Vancouver-based harpist, vocalist, and composer Elisa Thorn shares her latest single, “The Garden,” a gentle, nostalgic, and experimental folk track that reflects on memory, grief, and the inner landscape of the self across time.

Inspired by a long-form sound collage Thorn created in 2021 called The Years In Between, “The Garden” explores the idea that all versions of ourselves – past, present, and future – exist within us simultaneously. Through this sonic meditation, Thorn invites listeners to reflect on the idea of traveling across time to nurture the inner child, commune with our ancestors, or simply sit with the stillness of self-discovery.

The song’s title references a deeply personal moment: a final conversation between Thorn and her grandmother. As her grandmother lay on her deathbed, she whispered, “Don’t worry darling, I found the secret garden.” That phrase, and the spiritual peace it implied, became the heart of the song – a place that transcends time and holds space for healing.

“The Garden” was co-produced with David Vertesi, who contributed bass and helped shape the track’s ethereal atmosphere. Everything beyond the vocals and bass comes from the harp itself, transformed through creative sound design to stretch the instrument’s possibilities into dreamy, ambient textures. One of the track’s standout moments is the delayed harp line that closes the song; it’s one of Thorn‘s favourite parts to play live.

1. Tell us the story of this song, why did you choose to visualize this song specifically? 
The Garden refers to something my grandmother said to me on her deathbed, I was snuggling her in bed and started to cry because we knew she didn’t have much time left, and she told me “don’t worry darling, I found the secret garden.” I like to imagine it’s the spiritual place we all have access to that transcends time – we can access our lost loved ones, or ourselves in any moment. It’s a place I have return to a lot to offer care to my child self, or to look to the past or future for answers.The imagery of the willow tree is very important to this song – it is a place I imagined for my child-self to go when she needed to seek refuge from the outside world. It is an image that comes up alot in my dream – I often say “meet you by the willow tree” instead of “sweet dreams” to loved ones. 

2. What was the inspiration behind this video (visuals, storyline, etc.)? 
Because of this, it was very easy to come up with a concept for the video – I knew that I wanted to place the visuals for this song somewhere just like described in the song – a willow tree next to a body of water. I chose to keep it very simple, as the song is also the most simple one from the forthcoming album – just me, the harp and bass, and the willow tree. I think it’s bold (perhaps risky) to make a video so simple in this age of the 3-second attention span, but this song intends to be meditative, still and peaceful, so I wanted to honour that with the video.

3. What was the process of making this video?
The main thing was to find the right location! Luckily in Vancouver we have many beautiful places to choose from, and my videographer suggested this spot we chose at a park I have never been to in South Vancouver. It was perfect! The whole thing had to come together VERY quickly because I was out of town until about a week before the song was coming out, so we had to film and edit on a super tight timeline. Luckily the videographer, Kuba Wiatrak, is an angel – and spent a few late nights working with me to get the edit done right.

Toronto-based singer-songwriter Joshua Joyce has released his debut album, A Tender & Violent Nature – a collection of poetic, melancholic, and soul-searching folk songs exploring the tension between past and present, tenderness and turmoil. Anchored by the stirring focus track “High Tide,” Joyce’s first full-length effort marries literate songwriting with sparse, cinematic arrangements.

From the dusty edges of Americana to the windswept intimacy of alt-country, A Tender & Violent Nature explores the uneasy dualities that define us. “It’s a record about provenance, about forgiveness, about making peace with what and where you come from,” Joyce explains. “Sand and gravel, so to speak.”

Written during a particularly introspective period in 2024, “High Tide” was the very first song penned for the album, and laid the thematic groundwork for what would follow. “In the interest of keeping things fun and sexy, I had a few months where I’d been thinking quite a lot about dying,” Joyce says with a wry smile. “‘High Tide’ is what fell out of those inquiries.”

The song balances lonesome lyricism with warm fiddle lines performed by Ellen Daly, resulting in what Joyce describes as “the feeling of getting very bad news while looking at a rather pretty sunset.” Producer Rylan Smirlies helped shape the track’s sparse, atmospheric arrangement – allowing space for acoustic guitar, humming chorus vocals, and Daly’s fiddle to create emotional resonance without overproduction.

Toronto-based, PEI-raised singer-songwriter Kari Lyn unveils her soul-baring new single, “Heavy Weight,” a thought-provoking indie folk anthem that captures the emotional toll of self-imposed pressure, burnout, and the isolating struggle of never feeling like you’re doing enough. Rooted in the rich textures of modern folk, alternative country, and Americana, the track blends rhythmic acoustic grooves with raw, vulnerable storytelling.

Written during a creatively explosive summer on Prince Edward Island, “Heavy Weight” emerged as a reflection of Kari Lyn’s transition into full-time music. “Everyone knows me as someone who is constantly busy… but the truth is, I’m barely keeping up,” she shares. “That’s what led to the writing of this song.”

Originally titled “I Can’t Stay”, the song began as a story about leaving her hometown, until a pivotal moment in the studio with producer Dan Hosh (Wild Rivers, Serena Ryder, Arkells) transformed its course. On a whim, Kari Lyn added the track to their session playlist. When Hosh asked why she didn’t love it, his push to rewrite the chorus and bridge reshaped the song and reignited her connection to it. The result? A haunting, honest anthem now fittingly called “Heavy Weight.”

Every time I listen to this song, I have to stop what I’m doing and just stare at the wall for a while to really reflect on my life. It’s a reminder that we don’t have to do everything alone.

– Kari Lyn

Sourwood, the progressive bluegrass and folk collective based between Waterloo, Ontario, Chicago, and Los Angeles, is releasing their debut single, “On the Road,” a driving and introspective anthem that reckons with the myth of the open road and the dreams of freedom that defined an entire generation.

“‘On the Road’ is my way of finding closure with that ‘beatnik’ mythology—the Kerouac, Easy Rider, even Into the Wild kind of dream—that so deeply influenced my growing up,” explains lead singer and songwriter Lucas Last. “It’s coming to terms with the fact that what was sold to us as an aspirational way of life was, in many ways, a fantasy in a world that has gotten so small.”

“It really stems from growing up in Virginia during that adolescent phase where you just know you need to be somewhere else,” Last reflects. 

The track’s unique opening, with a unison melody played on upright bass and mandolin, sets the tone for the band’s distinct sound. “It felt like it really set the stage for who we are musically,” Last notes.

“A lot of the art I was consuming then just poured gas on that fire. It kicked off a decades-long journey searching for a place to belong. On the Road is almost a caricature of that journey, hitting the key emotional beats of leaving and searching.”

The recording process was a raw, collaborative experience. “We met just two days before recording, and by Thursday, we had the first track cut,” Last shares. “The moment we decided to chop off the last bar of the hook and nailed it in one take summed up the session—no egos, just a group of near-strangers making it work.”

Sourwood recorded this track live off of the floor to capture their authentic sound. “It forced us to trust the process and discover the sound together, right then and there,” Last explains. The result is a fresh, genre-blending sound influenced by bluegrass, folk, jazz, and Celtic traditions.

A standout moment in the song comes with a reference to Neil Young’s “The Needle and the Damage Done,” which is enhanced by a fiddle-mandolin interplay. “It takes what could’ve been a throwaway line and makes it special,” says Last.

From the haunting melodies of “Anya” to the cinematic layers of “Old Man’s Beard,” Forager represents a coming-of-age for Norasea – a culmination of years spent searching for a sound that feels both personal and expansive. “We wanted to create music we’d want to listen to in our free time,” they say. “There aren’t many lyrical tracks that focus this deeply on sound design and bass.”

Norasea formed out of a shared passion for sonic exploration and have quickly become one of the most intriguing acts in the B.C. electronic scene. With genre influences spanning lofi, dubstep, jazz, and psychedelic rock, the duo’s sound has earned them a dedicated fanbase and a spot as finalists in the Vancouver Island DJ Competition.

Through their work with Rainroom Productions and their captivating live performances, Norasea continues to carve out space for emotive, experimental electronic music on the West Coast and beyond.

Vancouver-based pop artist Matías Roden shares his most unapologetically queer and club-ready track yet with “Please” – a synth-pop earworm rooted in heartbreak, self-discovery, and the euphoria of London’s gay nightlife. Featuring a propulsive horn hook, frenetic dancefloor energy, and intimate lyrical detail, “Please” is a bold new chapter from an artist whose sound is as global as it is personal.

Inspired by a month spent immersed in London’s vibrant queer club scene, Roden wrote “Please” after soaking in the sounds of 80s British pop icons like Pet Shop Boys, Bronski Beat, and Human League. That sonic palette of Hi-NRG, Jazz House, and vintage synth-pop courses through every second of the track, which balances emotional vulnerability with dancefloor-ready momentum.

Lyrically, “Please” wrestles with the lingering ache of heartbreak, while teasing out the complexity of pleasure and pain. It’s a milestone moment for Roden as his first release with explicitly queer lyrics.

I wanted the song to feel elegant, but still raw – like a real memory. It’s about falling fast for someone who’s not good for you and knowing they might even enjoy watching you suffer. And at the same time, it’s joyful. It’s nostalgic. It’s me fully stepping into who I am as an artist, as a gay man, and as someone who finds healing in movement. – Matías Roden