s instincts despite external expectations. It’s a visual extension of the music itself: unhurried, deliberate, and intimate.

Released via Damelyn Records, the single continues to establish a sonic identity that feels both classic and contemporary. The production, helmed by guitarist and multi-instrumentalist Paul A. Harvey, draws subtle inspiration from the warmth and craftsmanship of 1970s songwriting while maintaining a modern clarity. Acoustic textures, gentle arrangements, and an emphasis on vocal interplay create a soundscape that feels lived-in rather than manufactured.

“We Broke the Rules” also signals a broader artistic direction for Damelyn as he approaches the release of his debut album Kings, Queens and Dream Machines. The track suggests an artist increasingly comfortable with space and nuance—someone who trusts the strength of a well-written song to carry the listener without excess. There is a quiet confidence in the way the music unfolds, allowing each element to breathe.

Visually, the promotional imagery—including the black-and-white portrait captured by photographer Dave Green—reinforces this aesthetic. Damelyn appears composed and grounded, guitar in hand, embodying the same understated presence that defines his music. It’s a fitting representation of an artist who seems less interested in spectacle and more focused on connection.

As a follow-up to “Museum of Love,” this second release deepens the narrative Damelyn is building: one rooted in authenticity, collaboration, and a respect for the enduring power of song. With “We Broke the Rules,” he offers a reminder that sometimes the most impactful music comes not from grand gestures, but from quiet conviction and thoughtful execution.

With momentum building and a debut album on the horizon, Saul Damelyn is steadily positioning himself as a distinctive voice in the indie landscape—one that values feeling over flourish, and substance over noise.

Saul dove into the video, below:

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

This is a song about following your heart. It’s about doing what you want to do, not following what people think you should do. Or what you think people want you to do. It might resonate with people who reach a particular stage of life. If other people  say it’s time to settle down, to accept things as you are, and those are the rules, then we broke the rules. Not in a selfish or self-serving way, but because it’s time to get back in touch with your passion, your dreams. “We threw away our old things / and made room for something real”. But it’s for all ages of people – it has equally resonated with young people I know, and will hopefully resonate with others.

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

This is a stripped back lyric video, very different to the first single Museum of Love.  The idea was that the words are simple and powerful, and should carry the video.  What it has is the ocean, in different shades of dark and light, and always with daylight shining in from above.

What was the process of making this video?

Vanessa came up with the idea of the ocean, and that it would be a stripped back lyric video. We discussed whether to put her trade mark swimmers (for which she is known as an artist)  in there. We decided against. We felt the words needed space. Vanessa came up with the lettering, and what was originally a dark sea with light aqua words. And the way it shimmers in the sea, the movement of some of the words coming towards you. When i saw the first draft we then had a process of refinement, to create movement between the light and dark seas, with the change of font from dark to light aqua, and then that thick green effect in the chorus. The goal was to make the lyric stand-out, and to catch the viewer’s attention with the words. I hope you like it !

Discover more of Saul Damelyn here:

Website // Instagram // Spotify // YouTube

Nova Scotia-raised, Ottawa-based singer-songwriter Malia Rogers returns with “Sunlight (A Good Death),” a healing, Celtic-influenced folk single that approaches loss through the lens of gratitude rather than despair. Rooted in the idea that grief is simply love with nowhere left to go, the song reflects on mourning not as an ending, but as evidence of a life deeply shared.

Written while on tour in Ireland in January 2025, the song arrived unexpectedly. After a late night following a show in Tramore on Ireland’s southeastern coast, Rogers woke suddenly at 7:15AM; the exact date and time her grandfather, John Matthews, had passed away four years earlier. A paleoentomologist, teacher, poet, and lifelong music lover, Matthews played a defining role in Rogers’ life and creative development. “We talked about everything, including death and what it might mean to die ‘well,’” she explains. “I cried for two hours alone in that room above the pub, and when I was done, I had this song. It’s a small gift in return for the countless gifts he brought to all who knew him.”

Musically, the track leans further into traditional folk territory than Rogers’ previous releases, drawing inspiration from Irish trad music and the artists her grandfather loved most. Recorded in fall 2025 alongside producer Neil Whitford, the arrangement grew through collaboration with a group of musicians whose contributions helped shape the song’s communal spirit, including Richard Lam (Irish bouzouki), Donna Garner (accordion), Jeremy Kleynhans (drums), Spencer Murray (whistle), and Aline Homzy (fiddle). The song gradually expands from an intimate reflection into a shared experience, culminating in gang vocals sung by Rogers’ siblings and close friends; a deliberate choice meant to mirror the way grief and love are carried together in community.

Lyrically, “Sunlight (A Good Death)” traces a lifetime of memories, from childhood moments spent learning about insects alongside her grandfather to the quiet intimacy of his final days. Moments of humour and tenderness coexist throughout, including a reference to his tendency to make an “Irish goodbye,” slipping away quietly without fanfare. It’s a detail that reflects both the sadness and lightness that define the song’s emotional core.

The Mosfets return with their first single of 2026, “Take A Chance,” a defiant, high-voltage track driven by urgency, individuality, and the restless desire for freedom. Taken from their upcoming self-titled EP (set for release on May 29th, 2026), “Take A Chance” blends garage rock grit with neo-psychedelic energy to capture the feeling of pushing back against expectation and choosing your own path even when it feels risky.

“I was inspired by the feeling of yearning for freedom,” frontman Keith Mosfet explains. “If someone tells you your lifestyle is wrong or doesn’t fit their idea of what you should be doing or what’s moral, you don’t just roll over and die. You punch the world in the face and do what makes you happy.” The result is a self-described hype song that’s equal parts rebellion and release.

What sets the single apart is its willingness to bend the rules of its own genre. While rooted in the classic spirit of garage rock’s “three chords and the truth,” the band introduces subtle rhythmic shifts that give the song an unpredictable edge. Each pass through the verse drops a beat before resolving back into a driving 4/4 chorus, creating a kinetic tension that mirrors the song’s themes of risk and momentum.

Recorded at Yeah Yeah Yeah Studios in Hamburg, Germany, the band pursued a deliberately raw and authentic sound by recording and mixing through a Tascam 388 reel-to-reel machine. Avoiding quantization and auto-tune entirely, the sessions prioritized live energy and human imperfection. “I am sick of hearing tracks (even my own music) that are too polished,” Keith shares. “We went in with tight playing, real energy, and the desire to make something that can’t be replicated.”