Scot “Little” Bihlman continues to shape the emotional arc of his forthcoming album Heavy Head with a two-track release through V13 Music that pairs the reflective single “Seems Like Yesterday” with the instrumental vignette “The Devil’s Cradle.” Together, the songs create a sense of movement within the album’s unfolding narrative, widening the landscape before turning inward toward something more personal and lived in.

“The Devil’s Cradle” opens with steel guitar and drifting harmonica, immediately placing the listener in a wide, open space. The track carries the feeling of a desert road at sunset, where the light fades slowly and the horizon stretches endlessly ahead. There is a cinematic quality to the sound, but it remains grounded and unadorned. Rather than pushing for attention, the piece relies on mood and atmosphere, allowing listeners to settle into the quiet solitude of the moment.

The instrumental was born from miles spent riding along the California coast, where long stretches of road create space for reflection. It captures the rhythm of travel and the steady flow of life moving past the window. Different journeys unfold side by side, each with its own destination, yet all share the same sky. As an interlude, “The Devil’s Cradle” acts as a bridge into the emotional center of Heavy Head, offering a pause before the album shifts toward more intimate territory.

“Seems Like Yesterday” picks up that thread and brings the focus closer to home. Built around a repetitive lead guitar riff and rooted in rhythm and blues, the song moves with an easy, natural momentum. It carries the warmth of classic rock and country storytelling while maintaining a voice that feels distinctly personal. The track centers on the memory of a relationship that once felt significant but gradually settled into distance. Two people move forward on separate paths, their lives occasionally crossing before drifting apart again.

Little Bihlman Expands the Story of Heavy Head with Reflective Single “Seems Like Yesterday”· Post

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There is a sense of familiarity in the details that fill the song’s world. Smoke lingers in the air. Coffee sits untouched on the table. Morning arrives, but the emotional weight of the night has not fully lifted. Bihlman allows these small moments to carry meaning, trusting the listener to recognize the quiet truth behind them. The repeated refrain of “Seems like yesterday” becomes less about nostalgia and more about the way memory holds its place, refusing to fade even as time continues to move forward.

As the horns rise into the final chorus, the song expands just enough to suggest perspective without offering a neat resolution. There is an outlaw country spirit beneath the surface, tempered by experience and acceptance. No grand conclusions are drawn. Instead, the song acknowledges that some lessons unfold slowly, shaped by repetition and reflection rather than sudden change.

With this release, Bihlman continues to develop Heavy Head into a record grounded in tradition while guided by personal history. Raised between industrial Indiana and the woods of Northern Michigan, he has spent more than two decades performing across stages ranging from small clubs to major venues, blending heartland rock, blues grit, and country soul into songs that focus on the realities of everyday life. His work has always carried a sense of honesty, drawing from lived experience rather than invention.

“Seems Like Yesterday” and “The Devil’s Cradle” deepen that approach, adding another layer to the evolving story of Heavy Head. Together, the tracks reflect on the passage of time and the quiet recognition that memory often lingers longer than expected. As the album continues to unfold, these songs stand as reminders that reflection is not always about looking back. Sometimes it is about learning how to carry the past forward.

Contemporary folk group Jon and Roy return with a brand new EP entitled I Can Dream. Anchoring the release is its lead single, “Maywell,” a song inspired by an annual winter pilgrimage deep into the mountains behind Victoria, British Columbia. 

Each year, Jon, Roy, and close friends snowshoe through heavy terrain to a remote, rustic cabin. It’s a journey that is as physically demanding as it is emotionally rewarding. “The hike in was incredibly challenging,” Jon recalls. “We didn’t think we’d make it at times because the snow was so heavy. But once we got there, we had the most incredible time. Lots of laughs, deep talks, deep thoughts, and inspiration.”

The cabin was built by a man named Maywell, with the help of his friends, and the song stands as a tribute to his spirit; one that continues to offer refuge, joy, and perspective. Warm, catchy, and gently nostalgic, “Maywell” reflects the sense of gratitude and awe that comes from pushing forward and arriving together.

What sets “Maywell” (and the EP as a whole) apart is its recording process. For the first time, Jon and Roy recorded entirely to tape, a decision made on the spot in collaboration with their friend and engineer, David Parry. 

“Recording digitally is just fine, but it does have a tendency to hinder you in the sense that you know you have an infinite ability to edit and can keep tracking as much as you want,” Jon explains. “Tape is not nearly as forgiving so it forces you to be more present and go for the performance of the song more so than anything else.” 

Vancouver, BC outfit Gay Nineties are sharing “Internet, Sex & Drugs,” a fast-paced, punchy new single that balances romantic tension with sharp observation. Blending indie rock urgency with flashes of new wave and power pop, the track explores emotional disconnection in a hyper-stimulated world, where distraction often replaces intimacy and self-awareness arrives just a little too late.

The song began with a guitar riff written by bandmate Pascal, which quickly sparked the musical foundation for the track. After recording an early instrumental demo in their rehearsal space, the chorus melody arrived long before the lyrics. “After a full week of bashing my head against the wall every day, the chorus fell out of my mouth and the song wrote itself very quickly,” explains lead vocalist/bassist Parker Bossley. Inspired in part by the emotional dynamic of Robert Palmer’s song “Johnny & Mary,” the narrative follows a relationship unfolding in real time where one person reaches for something genuine while the other remains consumed by hollow distractions.

Clocking in at just over two minutes, “Internet, Sex & Drugs” moves with restless momentum, each section introducing new melodic and compositional elements that build toward an ebullient climax. The track nearly didn’t happen at all; an early demo was initially dismissed as too “proggy” before Gay Nineties rediscovered its potential during rehearsal, where a cleaner, chorused guitar tone reframed the idea entirely and set the writing process in motion.

Stylistically, the band leaned into the emotional clarity and compositional instincts of artists like The Police, Tom Petty, and Kate Bush, aiming to capture the immediacy and melodic richness of classic 80s new wave while grounding the sound firmly in the present. The result feels both nostalgic and contemporary; bright, romantic, and rhythmically driven, while lyrically rooted in modern anxieties. A cheeky lyrical nod to The Rolling Stones’ “Start Me Up” adds a moment of humour that reflects Gay Nineties’ guiding philosophy: approaching darker subject matter from a place of joy.

Following years of writing, teaching, and performing music rooted in connection and self-reflection, London, Ontario–based singer-songwriter and multi-instrumentalist Marty Kolls shares “Drive,” a hypnotic, consistent pop single that captures the quiet momentum of moving forward through uncertainty. Optimistic yet grounded, the track reflects on awareness, contemplation, and the importance of continuing on even when the road ahead isn’t fully visible.

Inspired by both time spent behind the wheel and her work as a songwriting instructor, “Drive” grew out of a lesson Marty taught her students. Beginning with a steady, driving rhythm, the song came together as she paired it with lyrics written during another class exercise. 

“I started with the driving rhythm, and it fit well with lyrics I had already written,” she explains. “I put myself to the test of writing all of the assignments along with my students. It was a great source of inspiration to be presenting for them at the same time as they presented to me.”

Toronto-based indie-folk troubadour John Muirhead shares his new single, “Loved You Well,” a tender and reflective meditation on unrequited love, yearning, and the quiet spaces where connection almost blooms. Rooted in simplicity and intimacy, the track captures those fleeting, ordinary moments that linger long after they’ve passed; the ones that live rent-free in our hearts because nothing ever fully came of them.

“‘Loved You Well’ is about replaying moments that never quite turned into anything,” explains Muirhead. “It was inspired by a real date where, on paper, nothing important happened. But that’s exactly the point. Sometimes the absence of something becomes the thing you can’t stop thinking about.”

Recorded in a single, immersive day, the song is deliberately stripped back to feel as if Muirhead is performing in the same room as the listener. Acoustic guitar and vocals form the foundation, with piano, pedal steel, and harmonies by Clayton White layered organically to preserve character and intimacy. “We captured something special,” Muirhead says. “I wanted the song to feel like being alone with your memories, wondering “what if…””

Strange Plants lean into heartfelt nostalgia and soaring retro-pop energy on “Lay Your Mind,” an infectious new single that marks the first release in a forthcoming collection of songs arriving throughout 2026.

Drawing inspiration from the new wave and post-punk textures of artists like Simple Minds, The Cure, and The Cars, “Lay Your Mind” blends emotional depth with an undeniable melodic lift. Anchored by a shimmering groove and an instantly singable chorus, the track captures the band’s ability to balance introspection with momentum and create music that feels both personal and expansive.

The song’s origins are as intimate as its message. “Travis (Flint) sent me a voice note of him playing guitar while bathing his infant son,” explains songwriter Matt Brannon. “It was a really cool musical motif that became the basis for the verses.” From that initial spark, the song came together quickly, written and completed during the same period the band’s debut album was being mixed and mastered. In a rare burst of inspiration, “Lay Your Mind” moved from voice note to finished master in less than two weeks.

At its core, the song serves as a love letter to the steady figures in our lives, the people who absorb chaos with patience and understanding. The title reflects that sense of emotional grounding, celebrating those who remain present when everything else feels uncertain.

Musically, the band leaned fully into the song’s natural DNA. The rhythmic pulse of the verses provides a distinctive foundation, while production choices emphasize analog warmth and classic new wave atmosphere. The result is a track that feels timeless without losing its immediacy, carried by the emotional clarity that defines Strange Plants’ songwriting.