Jiants is a three piece indie/pop band from Toronto led by the songwriting of ex-professional skateboarder Jesse Landen. Jiants performs a unique blend of nostalgic sounding low-fi indie pop songs complete with great hooks and soaring leads. The band has just finished their fourth album, Tall Tales. The record was engineered and produced by Gavin Gardiner and is set to be released late 2023.

“Real Easy” is about learning to be comfortable alone, making time to heal before you attempt to move into a new phase of yourself. Living your true self is extremely difficult and it’s something that usually takes many attempts. This song is for the first morning you wake up after deciding “your new life starts today” for the third time this week and choosing to just keep trying instead of beating yourself up about it.

Watch the official “Real Easy” music video which was shot on 16mm colour film on a farm in Caledon: 

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

Real Easy is about learning to be comfortable alone. It’s for that first morning after deciding “your new life starts today” for the 3rd time this week.

I thought the song was a bit of a cruiser to listen to so it seemed like a great fit for some cool imagery. The song was written during a sort of forced period of self reflection.

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

Well that would technically be a question for the director of the video Nathan Brown. But he mentioned that the storyline was meant to imitate the way a song was created for Jiants. Something I usually start alone and then pick up the band in order to bring it to life. It sort of starts like an old 1940 film but ends like a modern day music video.

3.What was the process of making this video?

We shot this video on 16mm film on a friend’s farm in Caledon Ontario. In order to keep the video within budget we had to try to shoot each scene on the first take or so in order to use the rolls of film as sparingly as possible. But it actually made the whole thing more fun. Just rehearsing the scenes a few times then only shooting them once was kind of a cool limitation compared to shooting hours of footage. 

AMAARA‘s debut album, Child of Venus, is a bold and unforgettable introduction to Kaelen Ohm‘s music. The Canadian-born singer, songwriter, and producer’s third collection of songs is reminiscent of classic-era dream-pop as well as Radiohead’s most spectral and haunting moments—and yet the resulting sound is entirely her own, teeming with detail in a way that draws listeners in and keeps them coming back.

A reflective work that zooms in on the things we hold close and what manages to escape our grasp, Child of Venus is a record that leaves a mark on anyone who hears it, in the best way possible. Stream + share the LP featuring the stunning track, “Still,” via your preferred platform: https://amaara.ffm.to/childofvenus

“Still” swoops and bends like Treasure-era Cocteau Twins as Ohm immerses herself in what living through love really means. “It’s about looking at love as a journey,” she says while discussing the song. “At the other side of it, there can be so much reflection and beauty – and questioning where the other person is at in their process.”

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

‘Still’ turned out to be one of my favorite AMAARA songs I’ve written so far. I wrote the words first, which doesn’t happen too often for me. It really came out of metaphorical visuals in my mind – around how love and heartache and self discovery feel – like a heavy spin or a cliff dive. Once I had produced and recorded it, I knew I wanted the song to be a single. AMAARA is a multi-media project, so it wasn’t a question whether I would make a video for it. 

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

You know, it’s funny with this video. Usually I have a very strong concept for visuals for the songs. They are usually in my head while I’m writing the music. This one had taken on many, many ideas and to be totally honest, by the time I shot this video I had no resources left. AMAARA is just me, so after paying for the record and the videos for ‘Bright Lights’ and ‘New Love’s Mortal Coil’ and PR help to get the word out, I was forced into a very tight container for what I was able to do – which is oftentimes, how my favorite work is made.

3.What was the process of making this video?

I reached out to an old pal, Jay Lawrence in Calgary, AB and he agreed to shoot the video with me. I went up there for a couple days from my hometown in British Columbia to try and get the video done – and to visit some family. My aunt and cousin drove me around their home area outside of Calgary and showed me the field across from my uncle’s office. I was really exhausted from editing the other videos and thought it would be cool to try and do ’Still’ in a single shot. Jay is an amazing camera operator, so I knew that wouldn’t be an issue on his end. I decided to wear my favorite t-shirt, which is almost expired, and my ex-husband’s jeans – who I had just traded with the week before for a pair of my own. I had some ideas for what I might do, but ultimately Jay and I met at the field on a day that was cloudy and smoky from the wildfires. He brought his camera and I brought a piece of red fabric I bought at Value Village for a dollar the day before. We ran the song a couple times, I made up the movement on the spot and I think after about the 8th full take we had it. The whole shoot was three hours. I did the first pass of the color grade and handed it to Jay to add some of his own work and he sent it back again to me to finalize. I love how it turned out in the end. It doesn’t lean on a heavy concept or hide behind editing, wardrobe or makeup. It turned out pretty raw, which at its essence is synonymous with the heart of the song.

Child of Venus as a whole is a document of rediscovery and transition, with Ohm coming up for air as an artist and human being truly reborn. “I wanted to share this emergence of me as a person and artist,” she reflects. “I’ve been going through so much change, and this record speaks to the path that I’ve been on. I hope this music will find its place in the world and will be able to act as a companion in peoples’ lives if they connect with it.”

Inspired by Reynolds’ love for bands such as Liars, Public Service Broadcasting and Radiohead, “Cascade” is an electrifying taste of what’s to come from his upcoming full-length Canary— taught, dystopic drones for a civilization in collapse marked by a compositional approach influenced by composers like Susumu Yokota, Luigi Nono, Olivier Messiaen, and Karlheinz Stockhausen. 

Once again, Reynolds traverses modern classical composition and retro-futurist production, this time visiting upon the stillbirth of a child, the death of one’s parents, the nature of consciousness, the relationship between mind and body, the fragmentation of our collective mindscape, and the awakening of machine intelligence. 

References to John F. Kennedy, Carl Jung, and Robert Monroe’s influential book Journeys Out of the Body pepper Reynolds’ meditations as samples from contemporary figures Sam Harris, Lex Friedman, and Navy SEAL Jocko Willink both guide and disorient the listener. As always, Reynolds is keen on preserving a sense of meaning in the mélange of programmed and organic sounds he’s come to be known for. 

Reynolds has collaborated with German classical/expressionist musician/composers Anne Müller (Erased Tapes) and Alex Stolze (Bodi Bill) in their Solo Collective project, as well as Mike Bannard at The Aviary and others. He also continues to work on commissions for Neon Dance. Recent works with the company include Puzzle Creature, Prehension Blooms, the Thai-inspired Mahajanaka Dance Drama, and Manuals for Living and Dying. He is currently working on a film commission for Oxford University. His music has been widely supported across the BBC‘s networks and beyond. He hails from Oxford, where he spent his formative years cutting his teeth in the UK cult outfits Braindead Collective and Keyboard Choir.

We caught up with Sebastian regarding his video for “Cascade,” as we eagerly await the drop of “Fetus,” tomorrow.

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

Cascade explores the survival of a bomb attack as a metaphor for the survival of a traumatic life event more generally. “If you hear the bang, you’ve survived” as the sample intones, and Cascade is an attempt to capture the hallucinatory, altered state that one enters immediately following the survival of a trauma.

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

My friend Simon Blake’s amazing visuals capture something of the surreal state of mind that one can experience in the survival of a trauma. In terms of articulating something of these altered states I think many people can relate to being overwhelmed in a club and the combining of the visuals and the music capture an essence of this. Also the visuals and the track reflect each other aesthetically, both gesture at clubbing/dance music culture, but have an undercurrent of darkness and chaos. 

3. What was the process of making this video?

Having originally created the visuals for a project that never saw the light of day, Simon very kindly allowed me to cut the footage to the track in collaboration with editor Tom Schumann to help the visuals to follow the compositional narrative of the track. The visuals and track seemed to work so well together it was a fairly quick process! 

Gaming music legend, TheFatRat, popularly known for his immense online following of over ten million fans, continues his epic saga with the release of “Escaping Gravity.” This thrilling new release features vocals from singer/songwriter Cecilia Gault and unveils the third chapter of the captivating story that TheFatRat has been meticulously sharing with his past two releases “Out Of The Rain” with Shiah Maisel and “Hunger.” “Escaping Gravity” is available now on all digital streaming platforms, found HERE, and is free to use on digital platforms like YouTube and Twitch, true to TheFatRat’s tradition of making his songs available for creators without the hassle of demonetization.

“In Chapter 3, the protagonists find a way that might get them out of their dire situation. The song stands for our aspirations, our dreams, and our goals. Those times when we feel like we can conquer the entire universe.” – TheFatRat

With his third release of his new saga, the go-to-artist for Esports brands like ESL and Dreamhack has expanded the epic universe with another inspiring and touching song that follows the two siblings from his past two singles. “Escaping Gravity” picks up with our heroes living in the slums when they stumble upon an old crashed space gondola, igniting their dreams of repairing it and embarking on a cosmic journey to escape their home planet and explore the vast universe. As listeners dive into “Escaping Gravity,” they are transported into their world, where dreams of repairing the space craft and venturing into the unknown echo with determination and ambition. TheFatRat’s meticulous production and the enthralling vocals from Cecilia Gault serve as a gateway to the characters’ aspirations and invite listeners to embark on their own cosmic journeys of self-discovery and boundless possibilities.

Recognized for his influential presence in the gaming music community, with his tracks featured in popular video games such as Dota 2, Rocket League, Rolling Sky, and Game For Peace, TheFatRat’s signature sounds shine through in “Escaping Gravity.” The song begins with gentle symphonic elements, invoking a nostalgic atmosphere, while the addition of a tribal flute creates an enchanting fairy tale ambiance. The creative process behind the production of “Escaping Gravity” was a thrilling adventure, as TheFatRat overcame numerous challenges while crafting the perfect sound. The track builds momentum, exuding hope and determination, as the driving bass drops and emphatic horns create a dramatic effect. The creative process behind the production of “Escaping Gravity” was a thrilling adventure, as TheFatRat overcame numerous challenges while crafting the perfect sound. 

“I never had a song that needed so many production attempts. After the melodies were written, I started from scratch over a dozen times before I was happy with how it sounded. Curiously, it didn’t feel like a grind but like an exciting adventure.” – TheFatRat

With New York singer/songwriter, Cecilia Gault’s infectious vocals accompanying the production and storyline, listeners are truly immersed into the world of the song. Raised in Lower Manhattan, of Irish and Japanese descent, Cecilia Gault’s identity is a significant drive for her music and artistry. Her bi-cultural upbringing is a defining feature of Cecilia’s identity and approach to music. In contrast to the production challenges of the song the vocal recording process for “Escaping Gravity” was remarkably smooth, thanks to the exceptional talent of Cecilia, who flawlessly delivered the vocals on the first try. 

“Conversely, the vocal recordings went smooth as can be. Cecilia absolutely nailed them on the first try. The vocal mixing only took about an hour, and then the vocals were done.” – TheFatRat

Following his first track of 2023, “Monkeys,” TheFatRat started this epic saga with “Out Of The Rain,” the alternative electronic singer-songwriter Shiah Maisel. He continued the inspiring story with his most recent release, “Hunger,” which also had a charitable cause attached, supporting the Purple Community Fund and their fight to help children in Manila to get education. He capped 2022 with his December release of “Back One Day” with NEFFEX, the vocal version of his globally trending instrumental “Xenogenesis,” which has accumulated hundreds of millions of TikTok views and participation from celebrities such as Nick Kroll on The Tonight Show, Lil Nas X, and popular YouTuber Collins Key. Prior to that, TheFatRat released “Ghost Light,” the seductive and saxophone-heavy trap-leaning collaboration with award-winning K-Pop band EVERGLOW.

Mike Ruby is a Canadian singer-songwriter from Toronto with a story that’s far from ordinary. Mike moved to New York at 19 to pursue a career in jazz as a sax player, receiving a full scholarship at the Manhattan School of Music. That education and exposure gave him a unique sense of musicianship that shines through his melodic writing to this day. After signing a record deal to a subsidiary of Universal Music, he began playing with Brooklyn based synth pop band St. Lucia, which opened his ears to a realm of synth and dance-like possibilities. He picked up a guitar soon thereafter and started writing hundreds of songs as a singer songwriter. 

Mike’s second release, “unconditional,” is from his second EP a million you’s which will be released in the fall. It’s a blunt no holds barred love song that is as literal as ever. The chorus creates a snapshot for the song, “No matter what I done it’s unconditional,” referencing anyone with a busy schedule and a partner that stands by them, unconditionally. 

The lyrics dive deeper and deeper as the music continues to intensify with the drums, layers of the synths, and Mike’s soaring vocal harmonies. All the layers symbolize the tough situations that arise in relationships, but in the end it all comes back down to where it started, a simplistic piano line, mirrored by a simplistic idea. Enjoy the dive with your ride or die. 

JUNYOR has quickly made his mark on the music scene with his captivating vocals, infectious energy and magnetic stage presence. Formerly the lead singer of the top trending group 4 Minutes Later, JUNYOR has embarked on a thrilling solo journey, captivating audiences worldwide with his unique blend of pop. Bringing together an old-meets-new feel, his heartfelt songs explore themes of love, self-discovery and personal growth, resonating deeply with listeners of all backgrounds. 

New single, “We Don’t Dance,” is about losing a love and the stage you go through at the beginning of a breakup. It doesn’t have to be sad but more reflective of the situation. Leaning hard into the retro synth feels with some fun, bouncy guitar, JUNYOR felt the need to make sure if the song was called “We Don’t Dance” that you wanted to dance when you heard it.