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HOT MUD Shares Newfound Zest For Life After Addiction With Sophomore Album ‘Pink Cloud Pop’

Eric Alper
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HOT MUD Shares Newfound Zest For Life After Addiction With Sophomore Album ‘Pink Cloud Pop’

Less than six months after bursting into the indie pop/rock scene, Hot Mud is ready to share his newfound zest for life with his sophomore album Pink Cloud Pop, set to release on Friday, Sept. 6, 2024. The lead single, ‘Welcome to Humankind’, is out now, and asks “How often do you wonder what this life is all about?”

The catchy, upbeat song serves as a quirky anecdote that applies to everyone, regardless of where they are in their life’s journey. The poignant lyrics evoke the questioning and questing that Hot Mud has endured in his life so far, while also reminding the listener to “Fill your days with laughter/Cuz nothing really matters/And live happily ever after” because “Surprise/No one gets out alive.”

While his debut, Rehab Rock, was a raw, down and dirty, honest introspective album, hearkening to his early days of addiction and recovery, Pink Cloud Pop brings a new positive perspective and a more cheerful sound. Hot Mud said that the new album saw him embracing his oddities in anthems for outcasts, while expanding on his journey as an artist and recovering addict.

Hot Mud is a self-described alter ego, rocker, and weirdo. The man behind the nickname is Ottawa musician Muddy Watters, who was named after the famous blues musician. He styled himself Hot Mud after being told he becomes a completely different person while inebriated.

Thankfully, his journey led him to rehab, and he spent over a year in treatment facilities, where he became sober and healthy. Rehab Rock was recorded in its entirety during his stays, while Pink Cloud Pop looks ahead, and shares a somewhat happier outlook.

From the perspective of Hot Mud, the song, and the album, are a new beginning. Coming after his focus single from Rehab Rock, “Where the Bad Kids Go” — a song that embraces the dirty glamour and mystery of living in the dark, dangerous world of drugs and inebriation — Pink Cloud Pop feels like a happy rebirth.

Now sober and focused, Hot Mud said he has evolved a new positive perspective, mirroring his attitude and behavior. The title and theme of his new album refer to the term ‘pink cloud’, known in addiction recovery circles as a temporary phase of euphoria and extreme optimism during the rehabilitation process.
According to the artist, he has spent what “seemed a lifetime” struggling with addiction, only recently emerging from the dark and seedy underbelly of that life.

That’s why Hot Mud has made ‘Pink Cloud Pop’. He says it’s a miracle that he is still alive — he sees it as a rebirth and a ‘Welcome to Humankind.’

Colin James Releases “Protection” featuring Lucinda Williams From Upcoming ‘Chasing The Sun’ Album

Eric Alper
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Colin James Releases “Protection” featuring Lucinda Williams From Upcoming ‘Chasing The Sun’ Album

To a recording artist, having a bunch of big-name guests on your album can be a double-edged sword: It’ll get you some attention, sure, but there’s always the danger you’ll find yourself pushed out of the limelight—a supporting player in your own production.

Fortunately, no one elbows Colin James into the wings. With nearly four decades in the business—and an armload of sales records and peer accolades to show for it—the Vancouver blues-rocker has thrown open the door to welcome a house party’s worth of friends and mentors on his 21st and latest, Chasing the Sun. Appearances by the legendary likes of Charlie Musselwhite, Lucinda Williams, Darryl Jones and Charley Drayton energize an album that cooks with the intensity of a thousand spotless reputations. But the formula remains 100-proof James throughout—a distillation of the singular and passionate vision that’s enshrined him in the hearts of millions of record buyers worldwide as a musician’s musician.

Take spotlight track “Devilment,” a title-appropriate blast of fire-and-brimstone blues that revels in some red-hot harmonica from the iconic Musselwhite. You can hear every breath of the authenticity Musselwhite has lived and exhaled for more than half a century as both a Grammy-nominated harpist in his own right and a revered sideman to heavyweights like Bonnie Raitt and the Blind Boys of Alabama. Yet his own contribution never overpowers James’ stinging guitar and barroom-approved vocal as the latter sings the praises of a woman who’s not only “lovely” and fine” but has “the devilment on [her] mind.”

Pumping the ardor even further into the stratosphere are bassist Jones and drummer Drayton, whose miles-long pedigree (both together and apart) includes work with everyone from the Rolling Stones, Miles Davis and Neil Young to Sting, Paul Simon and Johnny Cash. And that isn’t even factoring in the extra instrumental assist by co-producer Colin Linden, who played guitars, bass and dobro on the album—and just happens to have co-written “Devilment” in the first place. (Previous versions of the song appeared on separate 2009 albums by Linden and its co-author, Toronto bluesman Paul Reddick.)

To Linden, who’s produced six albums with James since they started collaborating back in 1997, the new album is definitely a case of sweetening, not diluting, his pal’s boundless talents. “Colin is still so engaged with his own artistic development,” he marvels. “And it just got better every time we dug in deeper, which is not always the way it is. There are some places on the record where I can’t tell if it’s me or him playing guitar, even though we play differently. There is this blending of styles indicative of the vibe of serving the music.”

That means serving it wherever it chooses to go. For the spiritual flip side of “Devilment,” cop a listen to album opener “Protection,” a sinuously driving cover of Williams’ 2014 plea for salvation from life’s dark forces. James’ rendition soars on the perfect sync between his own singing and an unmistakable vocal assist from the Americana icon herself.
“Lucinda is such a revered songwriter, such a legend,” James raves. “But she’s so nice. And hearing our voices together on tape was such a pleasure.” And with gospel greats Ann and Regina McCrary chiming in too, who up in heaven could deny their tenderest mercies?

Captured for posterity at Nashville’s Pinhead Recorders—a 1,000-square-foot, “purpose-built,” standalone home studio in Linden’s backyard—Chasing the Sun is a cannily assembled set of songs pulled in from all over the place. Scorching originals like “Star Studded Sky” and “This Song Kills Hate” represent career-best collaborations between James and a host of Canadian compadres, including Tom Wilson of Junkhouse and Blackie and the Rodeo Kings and Colin and John-Angus MacDonald of rock maulers The Trews. Adding flavor are four meticulously chosen covers from the songbooks of giants like John Hammond and Paul Butterfield. The track list runs to 11 numbers in total—nine on the album proper, and another two offered as downloads (including “Come to Find Out,” another team-up with Musselwhite).

Chasing the Sun is the latest landmark in a career that’s been hitting high after high since 1988, when James’ self-titled debut became the fastest-selling album in Canadian history and won him his first JUNO Award. (It helps when one of your earliest champions enjoys a profile like Stevie Ray Vaughan’s.) Since then, James has collected multiple gold and platinum awards, scored a #3 radio hit in the United States (“Just Came Back”) and shared musical airspace with a who’s who of greats, including Keith Richards, Albert Collins, Albert King, ZZ Top, the Chieftains, Carlos Santana, and Buddy Guy. In the process, he’s received eight JUNOs and 31 Maple Blues Awards and been inducted into the Canadian Music Industry Hall of Fame. Last year, he scored his first nod from the Memphis-based Blues Foundation, which nominated him in the Best Blues Rock Album category for his 2021 collection, Open Road.

So don’t pigeonhole him as an early bloomer: To James, the road has only gotten easier and more rewarding over time. “Maybe people don’t buy into a blues guy in his early ‘20s,” he laughs. “When you’re knocking at the door at age 60, people are like ‘Oh yeah, come on in.’”

Yes, please do. And bring your friends with you.

Rockin’ Globetrotting Tunesmith SOHM Brings the “Thunder” With New Single

Eric Alper
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Rockin’ Globetrotting Tunesmith SOHM Brings the “Thunder” With New Single

Have you ever been jolted awake by a clap of thunder? Did it feel so close you were sure it was taking to you—if only you could figure out what it was trying to say? The Nepal-born, L.A.-based songwriter and recording artist known as SOHM believes he has the answer. And he’s sharing it on “Thunder,” his fiercely rocking new single that captures the window-rattling essence of a revelation from out of the blue.

Or perhaps it’s more accurate to say that he’s let it capture him. Not content to merely describe the sound of thunder, SOHM lets the phenomenon speak for itself—introducing itself to the listener directly just like Beelzebub did in “Sympathy for the Devil,” but with far more benevolent intent.

Hello, my name is Thunder!
I’ve been lurking inside
Waiting for the right time
To finally come and get ya
Turn you inside out
Make you lose your doubt
’Cause I don’t really know
If you should still be doing nothing tomorrow
It’s time to see the light
And finally move on from your age-old sorrow

According to SOHM (real name: Sujan Khanal), “Thunder” is meant as a metaphor for the, shall we say, emotional meteorology that’s going on within all of us—that rumbling of the soul that stirs us to acknowledge our true potential and harness it to better ourselves and our lot in life.

“Inside every person is an immeasurable energy that gets suppressed due to various factors like personal trauma, social upbringing and economic realities,” he says. “‘Thunder’ is a reminder that this energy inside of you never dies and only you are the person that can invoke its power. It’s a song about never giving up and listening to that tiny voice inside that gets louder the more we believe in ourselves. You never know what’s born inside you from the alchemy of hard times.”

Born and raised in Kathmandu and now firmly ensconced in the City of Angels, SOHM assembles his sound from influences as varied as folk, blues, metal and ethnic world music, with elements of baroque rock and pop. But “Thunder” is straight-up guitar rock that grabs you by the collar and doesn’t let go. The perfect synthesis of muscle and melody, it feels instantly familiar and utterly compelling, with an arena-ready appeal that makes it every bit as fun as its message is motivational.

Co-produced by Steve Olmon, the track is a standout from SOHM’s latest album, the appropriately named Rock ’N Roll Season. That magnum opus is the latest and greatest chapter in his parallel career as a world-class solo artist in his own right and a prolific composer whose L.A.-based firm provides soundtrack material for movies, TV shows, video games, advertisements and special events. Respected in his field as a go-to guy for scores on demand, he’s a voting member of the Society of Composers and Lyricists, as well as the Composers Diversity Collective in the United States.

Keeping his toes in multiple creative waters simultaneously comes naturally to SOHM, whose diverse background was shaped by cross-cultural spaces and places. He’s a world traveler who’s written songs from locations as exotic as Everest Base Camp, and whose skill set extends to mastery of Nepalese instruments like the Tuning (a plucked string instrument) and the Madal (a hand drum). At this particular moment, though, he’s all about the rock—and the therapeutic value of “Thunder.” His stormy new manifesto, he says, is “an anthem for the dreamers, the hustlers and the ones who chase their passions no matter the cost. This ain’t your typical corporate sellout anthem. This is rock and roll for the renegade souls.”

To which we can only add: BOOM.

Folk Artist Bobbo Byrnes Unveils Self-Titled Album, Chronicling His Journey Through Personal and Creative Struggles

Eric Alper
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Folk Artist Bobbo Byrnes Unveils Self-Titled Album, Chronicling His Journey Through Personal and Creative Struggles

Anaheim, CA’s renowned singer-songwriter Bobbo Byrnes is releasing his highly anticipated self-titled album, an introspective and emotionally charged work that encapsulates the challenges and triumphs he faced during its creation. This album marks a significant milestone in Byrnes’ illustrious career, showcasing his resilience and dedication to his craft.

Bobbo Byrnes’ journey to bring this album to life was fraught with obstacles, both personal and professional. The album, which he recorded from January to May of this year, is a testament to his perseverance and unwavering passion for music. The creative process was anything but smooth, with Byrnes grappling with depression, writer’s block, self-doubt, and the pressures of maintaining authenticity in his art.

“Writing this album was one of the most challenging experiences of my life,” Byrnes admits. “I had just returned from a successful run of shows here at home and overseas and was stuck with a ‘what do I do now’ sort of feeling. ‘Does any of this matter?’ I had just gotten a new manager and deal, which then fell through and felt like I was in quicksand and couldn’t pull myself through. It was actually the music and the songs that did the pulling.”

The new self-titled album features a blend of Americana, folk, and rock, that resonates with authenticity and vulnerability. The deeply personal lyrics reflect Byrnes’ internal battles and ultimate triumphs. Tracks like “Never Learned To Fly,” “Too Many Miles,” and “I Cannot Say” offer listeners a raw and honest look into his creative process, while songs like “Bad Decisions” and “Chance” symbolize hope and renewal.

Byrnes will be touring Europe from September through October 2024 and then returning to the states and touring stateside in early 2025.

Fans can pre-order the album now on Byrnes’ official website and streaming platforms. For more information about the album release, tour dates, and exclusive behind-the-scenes content, visit www.bobbobyrnes.com

Bobbo Byrnes is an acclaimed singer-songwriter known for his heartfelt lyrics and distinctive blend of Americana, folk, and rock. With multiple albums under his belt and a reputation for powerful live performances, Byrnes continues to captivate audiences worldwide. His music, characterized by its emotional depth and authenticity, resonates with fans of all ages.

ADEOLUWA Releases Latest Afropop Hit “Fe Mi” (Love Me)” Blending Yoruba and English

Eric Alper
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ADEOLUWA Releases Latest Afropop Hit “Fe Mi” (Love Me)” Blending Yoruba and English

Afrobeats sensation ADEOLUWA was born in Nigeria and is now based in Saskatchewan, SK. The skilled artist now shares a new Afropop banger called “Fe Mi”, which translated from Yoruba to English means “Love Me”. In addition, this song is part of the artist’s most recent EP “For The Fourth”, that has taken the artist to new heights as he has presented it live in his recent Canadian tour.

If one could explain this song in one sentence, it essentially reflects the need to reconnect with African roots and culture. As ADEOLUWA puts it: “I wanted to create a song that resonated with the timeless rhythms and melodies of classic Afrobeats, a nod to the pioneers who laid the foundation. It’s a love letter to the sounds that shaped my musical identity”.

A hopeful but nostalgic melody set the start of this track, which aims to capture love in its purest form through the lyrics in the chorus, sang in Yoruba:

Ma se e dada (I’ll cherish you)
To ba fe mi (If you love me)

For ADEOLUWA, creating “Fe Mi” was not only an inner journey into his heart, mind and emotions, but also a reflection of what Afrobeats means to him: “It’s more than a genre; it’s a cultural heartbeat.”

Yoruba is one of the three main languages of West Africa, specifically Nigeria. In the present day, there are approximately 50 million people in the world who speak it, making it one of the most widely spoken African languages outside of the continent. Crafting some of the song’s lyrics in one of his native languages definitely reinforces the cultural element.

Like a painting, each element of the song – the piano, synths, afro drums and vocals – add an organic and genuine feel to it, staying true to the genre’s essence. As the track evolves second by second, the key changes and the chorus voices towards the end of the song create diverse sound dimensions, giving it a Gospel feel.

As an up-and-coming Afropop star, ADEOLUWA’s career continues to grow unceasingly. Some of the top milestones of his music journey include earning five nominations from the SaskMusic Awards, as well as attracting the attention of media outlets like CBC, Pulse Music Journal, Range Magazine and The Native Mag, among others. Digital music platforms have also recognized the artist’s talent, featuring him in official Spotify editorial playlists.

There is something truly magical and captivating about his project, where the blend of lyrics, melody and atmosphere generate a good-vibe romantic mood in those who listen. Not to mention, it is a tribute to African culture, as the artist states: “I wanted ‘Fe Mi’ to feel timeless, like a song that could have been played decades ago but still feels relevant today. It’s about capturing that enduring quality of true Afrobeats.”

“Fe Mi”, and the full EP “For The Fourth”, are now available on all streaming services.

Guitar Legend Liona Boyd Shares Reimagined “Summer Dreams” Duet With Olivia Newton-John

Eric Alper
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Guitar Legend Liona Boyd Shares Reimagined “Summer Dreams” Duet With Olivia Newton-John

Nostalgia has a poignant way of folding in upon itself. That’s what’s happened with “Summer Dreams,” the 2013 duet between Canadian guitar icon Liona Boyd and Australian pop superstar Olivia Newton-John. When it was first released 11 years ago, the song was a simple, heartfelt ode to weekend vacations past. Now that it’s been rereleased in a remixed and updated production, the record has taken on the extra dimension of a moving tribute to a friendship not even death could dim.

“Back in 2013, I asked my dear girlfriend of many years, the late Olivia Newton-John, to be my guest on a song for an album I was releasing that year,” Boyd says. “She happily agreed, and I flew down with my producer, Peter Bond, to record her near her home in Jupiter, Florida.

“It was a great experience,” Boyd recalls. “In 2013, she was absolutely at the top of her game vocally, and the entire session lasted little more than an hour. At the end, Olivia did some improvising that was so beautiful it gave us both goosebumps.”

You can get those goosebumps yourself just by listening to the track, which teams Newton-John’s exquisite vocalizing with Boyd’s own vocals and elegantly plucked guitar lines for a lullaby-like throwback to gentler times. With heartbreaking delicacy and sincerity, “Summer Dreams” recalls the serene pleasures of therapeutic getaways to a cherished lakeside refuge:

Canadian summer dreams
Cottages and lakes and streams
Lemonade and soft ice creams
Canadian summer dreams

As we had all learned from Grease, Newton-John knew a thing or two about summers going in. But hearing her famous voice lilting down through the ages is profoundly affecting, especially when it wraps itself around an outwardly innocent observation that can’t help but feel bittersweet in hindsight:

How could anyone have asked for more?
Those were simple, happy days for sure

“Although I liked what we did originally with the song, Peter told me recently that he always wished we could reimagine the production now, years later, in a different style—with a larger soundstage and one that would feature her vocals even more,” Boyd says. “I agreed, and thought this would be the perfect opportunity to re-release the song internationally, along with a lyric video, as a single for this summer of 2024. I could not be happier with this new version that pays tribute to one of the most beautiful souls and voices I have ever encountered.”

Newton-John was one of a kind, all right. But to Boyd’s own credit, she’s never had much trouble making friends anywhere she goes. Known as “The First Lady of the Guitar,” this classical/folk/world music triple threat has performed for England’s Royal Family (several times) and the President of the United States—not to mention millions of paying concertgoers. She’s worked with the esteemed likes of Sir Andrew Davis and the English Chamber Orchestra, Yo-Yo Ma and Georges Zamfir. And if it seems unlikely that a player who was championed by as notorious a purist as the great Andrés Segovia would mesh both personally and professionally with a pop icon like Olivia Newton-John … well, Boyd has a long history of fruitful collaborations (both on stage and in the studio) with chart-toppers like Gordon Lightfoot, Tracy Chapman, Chet Atkins, Eric Clapton, David Gilmour, Alex Lifeson and Rik Emmett.

Her versatility is a big reason Boyd has hit gold and platinum repeatedly with her more than 30 albums, including her latest, Once Upon A Time, and racked up over 50 million streams. The tastemakers haven’t exactly been silent in their admiration, either: She’s won the JUNO five times, which is the exact same number of times the readers of Guitar Player magazine have voted her Best Classical Guitarist – she’s now a member of the publication’s “Gallery of Greats” and has been honoured with three Lifetime Achievement awards. An unquestioned national treasure, Boyd has received five honorary doctorates, the Order of Ontario and the Diamond Jubilee Medal, and was recently upgraded from Member to Officer of the Order of Canada.

When she wasn’t playing solo and orchestral concerts across the globe, she was working on the latest of the hundreds of pieces she’s composed and arranged for her beloved guitar. As a writer of a different stripe, she’s hit the best-seller list with her autobiography, In My Own Key … My Life in Love and Music (which inspired the follow-up No Remedy for Love). She’s even authored a children’s book, The Cat Who Played Guitar.

Childlike wonder suffuses every note of “Summer Dreams,” though the context in which it’s been dusted off and held up to the light can’t help but reveal an added layer of adult loss. That’s when we should take the words at face value and focus on the good times. That weekend lake house it still ours as long as we can picture it vividly in our mind, and summer never has to end if we don’t want it to. Pass the lemonade, and let’s all toast to absent friends.

Natalie Exora’s Musical Journey: From Life-Changing Advice to the Double-Sided Magic of “Nightlight”

Eric Alper
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Natalie Exora’s Musical Journey: From Life-Changing Advice to the Double-Sided Magic of “Nightlight”

When Trinidad & Tobago-born Natalie Exora arrived in Toronto to pursue her passion for music, she built the foundations of an exciting career collaborating with JUNO-winning artists and opening for a slew of high-profile acts. But it wasn’t until she received a life-changing piece of advice from Canadian guitar legend, Rik Emmett of Triumph, that would set her on a completely new and exciting course in just four words: “You need to sing.”

And sing she has, lending her deep, rich, classical voice to two singles released last year. The first of these, “What Are You Waiting For?”, is a formidable debut, setting the tone for Exora’s signature introspective lyrics paired with a chill, synth-pop vibe. Her second single, “Perfect”, is a ballad reminiscent of early-‘90s dream-pop that has drawn comparisons to Madonna.

For her third single– and first double-A side, “Nightlight”/“Nightlight (the Flipside)”, out now, Exora tackles the subject of motherhood – something the mother of four is very familiar with. The single is an EDM-laced pop power ballad that puts one in mind of latter-career Celine Dion, with robust vocals accompanied by a high-energy beat and sumptuous instrumentals.

The song is only one side of motherhood, though. As Exora explains, “Motherhood…is simply ‘too big’ to be contained and expressed one way. You are the ultimate Protector. This culminates in my artistically original idea of expressing the theme two ways, through one song musically.”

To this end, and in a breakthrough approach, Exora recorded the track as a double-sided single: Side A being the original EDM-pop song, and Side B featuring a stripped-down, piano-only version which she aptly calls “Nightlight (the Flipside).”

“The A-Side, ‘Nightlight’, is energetic, fierce and fun; it represents the outside view we feel safe showing the world. The B-Side, ‘Nightlight (the Flipside)’, is vulnerable and emotional; it’s the inside view that only a few will get to see,” Exora says. “‘Nightlight’ is one song, two sides. It’s a musical glimpse into two perspectives of being a Protector, but most of all, ‘Nightlight’ is about love.”

Roots Rocker Michael Lawson Speaks To Small Town Ennui In Latest Single “Tears And Whiskey”

Eric Alper
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Roots Rocker Michael Lawson Speaks To Small Town Ennui In Latest Single “Tears And Whiskey”

“Ive been watching my adult kids struggle with issues of identity,” Lawson says. “And I was amazed, especially post-pandemic, that whenever I went to concerts folks seemed to be spending more time taking videos of themselves at the concert than actually watching the band. All of that gave me a real appreciation for how today’s focus on individual ‘brands’ can actually make it hard for folks to discover and assert who they are. And that struggle for identity and individuality can be even harder in small towns that have been hit hard by changing economics.”

“Tears And Whiskey” is a breezy, summer-tinged pop song with sucrose-rich backing harmonies courtesy of both Lawson and Jimbo Hart, the latter who produced the single and plays bass on it. Lawson sings about getting away from the mundane routine that small town America living can impose on someone. In short living it’s about living life to the fullest regardless of your locale.

These lonely streets aren’t what’s breaking you
Everybody’s too hot
Let’s find a place where the water’s blue
I want to feel your grace, cuz I’m not another face in the crowd

“Those kinds of towns can be the life blood of a country,” Lawson says. “But finding yourself and building the kind of future you want is more difficult than ever before in small town and rural North America. So that’s what I am playing with lyrically in the tune — the struggle for identity, meaning making, happiness, and social welfare in small town North America.”

The nearly three-minute single has Lawson in his finest form with a vibe that could give the likes of Big Star, John Mayer or Jason Mraz a run for their money. The guitar work of Lawson as well as Will McFarlane and Gary Nichols is key to guiding the song along while keyboardist Brad Kuhn adds subtle, tender ticklings throughout. Toss in a smidgeon of ’60s era soul emanating from drummer Justin Holder and “Tears And Whiskey” will leave you fully satisfied.

Lawson, who wrote “Tears And Whiskey,” recorded the single at the iconic FAME Studios in Muscle Shoals, Alabama, a recording space who saw the late greats such as Wilson Pickett, Aretha Franklin and Otis Redding work in its hallowed halls. Currently Lawson joins artists such as Aerosmith’s Steven Tyler, Alan Jackson and Drive-By Truckers who more recently worked there.

Now with “Tears And Whiskey,” the follow-up to his previous single “Not Alone” also from Tennessee River Shakedown, look for Michael Lawson to connect with a wider fan base from this lyrically thoughtful but sonically refreshing, invigorating jewel.

Tale of the Comet: Shoemaker Levee Returns with a Wallop on “Hinterlands”

Eric Alper
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Tale of the Comet: Shoemaker Levee Returns with a Wallop on “Hinterlands”

Thirty years ago this month, humanity witnessed a rare sight: A comet measuring nearly 2 kilometres-wide slammed into the planet Jupiter, with a force that would have destroyed the Earth had we been the ones in its path instead. Astronomers named that comet Shoemaker Levy-9.

A few years later—on the far safer terra firma of Newmarket, Ontario—a bunch of indie/alt-rockers decided to christen their new group Shoemaker Levee, in recognition of the momentous celestial occurrence. Fast-forward to 2024, and that group is still going strong with the release of its new single, “Hinterlands,” which hits with the same planet-flattening impact their fiery namesake made all those years ago.

A bracing challenge to our very notions of being, the song paints in broad strokes the existential dilemmas facing every one of us in this highly uncertain era:

End times calculated
Learn the math
Algo-generated epitaph
Page writes for me
Flash burn lies
Why so angry
Don’t you realize?
That I’m awake
And I need something, I need something more
To make sense of what the future has in store
How am I not myself?
How am I not the ghost of someone else?

The words may be esoteric, but there’s nothing ambiguous about the music itself. Huge guitar chords rise from the mix like monoliths while lead vocalist/guitarist Kevin Rogers Cobus squeezes the meaning out of every syllable with a dramatically deliberate enunciation that whizzes past “questioning” and straight into “accusatory” before the whole thing culminates in a cathartic wah-wah freakout from lead guitarist Dave Broadhead.

“When we’re recording, we don’t like adding layers we can’t pull off live,” the band says. “When we play live, it’s just four of us: two guitars, bass and drums.” Four-stringer Matt Brown and drummer Dwayne Cardoso round out the lineup. “It means something to us to keep that live feel and sound in everything we lay down on tape.”

The critics are already praising the approach—and the message. “Musically, ‘Hinterlands’ complements its lyrical depth with a rock soundscape that feels both vast and personal,” says Canadian Beats. “It’s a profound and evocative rock piece that resonates with anyone grappling with the questions of identity, purpose and the ever-elusive nature of the future.”

That’s typical of the Shoemaker Levee oeuvre, which trades in anthemic, introspective rock steeped in everything from classical to progressive to alternative to folk. Influences most cited by the band members include The Tragically Hip, Led Zeppelin, Rage Against the Machine, Nine Inch Nails and Iron Maiden. If you’re getting the idea this is no timid bunch of navel-gazers, you’re right; then again, heaviness was one of Cobus’ key priorities when he formed the group in 1998. Since then, they’ve written a full five albums’ worth of emotionally and musically weighty material, a treasure trove they’re not even halfway finished sharing with the public.

Why the delay? A protracted band hiatus that started in 2004 and lasted nearly 12 years due to a tsunami of outside complications, from cancer to addiction to more mundane interruptions like work and family. But being gone from the scene for the music-business equivalent of the wait between actual comet visits didn’t completely quash their momentum. They kept writing all the while and refined their lineup with the additions of Broadhead in 2016 and Cardoso a year later.

All that persistence and fine tuning have paid off, in the form of a big win in headlining the Gussapolooza Music Festival (2023) and a second-place finish at the last year’s Ticket to Tall Pines Festival contest in 2023 and 2024. Even more important, they’ve released two albums, Phase of the Days and Another Round, that have earned high praise from listeners and industry types alike.

The tradition is bound to continue when the band’s next record, Between the Lines, sees release later this year. It’s a 10-song collection that represents the best of all possible worlds for Shoemaker Levee, drawing on their rich backlog of compositions while benefiting from a newly collaborative approach to the finessing and arranging of a number.

“Some of the songs are revitalized versions of songs that were written over 20 years ago, and the lyrics still fit what’s happening today,” the group marvels.

As we speak, the band is furthering its reputation as a must-see live act with shows throughout downtown Toronto, adding to a résumé that includes past gigs at prestigious venues like the El Mocambo, Supermarket, The Reverb, The Opera House, The Horseshoe Tavern, Lee’s Palace and the Rivoli. Two songs from the forthcoming album are already in the live set, with “Hinterlands” in the prime position of show opener. That’s a strong and obvious vote of confidence, and it portends great things for Between the Lines when the record drops later in the year. Because while the sentiments expressed in the song may be profoundly ambivalent, the reaction to this heaven-sent fireball of an album is going to be anything but.

Legendary Rapper Saukrates Unveils New Single ‘My Pager’ and 25th Anniversary Edition of ‘The Underground Tapes’

Eric Alper
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Legendary Rapper Saukrates Unveils New Single ‘My Pager’ and 25th Anniversary Edition of ‘The Underground Tapes’

If there is a figure who established the foundation and represents Canadian music, Saukrates undoubtedly stands as one of the pioneers of his genre in the country. With a career beginning in 1994, his influence spans decades and categories, marked by a track record of successful releases and significant milestones. The Toronto-based artist is a 2024 Emmy nominee, a multi-Juno Awards nominee and winner, and an MMVA winner, proving his lasting impact and talent in the industry.

Looking ahead with renewed motivation, Saukrates is preparing astonishing projects that will be unveiled in the next months. Characterized by his signature eclectic hip-hop style, the artist has released “My Pager Burnin Up (Easide of Thangs)” featuring renowned artists Redman and Masta Ace, frequent collaborators with Saukrates since 1997.

With a classic beat and seamless flows, the song celebrates the artists’ success, confidence and dynamic lifestyle that comes with their status in the streets. The chorus reflects a sense of rising success and the constant attention they receive, symbolizing popularity and demand:

“I’m just movin’ on up
To the Easide of Thangs, wut!
My pager just keeps on burnin’ up
Why you wanna cut?”

Redman, the Newark rapper who amasses over 2 million monthly listeners on Spotify, enters the song in the second verse, delivering rhythmic bars with themes of confidence and street life. Then, Masta Ace, Brooklyn legend enters the third verse adding a touch of humor with his punchy and clever lyrics, adding another layer of depth to the track.

Saukrates is thrilled to announce his new signing with Frostbyte Media Ltd, a Canadian boutique label within the SRG-ILS family. SRG-ILS is distributed globally by Universal Music Group’s Virgin Music division. Additionally, Saukrates’ personal MySeat app, packed with exclusive content, is now available on Google Play and IOS. It’s also worth noting that his latest single, supported by Virgin Music and Universal Music Group, will be featured on his upcoming album “Bad Addiction,” set for release in September 2024. This project highlights Saukrates’ personal and musical growth throughout his career and further solidifies his status as a key figure in Canadian music.

As Saukrates prepares new projects, he is also planning a truly special release that pays homage to his debut studio album. It all goes back to 1999 when Saukrates released “The Underground Tapes,” an album where the artist infuses his self-produced tracks with jazzy synthesizers and strings, standing out lyrically with a captivating flow on the mic. As the 25th anniversary of this influential album approaches, the artist has crafted a retrospective 42-track album. This anniversary edition features 21 songs and 21 narrations by Saukrates, offering a personal exploration of each music track.

The first single from this project, titled “Money or Love,” is already available on all streaming platforms. The rollout strategy features two additional singles leading up to the full release on August 23rd. Next up from this one is single “Fine Line” on July 26th, coinciding with the release date of new single “My Pager Burnin Up (Easide of Thangs)”.

In the narration of “Fine Line”, Saukrates explains how he created the beat, sharing: “I still had my acoustic violin with me and I started to layer it, and it became this beautiful, but angry piece.” Moreover, he adds: “It wasn’t until I had gone on tour, when I realized how hard of a punch this was, because that was a song being requested throughout the US, Europe and also by the team”. Surely, one can only imagine how deeply fans will value the insights provided in this reimagined album.

These incredible upcoming projects solidify Saukrates’ position as a key figure in Toronto’s dynamic music scene, propelling his career even further. His illustrious journey in the music industry includes global tours with Nelly Furtado and collaborations with eminent artists like Nas, Method Man & Redman and global phenomenon Drake.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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