Born and raised in South-Central Trinidad, John Orpheus is a multi-cultural musician, author and performance artist. Between writing two children’s books and a forthcoming debut novel called BLACK CHEROKEE, he also found the time to write and produce a new EP: GET RIGHT! It combines John Orpheus‘ playfulness, fluency and affection for the past. The EP demonstrates an evolving set of tastes in funk, punk and pop that maintains the artist’s vibe of welcoming in the whole diaspora: from dancehall to hip hop to funk to Afrobeats.
The title of his new single, “90’s Fool,” is really three titles in one: pride, hilariousness and nostalgia. It’s like:
- “I came up in the 90s, you fool.”
- “I came up in the 90s acting a damn fool.”
- “I’m a fool for the 90s, where I came up.”
They all bring a different vibe and add up to how John feels about his adolescence and life in general. It’s a song about the 90s but don’t call it a throwback.
“There are no eras. There were no 90s or 2010s,” says John Orpheus. “We are people living lives that are much more fluid than that. So I want to make music that’s neither trying to be old school or new school but is a place where all ourselves can hang out: THE WHOLE SCHOOL.”
New Zealand based genre-bending powerhouse Ardon Englandhas just unleashed his brilliant debut EP That’s Camp, which premiered exclusively via
AAA Backstage.
That’s Camp isn’t just an EP; it’s a reflection of Ardon’s creative spirit, with each track boldly expressing a different facet of his being.
A Māori artist, Ardon Englandis a bold advocate for diversity and inclusion, infusing his unique blend of genres with unapologetic creativity and raw emotion.
Ardon’s music defies categorisation, melding House, Dance, and Rap into a genre he terms “CAMPHOUSE”. His singles such as Leather Daddy and F.E.M Man resonate with themes of self-expression and empowerment, challenging societal norms and advocating for individuality. Collaborations with artists like Krisy Erin and producers like Kez Emm have only amplified his sonic vision.
Ardon’s impact extends into the realm of advocacy. A vocal proponent for LGBTQ+ representation, he’s paving the way for queer artists in New Zealand and Australia. Featured on Whakaata Māori TV’s “Queer and Here”, Ardon’s journey is not just about music; it’s about using his platform to inspire change.
Debut EP That’s Camp is available on all major online stores and streaming services.
For the past four years, the award-winning, JUNO-nominated, SOCAN #1 bilingual Canadian songwriter, recording artist and producer Maïa Davies has been on a stubbornly unwavering mission of deep musical and self-discovery.
Born in Montreal, Davies has devoted the vast majority of her life to the craft of music. Getting her start in the Warner Music signed folk band Ladies of the Canyon, she has released two solo albums in French and penned over 12 top ten commercial radio hits for Canadian music artists, including Mother Mother and Serena Ryder.
The Lovers’ Gothic LP is a chronological storyboard of the artist’s emotional journey in song. The new full-length by Davies is a compilation of compositions that best encompass the visceral throughline of her euphoria, heartache, abuse, self-actualization and acceptance—a concept she jokingly now refers to as the stages of relationship grief. She recorded the album in 12 different studios across the country, with the help of a large cast of co-producers and star musicians including drummers Jimmy Paxson (Stevie Nicks) and Glenn Milchem (Blue Rodeo), as well as new producer collaborators Marcus Paquin (Begonia, The National) and Erin Costelo (Kaïa Kater).
Join Calgary-based blues/Americana/rock artist Ollee Owens as she takes you on an emotionally charged journey into the heart of a caregiver in her version of Bob Dylan’s “Lord Protect My Child.” Those holding responsibility for a vulnerable dependent know the yearning to see them safe from harm. As a mother of three daughters, one of whom has special needs, thoughts of protection and security strike deep for Ollee.
The dynamic arrangement of “Lord Protect My Child” leads with familiar tones – laying a somber foundation for an earnest delivery of angst genuinely sensed. As worry turns to hope, organ and choir unite to form a new footing to support the soaring voicing of the guitar and saxophone spurring onward the hallowed invocation. Recorded to mirror a live performance, closing one’s eyes while listening will transport you to a place away from your concern…to experience renewed faith in greater forces to undertake for those thinly held in one’s care.
