New Music

Toronto-based indie pop/rock artist Brodie Christ returns with his new single “Now I Can’t Dance,” a joyful, reverent love song orbiting devotion and desire. With an energetic pulse and interstellar metaphor, “Now I Can’t Dance” is a tribute to awe – in partnership, in politics, and in the gravity of love.

“I wanted to write a tribute song to my partner. She is a powerhouse and an inspiration. She is the type of person that exudes high levels of both beauty and intelligence. She is a person that people orbit around. I wanted to express that her entire being creates gravity and here I am just trying to float around and be part of her solar system,” says Christ.

Built on an expressive bassline by Kyle T Bass, locked-in drums from Miles Gibbons, and a light, looped vocal sample woven through the verses, the track is a sonic standout on Christ‘s upcoming full-length album Big Feelings (out October 15th, 2025).

Vancouver-based pop artist Matías Roden latest single is “On the Run” – a melancholic, joyful, and ultimately bittersweet synth-pop track about a common gay male experience: the fear of commitment and the instinct to flee just as things start to get real. It’s a “pre-heartbreak song,” as Roden calls it, capturing the electric high of early romance alongside the creeping sense of its inevitable end.

Framed by country-inspired songwriting, dark synth textures, and a hooky pop-rock spirit, “On the Run” channels disparate influences – from sunset car rides to Depeche Mode – into a compelling story of fleeting love and fragile connection. Co-produced with acclaimed Canadian artist Louise Burns, the song features drums crafted entirely by Roden, who chopped and stitched together samples to build the pulsing heartbeat of the track.

Written after a short-lived relationship where both intimacy and impermanence were inescapable, “On the Run” leans into dualities: sparse, minimalist verses that give way to denser, sweeping choruses before stripping back to near silence in its final moments. The ebb and flow echo the unpredictable rhythms of desire, fear, and longing.

The official video for “On the Run” mirrors the song’s wistful tension with a clever country-inspired concept that blends queer visibility and political commentary. It follows two cowboys fleeing America for Canada, culminating in a kiss beneath a massive Canadian flag – a direct nod to Bruce Springsteen’s iconic “Born in the USA” imagery (as is the single artwork which is a mirror image of Springsteen’s iconic Born in the USA album cover, just with a Canadian flag instead of American). It features a defiantly Canadian twist at a time where the country is grappling with issues of nationhood and identity as its relationship with its southern neighbour is tested. 

Featuring actor Connor Riopel (Amazon Prime’s Laid), the video pays tribute to Roden’s adopted homeland while sparking conversation about LGBTQ+ rights, national identity, and belonging.

Midnight Channel surprises longtime listeners with their first-ever vocal track, “Must Be Nice” – a dreamy, rhythm-forward blend of bossa nova melancholy, delusional romanticism, and subtle frustration. With vocals by Geneva Murphy, the Lethbridge-based jazz collective explores what it feels like to be left behind in love and how powerful it is when someone finally sees you.

“Must Be Nice” is a love song about how hard it is to even get a date – let alone meet people who see you. It’s a reflection on that third-wheel feeling from high school, when everyone around you seems to be finding connection, and you’re stuck focusing on all the “self-work” people tell you to do. It’s about longing, being left out, and how powerful it is when you finally do meet someone.

The song is lush and layered, blending soft Latin grooves with warped jazz harmony, cuíca and berimbau percussion, and a moody, meditative vocal performance. Guitarist Austin Phillips flips his strings upside down – literally – to craft piano-like voicings, while Matthew Erdmann‘s production channels cosmic textures using a Yamaha YC-30 portamento strip, à la Sun Ra. The result is a richly expressive, emotionally off-kilter song about the ache of watching connection happen around you and wondering when it’ll be your turn.

Alt-rock quartet Slightest Clue dive deep into grief, processing, and raw release on their new EP, Molly, out now alongside the searing focus track, “Cauterized.” A fusion of distorted guitars, post-punk urgency and shoegaze textures, the collection finds the band threading themes of endings and emotional reckoning through their most cohesive, hook-driven songs to date.

“Thematically it was inspired by [bassist/vocalist] Hannah [Kruse] and I’s mirrored experiences in closing of important relationships in our life and the processing of it,” says guitarist/vocalist Mac McLaren. “It contains fictional characters we wrote about as well as personal moments that process those feelings.”

At the forefront sits “Cauterized,” a song that embodies the EP’s spirit of wrestling with pain and ultimately letting it burn through you. “‘Cauterized’ takes from the idea of burning a wound closed because that was how things felt in the end,” says Mac. “Severing connections leaves a scar that forms you for the rest of your life.”

Townsville based Indie/Punk Rockers Poison Oak have released anthemic new single called ‘Little Bit Like You’, which premiered via The AU Review. The single is the latest offering from their upcoming album release. 

Poison Oak have spent the last several years stealing hearts and minds with their electrifying live show, playing countless shows around the country, supporting the likes of Tones and I and gracing the stage at Tropic Sounds Festival.

 2024 saw the release of single and music video ‘Wasted’, which was the first offering from their forthcoming sophomore LP – recorded with Brock Weston (Bugs, Beddy Rays, Dune Rats). The release was premiered via The AU Review and received positive coverage from HEAVY Mag, Good Call Live, AMNplify and many more. The band then went on to support Australian heavyweights DZ Deathrays in October.

They quickly followed up with the release of single ‘Tell Me’, which premiered via AAA Backstage and received airplay on well over 100 radio stations worldwide. Their most recent single ‘Replay’ was released in April and received praises from The Point Music News, The Rockpitand Good Call Live, just to mention a few.

New single ‘Little Bit Like You’ is available on all major online stores and streaming services.

Drawing from a life spent between wild northern landscapes and intimate moments of reflection, Rogan Mei returns with “Lefroy,” a hopeful and heart-pulling indie folk track about self-discovery, resilience, and return. Anchored in quiet emotion but expansive in imagery, the song is part meditative memoir/part mountain summit.

Inspired by a painting of Mt. Lefroy by Lawren Harris – viewed during a visit to the McMichael Gallery on the anniversary of his mother’s heart transplant – “Lefroy” emerged as a metaphor for personal reckoning. “As we stood looking at this mountain, I imagined myself climbing it,” says Mei. “The first line and melody just popped into my head, and I wrote the rest in the days that followed.”

The track’s evolution mirrors its lyrical arc. Originally longer and more subdued, “Lefroy” was restructured for live performance as part of Canadian Musicians Co-operative’s Showcase tour before being recorded for his upcoming Dickies Green Plaid Jacket EP. Rather than opt for a studio, Mei and his band recorded it in the house he grew up in – immersed in nature, memory, and intention. “Everything (except the female vocals) was recorded in the same room, by people I know, playing real instruments,” he says. “Very few records are made that way anymore.”

Victoria-based rock outfit The Bankes Brothers return with “Get To Know,” a rhythmic and high-energy single that captures the emotional push-and-pull of trying to connect with someone whose guard is still up. With sharp hooks, a raw and melodic core, and the band’s signature dynamic style, it’s another bold step forward for the rising Canadian quartet.

“This song came from that feeling when you’re really trying to break through to someone who’s not letting you in,” shares frontman Nelson Bankes. “It’s about the tension between wanting to hold on and knowing you might have to let go. We tried to keep it raw and honest.”

Energetic and unfiltered, “Get To Know” leans into the emotional complexities of connection while delivering the kind of anthemic rock sound that’s made The Bankes Brothers one of Canada’s most talked-about live bands.

Melbourne based Heavy outfit This Space Is Ours have dropped their brooding new single ‘Picture Perfect Paper People’.

The band have also announced that they will be appearing at 2 Pizza 2 Planet at Stay Gold in Melbourne on August 9 alongside a huge lineup. 

Produced by Beau McKee (Dream on Dreamer, Void of Vision), ‘Picture Perfect Paper People’, is a potent blend of atmospheric, lyric-driven verses and riff-heavy, high-octane choruses. The track tackles the suffocating pressure of conforming to societal expectations and the liberating joy of embracing individuality—a theme close to the band’s heart.

“The lyrics explore the pressure to kill your individuality just to fit in and how that never truly works,” says frontwoman Gemma Dunsmore. “Real happiness comes from embracing what makes you unique, so if you’re in a place where you’re not accepted for who you are, it’s time to break free.”

Entering their heavy era, This Space Is Ours recently released their blistering single and music video ‘Help Me’, which premiered via AAA Backstage and was aired on over 100 radio stations worldwide. The music video was quickly aired on ABC Rage. They
followed-up with the release of their hard-hitting single ‘Accountability’, which premiered via The AU Review.

New single ‘Picture Perfect Paper People’is available on all major online stores and streaming services.

THIS SPACE IS OURS 

UPCOMING SHOWS

Aug 9^th – Stay Gold, Melbourne, VIC
2 PIZZA 2 PLANET  

Tickets available at www.oztix.com.au | 18+ only 

Like a flower rising through the ashes of a burnt forest, Dylan De Braga’s debut single, “Hold the Door,” blooms from devastation into something achingly beautiful. Written in the aftermath of a painful, heart-shattering breakup, the folk-infused track captures raw emotion with a tender, unguarded honesty.

Unable to even touch his guitar for nearly two months following the breakup, De Braga eventually found the courage to sit with his pain and within minutes of picking up his guitar again, “Hold The Door” emerged. “Without this song I wouldn’t be where I am, and I certainly wouldn’t be who I am,” says De Braga. “It will always hold a special place in my heart.”

Pairing confessional lyrics with a soaring, powerful vocal performance, “Hold The Door” transforms personal grief into a universal meditation on loss, healing, and resilience. The result is a song that feels both deeply intimate and widely relatable, inviting listeners to find their own reflections within its stirring lines.

Montreal-born, Gabriola Island, BC-based composer, vocalist, and meditation guide Mark Fenster returns with “Rising Embers,” a glowing, introspective new track from his just-released album, Serenity Sessions, Vol. 1—a deeply personal collection of sound journeys and guided meditations designed to restore calm, connection, and clarity for the listeners.

Driven by multicultural instrumentation, gentle orchestral textures, and a sense of spiritual movement, “Rising Embers” conjures the quiet beauty of a campfire’s final glow—each ember lifting into the night as a symbol of trust, release, and transformation. The piece invites the listener to follow a path of rising emotion and soft realization, repeated yet evolving, landing in a space of gratitude and peace.

“Sitting by a glowing campfire, feeling the warmth, absorbing the calm, watching tiny embers lift and fall to the sky, as if letting go, completing the experience and flowing back to the source. This is how I feel when I realize I’ve made the leap, I’m ok, and all is well now that I’ve believed and trusted and seen the beauty behind the blast,” says Fenster.

The award-winning East Coast artist returns with a stunning live version of her 2021 single “Until You Are Sorry,” offering a raw, emotionally charged performance that highlights her commanding voice and magnetic stage presence.

“‘Until You Are Sorry’ was born from the quiet strength it takes to walk away from someone who refuses to take accountability,” East shares. “It’s about loving yourself enough to wait for the apology you know you deserve.”

Originally recorded for a TV special in Halifax, NS, during the height of the pandemic, this version captures East at a career-defining moment – performing live alongside Alan Doyle and the Beautiful Band, an experience she describes as “a dream come true.”

“This recording has become one of my favourites,” she says. “It was one of the first times I truly felt myself on stage – like I belonged up there with those incredible musicians. I’m so proud to finally share it with the world.”

Mixed by Cory Tetford, the live cut brings a fresh energy and emotional clarity to the track, bridging the intimate and the epic.