TubeFreeks return with “Flower,” a gripping new single co-written with Sevendust guitarist Clint Lowery, blending muscular hard rock with modern melodic tension. The Frederick, Maryland band harness thick guitars, dynamic rhythms, and a vocal performance that balances grit with emotional clarity. The result is a track that hits hard without feeling rigid and stays melodic without losing its edge.

Driven by restless drums and tightly locked guitar lines, “Flower” carries the verses with simmering momentum, then bursts open in the chorus, trading tension for release in a way that feels both deliberate and earned. Frontman Paul van Valkenburgh delivers a performance that is raw yet precise, packing emotional weight without sacrificing power.

The collaboration with Lowery brings a sense of structure and polish, yet TubeFreeks remain unmistakably themselves. The songwriting avoids nostalgia, channeling post-grunge energy through a modern production lens that keeps the track firmly rooted in the present.

Accompanying the single is a striking music video directed by Tom Flynn. Saturated gold tones and sweeping natural landscapes frame a visual story of longing, distance, and pursuit, amplifying the song’s emotional resonance.

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

Hi, the song was a collaboration between us (Tubefreeks) and Clint Lowery of Sevendust.  The verse riff was very dark so we wanted a wide open chorus.  So you’ll notice the music is very simple behind the chorus.  Creating the lyrics, the word “Flower” just came to me right away, almost as if it’s a person, where the “watching me fall” would be what that person would do…. So, the chorus lyrics were there from the beginning and we knew we had a dual meaning song.  So we tried to add verse lyrics that vacillate between hopeful yet hurtful.  Hopefully listeners can also attach their own meaning to it.

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

We chose to create the video for it as we felt it would be a great single.  The video producer, Tom Flynn, actually came up with the concept of the woman who is basically a ghost who is elusive and keeps turning into a flower.  As I’m walking through the park, I keep seeing what I think is a woman, but when I get to where she was, only a flower remains.  You’ll have to watch the video to see what happens at the end!! Ha!  The park Tom chose to film in worked out great!  The dead grass really brings the flowers to life as they stick out!

What was the process of making this video?

The video was filmed in two locations.  The outside portion with the ghostly lady was filmed at the park, which was located in Long Beach, NY.  The indoor portion was filmed near there and filmed on a sync wall.  The thing about the filming that makes it look so good is that Tom really knows how to film with the sync walls so you always see the proper background.

British indie songwriter Saul Damelyn continues to carve out a quietly compelling presence with the release of his second single and video, “We Broke the Rules.” Accompanied by a striking visual directed by collaborator Vanessa Brassey, the track offers a gentle yet assured step forward from his debut single “Museum of Love,” further introducing listeners to an artist grounded in sincerity and timeless songwriting craft.

At the heart of the new single is the luminous vocal performance of Phoebe White, whose voice brings a soft, ethereal dimension to the track. Her delivery complements Damelyn’s understated musical approach, allowing the song’s emotional core to unfold naturally. Rather than leaning on heavy production or overt dramatics, “We Broke the Rules” thrives in its restraint, emphasizing melody, lyrical clarity, and atmosphere.

The accompanying lyric video mirrors this sensibility. Brassey’s direction favors simplicity and fluidity, focusing on movement and tone rather than narrative complexity. The result is a tranquil visual experience that underscores the song’s themes—quiet rebellion, emotional honesty, and the courage to follow one’s instincts despite external expectations. It’s a visual extension of the music itself: unhurried, deliberate, and intimate.

Released via Damelyn Records, the single continues to establish a sonic identity that feels both classic and contemporary. The production, helmed by guitarist and multi-instrumentalist Paul A. Harvey, draws subtle inspiration from the warmth and craftsmanship of 1970s songwriting while maintaining a modern clarity. Acoustic textures, gentle arrangements, and an emphasis on vocal interplay create a soundscape that feels lived-in rather than manufactured.

“We Broke the Rules” also signals a broader artistic direction for Damelyn as he approaches the release of his debut album Kings, Queens and Dream Machines. The track suggests an artist increasingly comfortable with space and nuance—someone who trusts the strength of a well-written song to carry the listener without excess. There is a quiet confidence in the way the music unfolds, allowing each element to breathe.

Visually, the promotional imagery—including the black-and-white portrait captured by photographer Dave Green—reinforces this aesthetic. Damelyn appears composed and grounded, guitar in hand, embodying the same understated presence that defines his music. It’s a fitting representation of an artist who seems less interested in spectacle and more focused on connection.

As a follow-up to “Museum of Love,” this second release deepens the narrative Damelyn is building: one rooted in authenticity, collaboration, and a respect for the enduring power of song. With “We Broke the Rules,” he offers a reminder that sometimes the most impactful music comes not from grand gestures, but from quiet conviction and thoughtful execution.

With momentum building and a debut album on the horizon, Saul Damelyn is steadily positioning himself as a distinctive voice in the indie landscape—one that values feeling over flourish, and substance over noise.

Saul dove into the video, below:

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

This is a song about following your heart. It’s about doing what you want to do, not following what people think you should do. Or what you think people want you to do. It might resonate with people who reach a particular stage of life. If other people  say it’s time to settle down, to accept things as you are, and those are the rules, then we broke the rules. Not in a selfish or self-serving way, but because it’s time to get back in touch with your passion, your dreams. “We threw away our old things / and made room for something real”. But it’s for all ages of people – it has equally resonated with young people I know, and will hopefully resonate with others.

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

This is a stripped back lyric video, very different to the first single Museum of Love.  The idea was that the words are simple and powerful, and should carry the video.  What it has is the ocean, in different shades of dark and light, and always with daylight shining in from above.

What was the process of making this video?

Vanessa came up with the idea of the ocean, and that it would be a stripped back lyric video. We discussed whether to put her trade mark swimmers (for which she is known as an artist)  in there. We decided against. We felt the words needed space. Vanessa came up with the lettering, and what was originally a dark sea with light aqua words. And the way it shimmers in the sea, the movement of some of the words coming towards you. When i saw the first draft we then had a process of refinement, to create movement between the light and dark seas, with the change of font from dark to light aqua, and then that thick green effect in the chorus. The goal was to make the lyric stand-out, and to catch the viewer’s attention with the words. I hope you like it !

Discover more of Saul Damelyn here:

Website // Instagram // Spotify // YouTube

Nova Scotia-raised, Ottawa-based singer-songwriter Malia Rogers returns with “Sunlight (A Good Death),” a healing, Celtic-influenced folk single that approaches loss through the lens of gratitude rather than despair. Rooted in the idea that grief is simply love with nowhere left to go, the song reflects on mourning not as an ending, but as evidence of a life deeply shared.

Written while on tour in Ireland in January 2025, the song arrived unexpectedly. After a late night following a show in Tramore on Ireland’s southeastern coast, Rogers woke suddenly at 7:15AM; the exact date and time her grandfather, John Matthews, had passed away four years earlier. A paleoentomologist, teacher, poet, and lifelong music lover, Matthews played a defining role in Rogers’ life and creative development. “We talked about everything, including death and what it might mean to die ‘well,’” she explains. “I cried for two hours alone in that room above the pub, and when I was done, I had this song. It’s a small gift in return for the countless gifts he brought to all who knew him.”

Musically, the track leans further into traditional folk territory than Rogers’ previous releases, drawing inspiration from Irish trad music and the artists her grandfather loved most. Recorded in fall 2025 alongside producer Neil Whitford, the arrangement grew through collaboration with a group of musicians whose contributions helped shape the song’s communal spirit, including Richard Lam (Irish bouzouki), Donna Garner (accordion), Jeremy Kleynhans (drums), Spencer Murray (whistle), and Aline Homzy (fiddle). The song gradually expands from an intimate reflection into a shared experience, culminating in gang vocals sung by Rogers’ siblings and close friends; a deliberate choice meant to mirror the way grief and love are carried together in community.

Lyrically, “Sunlight (A Good Death)” traces a lifetime of memories, from childhood moments spent learning about insects alongside her grandfather to the quiet intimacy of his final days. Moments of humour and tenderness coexist throughout, including a reference to his tendency to make an “Irish goodbye,” slipping away quietly without fanfare. It’s a detail that reflects both the sadness and lightness that define the song’s emotional core.

The Mosfets return with their first single of 2026, “Take A Chance,” a defiant, high-voltage track driven by urgency, individuality, and the restless desire for freedom. Taken from their upcoming self-titled EP (set for release on May 29th, 2026), “Take A Chance” blends garage rock grit with neo-psychedelic energy to capture the feeling of pushing back against expectation and choosing your own path even when it feels risky.

“I was inspired by the feeling of yearning for freedom,” frontman Keith Mosfet explains. “If someone tells you your lifestyle is wrong or doesn’t fit their idea of what you should be doing or what’s moral, you don’t just roll over and die. You punch the world in the face and do what makes you happy.” The result is a self-described hype song that’s equal parts rebellion and release.

What sets the single apart is its willingness to bend the rules of its own genre. While rooted in the classic spirit of garage rock’s “three chords and the truth,” the band introduces subtle rhythmic shifts that give the song an unpredictable edge. Each pass through the verse drops a beat before resolving back into a driving 4/4 chorus, creating a kinetic tension that mirrors the song’s themes of risk and momentum.

Recorded at Yeah Yeah Yeah Studios in Hamburg, Germany, the band pursued a deliberately raw and authentic sound by recording and mixing through a Tascam 388 reel-to-reel machine. Avoiding quantization and auto-tune entirely, the sessions prioritized live energy and human imperfection. “I am sick of hearing tracks (even my own music) that are too polished,” Keith shares. “We went in with tight playing, real energy, and the desire to make something that can’t be replicated.”

Continuing his ongoing exploration of music as a pathway toward healing, peace, and connection, Gabriola Island-based composer, vocalist, and meditation leader Mark Fenster unveils his latest single, “Reflections.” A calming, neo-classical and world-infused composition, the track emerges from deep stillness and shared creative intention, offering listeners a gentle reminder of their inherent light, love, and presence.

“Reflections” began with daily meditative piano improvisations by longtime collaborator Claude Laflamme, who describes his creative process as sitting at the piano each morning before breakfast, settling into inner quiet, and allowing the music to unfold naturally. From this practice, the song’s chords and melody took shape. When Fenster received the piece, the lyrics arrived immediately: “I hear you now, I see you now, in the stars above, filled with Light, filled with Love, You.” Together, the music and words reveal the song’s purpose to help listeners feel seen, heard, and gently affirmed in their truth.

“This piece is about reflecting the truth of what we are, individually and collectively,” Fenster shares. “We are Light, Love, and free to be the unique presence we were brought here to share.” That message is carried through the song’s serene pacing and expansive emotional space, inviting quiet introspection without urgency or demand.

The collaboration itself is central to the song’s spirit. For Laflamme, “Reflections” marks both a joyful reunion and his first exploration within this genre. Fenster echoes that sentiment, noting the beauty that emerges when long-standing creative trust allows musical heart and mind to move together. After receiving Laflamme’s nearly complete arrangement, Fenster recalls calling him immediately, half-jokingly asking where he could possibly add anything, before discovering a new musical path that honoured both of their voices.

Stylistically, “Reflections” expands its emotional range through a rich palette of world instrumentation. Celtic harp, Shakuhachi, Duduk, Bansuri, French horn, strings, and guitars work in quiet harmony, widening the sonic bandwidth and deepening the song’s sense of calm, inspiration, and healing. Each element is chosen not for ornamentation, but for the emotional wisdom it carries.