Frank Mighty is the alter ego of Calgary born and raised, and Toronto-based multi-instrumentalist John Traboulsi. “I wrote the majority of this album in bed at 2am, singing quietly so as not to wake my roommates, hence the name Whispersongs,” says Traboulsi. “It’s been a long time in the making, honing down the Frank Mighty sound, gathering the right group of people around the project, it truly took years.”

Frank has become a character, who enters through the hotline, an infinite internet portal of face-melting psychedelic sounds and unimaginable visual splendor, to create and share music freely. 

Listen to the EP here: ​​https://foundation-media.ffm.to/whispersongs

And the focus track & video for “Palindrome” here:

Palindrome and the EP was mixed by Grammy Award Winning Mixer Jacquire King (Kings of Leon, James Bay, Foy Vance, Norah Jones).

Taylor Simpson is an indie folk singer-songwriter from Toronto. Drawing inspiration from his personal struggles and tribulations, he writes with the approach of wearing his heart on his sleeve to connect emotionally with the listener. His debut full-length album, Learning to Live with Precious Time, is set to be released in January 2022. 

“Drifting,” the latest single to be shared from the LP, started out as a challenge for Taylor in his writing. Rather than write from a personal place, he wrote a fictional story and put himself in the shoes of someone else. It’s a song about two people in a strenuous relationship where one person is too much for the other. The love is there, but it’s hard to hold onto and want to keep.

With her distinct voice and addictive hooks, pop songstress Indigo is serving up ear-candy for the fierce hearted. Melding her DNA of pop with a love of hip hop and R&B, Indigo finds balance between cheeky lines, heavy dance beats and rhythmic delivery – the ultimate hybrid of sweet and sassy. 

Indigo’s latest offering, “Always About Me,” is an unapologetic reclamation of power and a new chapter for the songwriter. Produced by Lantz and David Ariza, this single is the first release off of her saucy forthcoming debut EP and sets the tone for what’s in store.

At the heart of Hamilton, ON group King Park, you’ll find childhood friends/musical co-conspirators Timon Moolman (vocals, guitar) and Tyler Heemskerk (bass, vocals), accompanied by the animated Nate Wall on drums. The trio’s new album, Everett (out now), is a collection of elegies for ordinary, apocalyptic losses.

Fitting together lyrically and thematically, Everett is not so much a story of heartbreak about not getting the girl, but more about being heartbroken that something beautiful could end up so hurtful – that so much love could turn into hate. It’s a story of being stuck in a moment, unable to move forward – surrounded by fear, guilt and shame.

Title track, “Everett,” sets the theme for the entire record as it tells a coming-of-age story, speckled by the loss of innocence. It’s a snapshot of a time when the rigorous set of black and white lines one grows up believing in finally faded away, forcing re-evaluation. 

Vocalist, producer, and multi-instrumentalist AGATH CHRIST holes up in a self-owned studio surrounded by refineries, scrap-yards and full-on class warfare waged against Montreal’s most vulnerable. In a veritable oasis of analog gear, space and time, AGATH CHRIST polishes the varied and diverse output that defies easy classification; there are too many backgrounds and interests clashing, fighting for ground between genres like pop, classical, electronica… even jazz and folk.

A phantom limb is a limb that someone still has a sensual perception of after it has been amputated; sometimes causing pain or discomfort or any other sensation long after the limb is gone. On the second track to be shared from AGATH CHRIST’s ongoing Bodies collection, the phantom limb is meaning. While grief and loss teach us that everything is transient and immaterial, we often feel nostalgic for the time when things meant something.

Starpainter wears their influences on their sleeves, showcasing songwriting craftsmanship and an affinity for classic folk rock and alt-country tones.

Their upcoming release, Blood In The Snow, further develops a signature sound established on their debut record last year – roomy drums, melodic bass lines, tightly woven guitars and organs – subtly incorporating new sonic elements, such as nylon-string guitar, upright piano, mellotron flutes.

The EP features three interpretations of one track in order to tell three versions of one story set in a semi-fictional small town that bears a resemblance to singer-songwriter Joel Stretch’s upbringing in Alberta.

Hear “Blood In The Snow #3”: 

“[Blood In The Snow #3] is trying to deliver the delirious and bittersweet feeling of hanging on to something that used to be good but has become unhealthy,” explains Stretch.

“Everything has gone wrong at once, but you just go out and drink and hang with your friends and try to forget about it for a while instead of dealing with anything – darkness looms in the periphery but you choose to ignore it.”