Hamilton, Ontario baroque-pop quartet Superstar Crush unveil their darkly romantic new single, “Fire Escape,” a vampirical, stampeding whirlwind of unrequited love and poetic disarray. Equal parts chaotic and cinematic, the track is their first new music since 2024’s Crushed to Meet You EP, and the latest preview of their debut full-length, due summer 2025.

Written during a spell of writer’s block and sparked by a melody tapped out on a plastic windowpane, “Fire Escape” embodies the band’s flair for dramatic imagery, magnetic hooks, and gloriously off-kilter structure. Anchored by a three-way vocal interplay and a wall-of-sound production that nods to Springsteen, Broken Social Scene, and Arcade Fire, the song builds to a psych-rock outro, complete with glockenspiel flourishes and cinematic string swells.

Lyrically, “Fire Escape” drips with disheveled longing and literary references, from RAW Magazine comic covers to Japanese and French romance films. Written in another friend’s vocal range as a songwriting experiment, the track demanded collaboration: “We all had to sing it together just to hit the notes,” the band jokes. The final result is uniquely theirs – a jarring, electric portrait of emotional freefall.

Produced by Tyler Kyte (Dwayne Gretzky), the song features a haunting violin arrangement by Helen Faucher, written so late in the process the band nearly forgot it existed until she brought it to life in the studio: “It was like déjà vu,” they say. “We just hoped it worked, and it did.”

Alt-rock collides with shoegaze on Slightest Clue’s latest single, “Jamie” – a moody, emotionally charged track that blends grunge-tinged riffs with vulnerable, character-driven lyricism. A swirl of dark tones and melancholic energy, the song offers a unique window into personal betrayal, connection, and emotional catharsis.

“Jamie” began as a writing experiment from guitarist/vocalist Mac McLaren, who penned a demo around a fictional character. Though initially unsure of the result, the band’s bassist/vocalist, Hannah Kruse, stepped in to reimagine the story – keeping Mac’s structure, chords, and riffs largely intact while reshaping the song through a more emotionally grounded lens. The use of a first name not only stuck, but unlocked something powerful: a way to tell someone else’s story that felt unmistakably personal.

Lyrically, “Jamie” traces the painful push-and-pull of emotional betrayal, drawing the listener through waves of regret, reflection, and release. With shifting dynamics and dense textures, the song’s sonic palette mirrors this turbulence and delivers an experience that’s both cathartic and sonically gripping.

Singer-songwriter Hillary Reynolds invites listeners into a whimsical and warmly contemplative sonic world with her latest single, “Can’t Turn Off My Mind.” This silvery, playful track marks the foundation of Reynolds’ upcoming debut album, Changing Seasons (out later this year), offering a grounded yet daydreamy soundtrack for your morning routine. Blending thoughtful lyricism with classic singer-songwriter stylings, the single evokes a soft space reminiscent of Beatrix Potter illustrations and Jane Austen musings.

“Can’t Turn Off My Mind” was originally written years ago, but found new life after Reynolds reconnected with collaborator and dear friend Madison Malone in Los Angeles. What began as a reflection on insomnia and intrusive thoughts gained richer meaning over time – particularly as both artists became mothers. That distinct sense of sleep-deprived tenderness now permeates the song’s groove-driven chorus, which Reynolds describes as “quirky, left-of-center, but completely natural when you feel it.”

Anchored by upright bass and dreamlike phrasing, the song balances whimsy with lyrical vulnerability. “I love how playful it is,” Reynolds shares. “Sometimes we just need music that makes us feel less heavy. I wanted to put out an album that feels like saying ‘hello’ to an old friend and I feel like this first single is an invitation to that space.

Following the understated power of his debut “Mister 808,” The Bapti$$—the genre−bending musical rebirth of multi−instrumentalist Joseph LaPlante— returns with “Crazyglue and Skeletons,” a meditative, emotional track that floats on eerie guitars, thumping 808s, and a raw vocal delivery straight from the heart.

Blending pop, R&B, and singer−songwriter stylings with spiritual depth and street wisdom, The Bapti$$ once again brings simplicity to life in a way that cuts deep.

“This song to me is about using love and faith as the medicine to fight through our fallen nature,” LaPlante shares. “When life gets hard, we have our family, and we have God on our side. The lyrics remind the listener that we all have emotional baggage and scars—and in those moments, you have the chance to be the glue that holds your loved ones together from falling apart. That should be a lifelong thing—from the womb to tomb.”

Toronto-based alternative R&B artist Puma June unveils a striking visual for “Nobody,” the newest video from her debut EP A Woman That They Want, released earlier this year. A genre-blending mix of smooth, empowering, and edgy elements, the track continues Puma June‘s fearless exploration of identity, autonomy, and self-liberation.

A fashion-forward, surrealist piece of self-expression, “Nobody” investigates the tension between external judgment and internal limitation. Inspired by the “enemy within,” the video poses a haunting question: Is it the world boxing us in, or are we boxing ourselves? Puma June invites the viewer into her signature dream-like universe, one where expectations are twisted, and truth is uncomfortably – and beautifully – laid bare.

The title, “Nobody,” cleverly plays on “no body” and “nobody,” reinforcing the track’s themes of bodily autonomy, self-worth, and unseen power. Whether confronting shame, smallness, or fear, Puma June makes space for radical self-reclamation.

Shot in Los Angeles and directed by long-time collaborator Arden Grier, the video features a series of bold visuals – from tattooed brows to a surreal scene of swallowing herself. At one point, a now-infamous concept involving live ants turned into an unexpected pivot after a failed Amazon order and a search through Facebook ant groups. The solution? Ladybugs.

Canadian alt-punk outfit Excuses Excuses confront the raw reality of mental illness in their powerful new single, “Paralysis.” Drawing from deeply personal experiences and the struggles of those around them, the track is a dark and driving anthem for anyone who’s ever felt stuck in place. With sharp dynamics, whispered backing vocals, and swirling effects, “Paralysis” paints a visceral portrait of anxiety and depression without ever giving in to despair.

“Focusing on the destructive internal thoughts and debilitating feelings associated with mental illness, ‘Paralysis’ is an ode to those who constantly struggle to cope but refuse to give in,” says guitarist/vocalist Kyle C. Wilton. “It outlines the difficulty of the constant mental battle with oneself… while reminding us that it doesn’t dictate who we are as individuals.”

From the very first line, the band captures the crushing uncertainty of the mental health journey, while ultimately delivering a message of resilience and understanding.

With their 20th year in motion, Octoberman returns with “We Used To Talk of Death,” a nostalgic, tape-warmed indie rock single that meditates on aging, memory, and the inevitable weight of time. Recovered from a forgotten 2014 demo, the track now arrives fully realized – leaner, rawer, and more resonant than ever.

“One day I was going through old hard drives and stumbled upon the original demo,” says guitarist/vocalist Marc Morrissette. “It was meant for [2014 album] What More What More back in the day, but I wasn’t into the outro. I cut that section out, brought it to the band, and suddenly it all clicked.”

Lyrically unchanged from over a decade ago, the song hits differently now. “Whether it’s losing a loved one or becoming a parent, life events shift how we think about death,” says Morrissette. “This song used to feel hypothetical. It doesn’t anymore.”

“We Used To Talk of Death” was the final song recorded during three days at Ottawa’s Little Bullhorn Studio with longtime collaborator Jarrett Bartlett (Howe Gelb, The Acorn, Jim Bryson), tracking straight to two-inch tape with no click tracks or computer screens in sight. “It was so refreshing,” says Morrissette. “Especially after spending so much time glued to screens in general.”

Canadian folk-rock artist Ian North returns with “Going North for Good,” a stirring new single that blends wistful storytelling with layered three-part harmonies and evocative lyricism. Rooted in folk-rock and classic singer-songwriter tradition, the track is both nostalgic and quietly powerful, reflecting on the complexity of leaving behind a place and the person you were when you lived there.

Inspired by his partner’s childhood move from Toronto to a small northern town, “Going North for Good” captures the search for belonging, the invisible threads that bind us to home, and the bittersweet courage it takes to start over. “We go looking for new beginnings, but the truth is we carry our stories with us,” says North. “This song is about the hope that drives people to make a change, and the quiet grief that comes with knowing you can never truly go back.”

Co-written with his wife and creative partner Jennifer Claveau, who also contributed all harmony vocals, “Going North for Good” was produced by Chris Gartner, with original vocal and guitar tracks recorded by John Campbell. The track’s warm arrangement and signature harmonies support a melodic narrative that feels both grounded and timeless.