Apryll Aileen is a classically trained pianist with a touch of science and spirituality; an alt-pop soulful vocalist, guitarist and songwriter from Atlantic Canada. Chock full of captivating lyrics and melodic hooks, her songwriting will leave you saturated in all the feels, wanting to dance but also, contemplate life’s meaning.

Her new song, “Catch Me,” was written from her perspective of being an independent female artist, traveling around the world to share her music and passion with others, but also, always feeling alone on that journey, sacrificing romantic relationships and time with friends. She elaborates, “I could never clearly express this burning desire in me to keep creating and moving forward and it has become much like a double edge sword. I often feel like a musical James Bond with a strong mission and purpose to fulfill, that is not actualized without the sacrifice of living a ‘normal’ life.”

25 years after the release of their multi-Grammy-nominated hit album, God Shuffled His Feet, Winnipeg’s Crash Test Dummies embarked on an anniversary tour whose overwhelming reception led them to return to the road in 2022, celebrating the 30th anniversary of the band’s debut LP, The Ghosts That Haunt Me.

The stories which fans have told the band while on tour in recent years, some very dark, others very funny, and all so personal, have inspired the band to return to writing music.

Their new single, “Sacred Alphabet,” is a shimmering revelation which captures a feeling of awe. The instrumentation is sparse, featuring ‘spectral’ sounds and a choir constructed entirely out of member Ellen Reid’s voice.

“Sacred Alphabet” explores the metaphor of sound and symbol, contemplating the world before it existed: “No subject, object, verb or tense; sound had not been enslaved to sense.”

Two accomplished Canadian East Coast singer-songwriters, Don Brownrigg and Terra Spencer, join forces to produce a moving gentle country waltz that will make you want to sway to the beat. 

The first verse of the lyrics was written over a decade ago by Brownrigg, and the song was finally finished when he met Spencer. 

Asian-American producer Elephante, Indonesian singer-songwriter Stephanie Poetri, and Chinese singer Zhang Yanqi have come together for a pop-disco influenced new single “No Explanations,” available now on all streaming platforms. Stephanie’s clear, sweet tones pair perfectly with Zhang Yanqi’s lower register that carries across the track with it a hint of huskiness. Both layer flawlessly on top of Elephante’s smooth and wavy melody; a new style he’s recently ventured into.

The new single “No Explanations” meets at the crossroads of Dance music and Pop music with its groovy rhythms and vulnerable yet bubbly lyrics, expressing a feeling that we all know too well: that in between stage where we’ve obviously fallen in love, but are still building up the courage to say it out loud. We pour all our feelings into actions, hoping against hope that they feel the same way and reciprocate that emotion. The lighthearted music styles of Elephante, Stephanie Poetri, and Zhang Yanqi compliment one another beautifully for this collaboration that comes just in time for Spring, the season of new beginnings, and will no doubt be a staple on our playlists for a long time.

“No Explanations is a song about first love – that giddy, unapologetic feeling of falling for someone, and hoping that they’re doing the same for you. It’s a feel good, synthy BOP –  it was a lot of fun working on something outside my normal comfort zone, and a blast putting the song together with Steph and Zhang.” — Elephante

“‘No Explanations’ is a fun, summery, disco song! We wrote it about how much I love someone – so much that I don’t need to actually say I love them, because the way I feel and behave already shows that.” – Stephanie Poetri

“There are so many wonders and uncertainties in life… You’re not sure what’s for dinner, or if tomorrow will come on time, but the feeling of love is certain, and you’ll perceive it clearly, it’s here.” – Yanqi Zhang

For those who felt just listening wasn’t enough, fans had the chance to catch Elephante on his 20-stop ‘Heavy Glow Tour’ which touched down in cities such as Denver, San Francisco, Portland, and a sold out show at the iconic Hollywood Palladium, in Los Angeles; his largest show to date. You can see the dynamic DJ this summer at some of the most popular electronic music festivals in North America, such as The Grand Boston in Boston on April 7, Heatwave in Chicago on June 11, Escapade in Ottawa on June 25, and the legendary Moonrise Festival in Baltimore on August 13.

Stephanie Poetri made waves after signing with transformative, internet-savvy, musical powerhouse 88rising, a tastemaking giant for Asian talent, which allowed her to explore the other areas of artistic expression. She has an active presence on Twitch, along with other social media platforms, where she offers her fans an authentic look into who she is, and shares a very open mind with her fans and followers. Citing contemporaries like Beabadoobee, Julia Michaels, Lizzy McAlpine, Gracie Abrams—and the ever-present touchstone of Taylor Swift—Poetri has been working on plenty of new material and is ready to enter into a new phase as the pandemic era comes to a close.

GRAMMY Award-winning producer and global dance music icon AFROJACK and Mike Williams are two of the most prominent names in the electronic dance music (EDM) scene, and their collaboration on “Alone” is causing a lot of excitement among fans of the genre. The two producers have been teasing the track in their sets for months, building anticipation for its official release.

For AFROJACK, “Alone” represents another step in his evolution as a producer. Over the years, he has established himself as a master of his own AFROJACK sound, blending hard-hitting beats with catchy melodies and infectious hooks. With “Alone,” he takes his sound to new heights, crafting a track that is both powerful and uplifting.

“Mike is a good friend and amazing producer, was a pleasure to work with him and even debut it on mainstage ultra last weekend! Excited to hear it played around the world all festival season!” – AFROJACK

Mike Williams, meanwhile, is known for his ability to create tracks that are both melodic and filthy. His music is characterized by soaring synths and driving basslines, “Alone” is no exception. Together with AFROJACK, he has created a track that is sure to get hearts pounding and feet moving on dancefloors around the world.

“Feels incredible to do this track together with Nick. I played an early version of this track in my Tomorrowland Winter set and Nick was actually in the crowd listening, after the set he came to me and asked what track that was. We decided to work on it together.

He added so much cool stuff and the track became truly a combination of our styles. Hope everyone likes this dance floor banger!!” – Mike Williams

The two producers have been friends for a while, and their mutual respect and admiration for each other’s work is evident in “Alone.” The track is a testament to their shared vision for the future of EDM, and a showcase for their individual talents as producers and musicians.

With “Alone,” AFROJACK and Mike Williams have once again proven why they are two of the most exciting and innovative producers in the EDM scene today. Whether you’re a longtime fan or a newcomer to the genre, this track is sure to get you pumped up and ready to party. So turn up the volume, hit play, and let the music take you away!

Art Therapy Part Two is here, picking right up where Part One left off, like at the bus
depot, pocket full of trust dividends waiting to hop into an uber and go somewhere to
think, write, or groove. And it might be a real good thing, if. . . .
. . . there were more room in the hip hop sphere for involved lyricism, or if there were a
premium placed on completely DIY production creeping close to radio quality, or if
there were more of an appetite for the truly independent aesthetic and not the
mainstreaming of everything as filtered through trope and cliche. . . .
However, there is the sense that vidpoet believes in an audience for his work—that, in
reality, none of the above is prohibitive.

No mistake, this is art rap with a golden-age scabbard. This second installment of the
Art Therapy series prides itself on an awareness of the music’s roots as well as its
trajectory. The formula is simple: a sorta-Philly emcee, vidpoet, over an Egg Harbor
City native, Steve Sperry. The result: engaging, colorlful, something outside the box,
but maybe with one foot still in it almost squarely as a pun.
Here, vidpoet’s poetry finds renewal through Sperry’s interpretations. It’s hard to
pinpoint what makes this music sound old and new at the same time. While vid and
Sperry have no designs on pigeon-holing themselves as a new bap [sic] or boom trap
duo, for purposes of Art Therapy, that is precisely what they are, and to great effect.
The sly suggestion here is that this stuff may seem—seem—easy to make. Full-on
verses, yes . . . no punch-ins . . . considering the phraseology,
vidpoet bringing his typical atypical on this EP, with plenty of provocation and imagery.
His delivery may be somewhat unorthodox, but he hits enough snares to justify his
sometimes following secondary, even tertiary elements in Sperry’s deceptively simple,
or simply complex, offerings.
Art Therapy, Pt. 2 celebrates what can occur when two artists come together,
recognizing what the other is worth. This has been, and will continue to be the story,
with at least two more installments of Art Therapy in the pipeline.

Getting it done in the living room is no badge of honor, necessarily, but when it starts to
sound like this, maybe it’s time to start paying attention. At the end of the day, “indie
rap” is not really a sound, or even a style. If it’s an approach, however, then it’s safe to
say vid and Sperry would happily fly that banner. Maybe it has more to do with the
point of entry than anything else? But to seem straight ahead while delivering aslant
does require a certain amount of skill, and perhaps to the more discerning ear, all of
this will resonate . . . and if not, this music would content itself besides, with vid’s
origami preciosity and willful obtuse re-contextualizations, and, of course, Sperry’s
natural inventiveness as a producer.
In the great tradition of rap music, Art Therapy Part Two was realized when Sperry
handed some hot tracks to vidpoet, and the latter spat over them. If expectoration
does not suffice to be a higher form, then imagine saying a rhyme in time over
something that you’re really feeling, maybe reading off your phone, watching your
touch screen fill up with droplets of saliva—some kind of guide to how to do it right.
That was the aim here, without putting on airs, to make this music in the manner in
which it was intended to be made. And some would say, this creative intention never
really strayed that far, only it may be more evident in certain places?