If you’re dissatisfied with the reality you encounter, consider crafting the reality you desire. This is precisely what Lady Charles, the versatile singer, songwriter, multi-instrumentalist, producer, and shape-shifting art-rock enchanter/ress (they/them), accomplished. In the tumultuous year of 2020, Lady Charles envisioned a utopian society, richly adorned with brown shag and splashes of purple and pink, where sweetness, style, and tolerance harmoniously coexisted.

Welcome to the immersive world of “Manic Pixie Dream World,” an album and music lifestyle experience masterminded by Charles Hoppner, known as Lady Charles. This 11-song album serves as both a vividly colored escape from reality and a gateway to Charles’s captivating transformation into Lady Charles.

Reflecting on this period, the artist based in Ottawa, Canada, remarked, “During that time, I had a chance to step back and clarify my concept of beauty. I delved into makeup, photography, and honed my singing through voice lessons. I emerged with a fresh voice, a new image, and a different perspective.”

Lady Charles’s artistic vision is all-encompassing, spanning folk, indie-rock, electronica, punk, glam, funk, pop, and hip-hop. Their songs explore themes such as gender, the apocalypse, and lost friendships. To date, Lady Charles has released three singles, an EP, and the full-length debut album, “Manic Pixie Dream World,” featuring contributions from members of Tokyo Police Club, Raphael Saadiq’s band, Lavola, and Valois. Currently, Lady Charles is crafting music for the play “Oh Boy!”, a critically acclaimed project they were commissioned to write for, which premiered at the Ottawa Fringe Festival.

Growing up in a small town just outside Ottawa in the 1990s, Lady Charles faced strict gender roles and a lack of diversity. As a queer artistic child, they endured relentless bullying and turned to music as a creative escape. Albums like David Bowie’s “Diamond Dogs,” with their well-defined aesthetic and immersive glamour, became a sanctuary for Lady Charles.

Their journey to indie recognition began as the frontperson of the glam-rock band Valois, a rising group with a promising trajectory that was unfortunately cut short by the pandemic. At that time, Lady Charles was a side project, a creative outlet for recording and performing songs that didn’t align with Valois’s aesthetic. It also provided an opportunity for them to fully explore their non-binary identity.

A pivotal moment in Lady Charles’s artistic journey occurred when they shared a demo of “Manic Pixie Boy” in an online group for of Montreal, and the band’s multi-instrumentalist, singer, and songwriter Kevin Barnes expressed enthusiastic praise for the track. This encouragement spurred Lady Charles to prioritize the project, leading them to work earnestly on building a following through music releases, videos, and the development of a thoughtful and aesthetically-focused online presence. In a short span, Lady Charles started receiving fan art, gig offers, and featured spots on radio and in blogs.

Lady Charles’s debut album, “Manic Pixie Dream World,” soars with 14 songs that explore their connection to the manic pixie dream girl movie archetype. “I relate to the emotionality, obsessiveness, and alternative style of these characters,” Lady Charles explains. “But I do think there’s more to these people than is often portrayed, especially if you examine these characters through possible ADHD diagnoses.”

The album delves into this theme and many others within a layered, 1970s art rock aesthetic that keeps the music fun and danceable, even when addressing topics like God and politics. The track “Manic Pixie Dream Boy” serves as Lady Charles’s personal anthem, blending sharp hip-hop punchlines with sublime synth-pop, proudly embracing the challenges of being a manic pixie dream boy/girl.

In the sugary pop-funk track “Godx,” Lady Charles presents a queer religious perspective, suggesting that if God created humankind in their image, they must be non-binary, encompassing both male and female sexes. With playful abandon, they explore this concept and its history. “Prelude to Noella” exudes an opulent Old Hollywood orchestral vibe, while the dreamy electro-pop single “Noella (I Can’t Get Enough of You)” narrates a love story between a fictional couple created by Lady Charles and their partner for a web series. In the Smiths-inspired “Trigger Fingers,” Lady Charles offers a sweet critique of embattled Canadian faux-progressives, and “Let’s Get Conservative,” a new-wave track with ethereal synths and a bubbly groove, playfully delves into political themes.

Lady Charles’s new single, “Child of the Night,” from the play “Oh Boy!”, draws inspiration from 1970s disco and early 2000s funk-punk. It transports listeners to the dance floor with its incessant hi-hat drumming, cinematic arrangement, layers of electro-pop ambiance, and sensual vocals. Although these music and lyrics were commissioned for a play, Lady Charles draws on their coming-of-age experiences in their writing.

Looking ahead, Lady Charles is finishing their “Oh Boy!” EP and planning a unique covers album project. Reflecting on their successes, their journey as a manic pixie, and their future, Lady Charles expresses, “When I decided to do this, I wanted to be uncompromising in my vision. I put a lot of myself into this, and seeing it connect and have a positive impact on people means so much to me.”

Brooklyn-based vocalist and songwriter, Via DeRoche, is a captivating musical force that transports you to a bygone era, where sultry melodies and raw emotion intertwine under the moonlight. With a voice that echoes the soulful legends of Stevie Nicks, the fearless spirit of Janis Joplin, and the modern charisma of Amy Winehouse, Via’s music transcends genres, effortlessly weaving between soul, blues, and alt-rock. Her new EP Orange Sky is out now, garnering acclaim from fans and critics alike.

Listen to “Orange Sky” in full:

Solange serves as Via’s guiding star in the realm of artistic expression. The way Solange crafts her projects, enveloping them with visual storytelling and electrifying live performances, has left an indelible mark on Via’s own creative journey. Stevie Nicks, a fellow curly-haired, stage-dancing songwriter, has long been a profound influence on Via. She aspires to emulate Nicks’ unwavering authenticity, crafting her distinct sound regardless of the genre’s evolution.

Etta James, with her unmatched vocal prowess, holds a special place in Via’s heart, inspiring her as she creates music that transcends time. These artists have broadened her horizons, influencing her songwriting and instrumental exploration. 

Describing her music as “deceivingly honest,” Via’s lyrics and melodies serve as a sanctuary for vulnerability. Drawing inspiration from renowned female songwriters known for their soul-baring lyrics paired with lighthearted melodies, Via’s music resides comfortably within the alt-rock and singer-songwriter genres. It’s a space where profound emotions find solace beneath beautiful melodies.

Via’s music is a constant evolution. While her early work leaned toward pop and R&B, her artistic maturity led her down the path of big-band alt-rock. Her music is tailor-made for live performances, with each project’s narrative seamlessly translating to her electrifying shows. As she continues to embrace the performance aspect, she aims to expand what she shares with her audience.

Via’s songwriting process is driven by her eclectic sources of inspiration. She writes lyrics and composes music in tandem, often guided by a stream of consciousness. Her creative process is far from linear, with songs emerging in bursts of inspiration. Sonically, her work reflects the artists she’s immersing herself in at any given moment. Literature, particularly poetry and personal essay, is a wellspring of inspiration, with books playing a pivotal role in sparking her creativity. For instance, “Orange Sky” was born from the resonating words of Qiu Miaojin’s “Last Words From Montmartre.”

In every haunting melody and every evocative lyric, Via DeRoche invites you to delve into the depths of emotion, taking you on an intimate journey through the corridors of her soul. Her music, a fusion of timeless influences and personal evolution, resonates with the raw authenticity of life’s most profound experiences. As she continues to redefine her sound and craft, one can only anticipate the captivating stories she has yet to share. With each release, Via leaves an indelible mark on the hearts of her listeners, creating a musical legacy that will echo through the ages.

Ynana Rose [pronounced Y’nah-nah] captivates audiences with her unique blend of the traditions of American roots music, penning songs threaded with folk, country, blues and jazz influences while reaching for new horizons in her writing. A versatile singer, Ynana sings of the joy and heartbreak of living in a rich, soulful voice.

The “Strawberry Moon” is visible in June. For Ynana, a summer moon is haunting, sensual and nostalgic, so it felt fitting to tell the yearning story of forbidden same sex love between women in early American history. She harnesses the classic country sound with a modern message that inspires gratitude to be born in the here and now, where one can choose how to be and who to love.

We caught up with Ynana Rose, below!

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

“Strawberry Moon” is an old–time song of forbidden love that doesn’t end well.  Every time I play it I give thanks for being born in the here and now – it’s easy for me to take for granted being able to love who I love & be who I want to be, but those rights have been hard won.  A “strawberry moon” is a full moon in the month of June, originating with the Algonquin indigenous tribe who flourished around the Great Lakes.  As I traced the history of the Great Northern Railroad that connected the Great Lakes to the Pacific Northwest, I imagined the women in those times & what their options for love & place in the world might have been. 

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

This is a story that feels true, like it happened somewhere in our country’s history & I just channeled it.  So I wanted the video to be straightforward, just me & a guitar in the woods. 

The audio for the video is spare, just guitar and vocals – sound engineer/producer Graham Ian Ginsburg and I were really aiming for a haunted, yearning kind of a vibe. 

3.    What was the process of making this video?

Here in California, we have the incredible, massive Los Padres National Forest. Cerro Alto is a local hike, five minutes into the trail & your mind is blown with the natural beauty.  It’s a unique ecosystem where the fog from the coast settles into valleys between the mountains & creates a lushness that’s rare for this region. The trail hugs a creek for much of the way, framed by ferns, oaks, huge  sycamores & plentiful bay laurel.  We chased the light of golden hour & ran through the song a few times before the fog rolled in. It was a simple shoot, just a few cameras, one videographer (Kai Monge), me in a vintage dress & my guitar.

A fresh mix of electronic rock with a few drops of synth pop are the secret ingredients of the Vancouver-based band, OurGlassZoo. In 2022, they released their album, Aftermath, which included the single “Free” in collaboration with JUNO-award winning hip-hop artist Prevail (Swollen Members). The track was remixed by producer KutMasta Kurt (Linkin Park, Beastie Boys) and features hip-hop legend Moka Only.

This all-star team has come together again for “Free Remix” with a catchy hook, a retro vibe and a powerful message about equality that encourages freeing yourself from stereotypes and moving forward as one. OurGlassZoo has been nominated for, and won, multiple international Music Video Awards (Munich Music Video Awards, The Berlin Short Film Festival, Rome Music Video Awards, Vancouver Independent Film Festival, Prague Music Video Awards).

We caught up with the group, below!

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

The central theme behind ‘Free’ is equality. It is a subject matter that the whole team was passionate about and tackled in a playful manner while still giving it a lot of meaning.

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

As the hook of the song bridges the story, the hip hop lyrics were illustrated through engaging visual metaphors. Directors Diego Lara & Josias Tschanz worked with local graphic artist / illustrator Euan Murphy and editor David Balista to create a homage retro feel to the 80s & 90s. The grainy / washed out color grade adds to that vision.

3.    What was the process of making this video?

The video was shot at Cineworks studio in Vancouver. Four cameras were mounted on a rig and recorded at different focal lengths. The performers & extras stood on a turntable-like platform that was motorized and was able to spin them around 360 degrees while the camera rig stayed locked. This method added a unique sense of movement to the performance.

Here is a behind the scenes video that includes interviews with the directors as well as Juno Award winning Hip Hop artists Prevail & Moka Only.

Calgary’s Kayla Williams is a yacht-pop songstress who pays homage to ’70s soft rock royalty, such as TOTO, Steely Dan, Hall & Oates, and the Doobie Brothers. A seasoned musician, Williams adds her bold feminine flair to the genre, delivering a positivity-forward, feel-good throwback tribute with a glittery, vibrant energy.

“Come Close” is a summer anthem! I wanted to write a really upbeat, catchy and danceable tune with a retro feel but through a pop filter. Lyrically it’s about those good chemicals you get flooded with when someone you’re into comes close. It’s lovey dovey, flirty and one of the most feel-good songs I’ve ever written.

We caught up with Kayla below:

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

This song is about that new feeling when you meet someone and it’s all you think about whether they’re around or not, it’s light and fun and flirty! Musically, it’s what I call yacht-pop, it’s inspired by the soft ’70s yacht-rock royalty like Steely Dan, Boz Scaggs, Hall & Oates etc. but put through a pop filter with a feminine twist.  I wanted a visual because it’s probably the most up-tempo, danceable song I’ve ever written/recorded and I thought having a light, colourful, retro inspired and choreographed video would help share my vision of this music! 

2.What was the inspiration behind this video(visuals, storyline, etc.)?  I wanted to bring my album art to life which was all pink and blue hues, so we had blue & pink palm leaves and disco balls just like the artwork. I reference in the song that even when I’m hanging with my friends I’m thinking of this person who I fancy, so I wanted a bunch of girls around me in the video and I wanted us to be having fun and dancing!

3.What was the process of making this video? 
Despite how playful and fun the video looks, and it was playful and fun to create, it was also one of the hardest video shoots for most of us! I was coming down with a cold and had a red puffy nose we had to fix and you know glassy eyes/headache just not feeling hot. Another girl, Meg who choreographed the dance, thought she had food poisoning, so she kept running off to be sick and then laying in the corner of the room and yet had a smile on her face in every shot (the next day she was actually in the hospital on IV!). We figured out that rolling disco balls around on the ground is not safe, one girl sliced her foot on a broken off disco shard and we had to get out a first aid kit and clean blood off the set fabric- and on top of all of that the shoot lasted from 11am one day until almost 2:30 am the next! So to sat it was an intense shoot is an understatement BUT everyone really showed up and gave it their all, it turned out beautifully and now we can all celebrate and laugh about the chaos 

Eunice Keitan is a Malaysian/Canadian singer-songwriter whose music reflects her diverse international background and eclectic influences. With a captivating blend of Neo-Soul and World Folk styles, Eunice creates a unique sonic landscape that is both soulful and innovative.

Her latest offering, “Cobalt Sea,” pushes the envelope a little further by combining South American and Southeast Asian soundscapes. It features both the marimba and gamelan while still remaining in the framework of the soul genre.

At the end of last year, Eunice found herself burnt out, grappling with both mental and physical health challenges. She made the decision to spend several months in Colombia with some family seeking simplicity and a return to her true passion: creating and songwriting. During her stay, she took a Colombian folk percussion class, where she learned to play the tambora and marimba. 

“Cobalt Sea” features a Bunde rhythm and chonta marimba from the Pacific region. Traditionally, the compositions and arrangements are meant to mimic the character of the sea with its swelling waves. She was struck by the cultural similarities between Colombia and many Southeast Asian communities, particularly the significance of oral traditions and the communal nature of daily life and music were shared features. Observing how music in both cultures were inspired by everyday life, ceremonies, the land, nature, and, in this case, the sea, she became curious about blending South American and Southeast Asian soundscapes.

“Ombak Biru,” a phrase heard in the song, means “Blue Waves,” in Indonesian and the song was partially inspired by an ancient Indonesian pantun.