Vancouver-based harpist, vocalist, and composer Elisa Thorn unveils her highly anticipated album, xiik, a carefully crafted exploration of melody, expression, and generosity in music-making. Whimsical, curious, and intimate, the album blends experimental indie, folk, and ambient influences while foregrounding Thorn’s harp and voice as the guiding instruments.

“xiik reflects a long pursuit of figuring out how to make the harp express melodies without being overly verbose,” Thorn explains. “I’m pretty hell-bent on getting the harp out of the ‘ornamental’ category of music. It’s tough, due to the nature of the instrument, but also because of people’s expectations.”

Recorded over the past eight years, xiik represents nearly a decade of creative exploration, beginning with Thorn’s first carbon fiber lever harp and her desire to create music that is both solo-performable and expansive in the studio. The album was co-produced by David Vertesi, who understood the nuances of the harp and helped capture its warmth and versatility, and features contributions from Dan Gaucher on drums. An alternate take of the record’s “Lullaby” was produced by LA-based ambient artist Tristan De Liege, further expanding the album’s sonic palette.

Album opener “Idle Talk” is a math-folk track inspired by the history of the word ‘gossip’ and the way female relationships have been perceived throughout history. “The earliest known origin of the word referred to a midwife, then to women who supported a new mother during childbirth, then more generally to women who were friends/supportive of each other,” Thorn explains. “Eventually, it ended up being a derogatory term during the Middle Ages and Renaissance times when the patriarchy started to see female friendships as a threat to its agenda.”

“Idle Talk” also showcases Thorn’s experimentation with unusual time signatures and instrumentation. “My favourite part of this track are the drums, played by Dan Gaucher. I’m also proud of my use of melody in this song – I have been working for a long time with getting the harp to express melody in a direct and succinct way and I feel like that really works here. It’s so fun to play!”

Vancouver-based singer-songwriter Debra-Jean Creelman returns with “Bloom,” a captivating single that captures the ache of self-reflection and the bittersweet beauty of personal growth. Blending soulful vocals with plaintive alt-country textures, “Bloom” is a deeply human exploration of honesty, imperfection, and the quiet courage it takes to face oneself.

Born out of a writing exercise with one of her students, “Bloom” evolved from a simple lyrical prompt into a stirring collaboration with longtime creative partner Sean Cronin. The track was recorded live to tape in a barn in Catskill, NY, with Cronin assembling an all-star ensemble of collaborators, including Noah B. Harley (Spirit Family Reunion), Andy Weaver, Adam Brisbin (Big Thief), and Alex P. Wernquest (recording engineer and owner of Basement Floods Record.)

Creelman later overdubbed her vocals in Vancouver with Dave Genn (54-40, Matthew Good Band) & Kendel Carson (Alan Thomas Doyle; Shania Twain), whose fiddle and harmonies add depth and shimmer to the track.

“The goal was to make something soulful that properly reflected my biggest musical influences and had my vocals front and centre,” Creelman shares. “I wanted it to be something that would translate well live – more of an emotional experience for the listener rather than a cerebral one.”

At once intimate and revelatory, “Bloom” finds Creelman at her most honest – wistful yet grounded, with a delivery that feels timeless and true. It’s the first glimpse into her forthcoming  album Little Town (out December 5th), which flows between genres effortlessly – with her distinct vocals, and Cronin’s cinematic storytelling as the thru line throughout.

Vancouver-based country-folk duo Duke & Goldie return with their luminous sophomore EP Romance and Ramblin’ – a heartfelt collection exploring love, belonging, and the beauty of being an outsider. Led by the raw and anthemic single “Outsider,” the record bridges classic country storytelling with modern reflections on identity and self-discovery.

Produced by acclaimed sonic craftsman Erik P.H. Nielsen (City and Colour, Blue Moon Marquee), Romance and Ramblin’ finds Eric “The Duke” Duquette and Jena “Goldie” Gogo distilling the soul of country music through their own lived experiences. Drawing inspiration from icons like Loretta Lynn, Gram Parsons, and Lucinda Williams, the pair reimagine the heartland sound for a new generation – one defined by vulnerability, warmth, and truth.

“I’ve always been a big fan of classic 70’s outlaw country music – folks like Waylon, Willie and Kristofferson,” says Eric. “Except I don’t live on a ranch, drive a pickup truck, ride horses or have any of the usual country accoutrement. So I felt like a bit of an outsider. When I went back and listened to those old records that I loved so much, I realized that they were singing about being outsiders too. And ultimately, isn’t being an outsider what country is really about?”

That theme of self-acceptance drives “Outsider,” a song that transforms personal reflection into a rallying cry for authenticity. With its stripped-back arrangement – dobro taking the place of pedal steel, minimal electric guitar, and a warm tape delay captured through an old reel-to-reel machine – the track glows with nostalgic grit. The vocal performance, recorded live in the booth while Nielsen manually adjusted the analog delay, captures the immediacy of classic country storytelling.

“I’m proud that my dad’s wisdom made it into this song,” Eric adds. “He’s always been a huge supporter of my music, and he used to tell me to be a leader, not a follower – advice I still try to live up to every day.”

Australian-born, Guelph, ON-based rapper, singer, and songwriter Optikz lays everything on the line with The Optikz EP, his most honest and revealing project to date. At its heart lies “Love The Child In Me,” a track that captures the full weight of his healing journey: raw, emotional, and unflinchingly real. The EP’s “Overnight Success” is another song that puts a sharp exclamation mark on his 20+ year long journey as Optikz.

After years of struggling with multiple addiction, mental, emotional, physical health challenges and the outstretching lifelong impact of complex childhood trauma, Optikz (born Darren Piper) has transformed his pain into art – crafting a body of work that isn’t just music, but a road map to recovery. The Optikz EP took more than a decade to complete, reflecting the patience, perseverance, and growth of a man determined to reclaim his story.

Recorded between 2012 and 2024, The Optikz EP was built across multiple studios including Revelation Sound (Guelph), Studio A (Kitchener), Metalworks Studios (Mississauga), Bink Sound (USA), Dras Studio (Germany) and finally Grey Wall Sound (Guelph), the home studio Optikz constructed himself. The project features mixing by JUNO/Grammy-nominated assistant engineer Jeff Crake (Metalworks Studios, Mississauga), JUNO–nominated assistant engineer Yanni Caldas (Metalworks Studios, Mississauga), Grammy–nominated mix engineer Blake Eiseman (Bink Sound, USA) and Sony Music-signed German engineer, producer David Hull “Dras” (Dras Studio, Germany).

“Love The Child In Me” embodies the emotional core of the EP – a song about facing buried pain, forgiving yourself, and finding strength in vulnerability. Written as part of Optikz’s recovery journey, the track explores the lifelong work of learning to love the younger self who endured so much. “It’s about learning to love the child in me that needed (and still needs) love, protection, support, guidance and ultimately to be heard because his voice and power were taken from him when he was little,” he explains.

While the subject matter is heavy, the message is one of empowerment. By breaking the silence around complex childhood trauma, specifically speaking to male survivors, Optikz gives a voice to those who’ve felt unseen or invalidated. “It’s still hard knowing this song is out there,” he admits, “but I needed to talk about it and receive support which sadly I didn’t get as a child. To my fellow survivors of childhood trauma, specifically male survivors of child sexual abuse, you are not alone. It was not your fault. You can heal, you can say ‘I love the child in me.’ This is your song as much as it is mine.”

Hamilton, Ontario punk rock lifers The Penske File share the official video for “Rocking Chair,” a standout track from their new album, Reprieve, released October 3rd. The song captures the trio’s reflective side, exploring themes of mortality, memory, and acceptance with a warmth and honesty that’s become their hallmark.

“‘Rocking Chair’ is a special kind of song to us. One that arrived naturally and inspired, seemingly out of thin air, as we sat around the fireplace with a guitar in a rented house in Germany on an off night on tour in the summer of 2024,” says frontman Travis Miles. “It’s a hopeful, yet bittersweet song about looking back on a full life from the end of the road. I think we all hope that, someday, when death comes for us and our loved ones we’ll be at peace. That’s what this song is about.”

Recorded live in producer Adam Michael’s living room, “Rocking Chair” preserves the raw intimacy and emotional immediacy of the moment it was written. With longtime collaborator Victor Wiercioch capturing the session on film, the video offers an unfiltered look at a band connected by decades of friendship and shared purpose. “Being so emotionally connected to the way the song originated, we decided to try and capture that initial spark of inspiration on the record,” Miles explains. “We set up a few mics and got the whole thing down in one live take.”

As one of Reprieve’s most poignant moments, “Rocking Chair” distills the spirit of the record: confronting change, loss, and the passage of time without losing sight of the light. The Penske File have long made their name on high-energy punk rock anthems, but here, they lean into restraint – offering a moment of quiet beauty amid the chaos.

With warmth, wit, and a deep sense of reflection, Saskatchewan-born singer-songwriter Jeffery Straker shares “Never Too Old To Wish” – a piano-driven roots-folk Christmas song that celebrates the magic of memory, the joy of togetherness, and the beauty of growing older without losing your sense of wonder.

“It seems with each passing year that the meaning of Christmas has evolved or changed for me, bit by bit,” Straker shares. “When I was a kid, it was all about the gifts from Santa. Over time, the magic of Santa faded, but the magic of the season didn’t – it just shifted. It became about connection, gratitude, and joy.”
Blending tender storytelling with a timeless piano-driven melody, “Never Too Old To Wish” explores the emotional evolution of the holidays – from childlike excitement to nostalgic reflection. The song’s message, Straker explains, is one of celebration rather than sorrow: “It’s not a sad longing, rather almost kind of a celebration of reflections. I think that’s why the old Christmas songs never get old – they’re soundtracks and underscores to our past joy.”

Written in the wake of losing both of his parents, Straker’s new single reflects on the ways memory deepens the meaning of Christmas. “Though the look of the season changes every year – the fancy LED lights, the giant inflatable snowmen, a few more grey hairs – there’s still plenty of magic,” he says. “When I was little, I used to dream about Santa arriving on his sleigh. Now I dream about having some of the people with me who are no longer here. I’m still wishing – just wishing about different things.”

Rooted in Straker’s signature piano style and warm, narrative voice, “Never Too Old To Wish” feels both deeply personal and instantly familiar – a comforting reminder that the spirit of the holidays endures in our memories and the people we hold close.