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.”
“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.
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.
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.
On his new single “Echoes,” folk rocker Mike Bern guides you, like a soaring bird, over a stretching and breathtaking landscape where the sounds build in intensity and then become more vivid and enveloping.
In the valley
Where the ancient sounds reside
There’s a rhythm that echoes
Deep inside
From the past
They call out to me…
I feel so free
Bern is coming off yet another Top 10 on the Indigenous Music Countdown for his single “New World.” On this latest “Echoes,” Bern enlists the help of the drum group Muskrat Singers to create a richly textured and multi-layered soundscape meant to recreate the pounding of ash (the process of making ash baskets). The song shimmers, chants, builds and dissolves around the joyful rhythm of the ancient practice.
“The echoes would resonate throughout the valley,” Bern recalls of the practice he often observed in his childhood. “You don’t hear that anymore. It’s like the sounds disappeared.”
Now, the pounding of ash is, sadly, nearly obsolete. “There were a dozen basket makers in my small community in my younger years, of which only a few remain,” Bern says. “I wanted to express my love for my ancestors and community throughout the Wolastoq Territory.”
On “Echoes,” Bern was able to fulfill a dream he’s long nurtured of collaborating with a drum group. “This has always been what I wanted to do since I started my musical career,” he explains. “I got in touch with my friend from St. Mary’s First Nation Percy Sacobie and his drum group Muskrat Singers and asked him if he’d be interested in collaborating.”
Fortunately, the Muskrat Singers were enthusiastic, and so Bern also got in touch with Dylan Ward, a Mi’kmaq local musician in Fredericton who owns a studio and had him record the Muskrat Singers for the track. The rest is history, and “Echoes” truly captures a sense of vastness, awe, and majesty.
Mike Bern is deeply rooted in Tobique First Nation, situated along the Tobique and Wolastoq rivers, where the Wolastoqiyik people are known as the “people of the beautiful river.” His love for music began in childhood, when he was captivated by his late uncle playing the guitar and the secret music sessions held behind closed doors. This early fascination ignited a lifelong passion, leading Mike to self-teach himself acoustic guitar three decades ago.
What drives Mike’s musical journey is a strong connection to his ancestors, his personal challenges, and the healing power of nature. A turning point came during his time in rehab when a counselor recognized his talent for songwriting, noting that his writing felt like singing. This pivotal moment set him on the path to becoming a musician.
Mike refuses to be confined by genre labels, often blending folk and rock influences in his compositions, earning recognition and nominations, including three number one hits on the Indigenous Music Countdown. His discography features notable releases such as “Waponahkew” in 2020 and “Ancestors” in 2023, with his recent single “Reverberation” skillfully capturing the essence of the sweat lodge experience through an ethereal soundscape, and “New World” hitting the Top 10 again.
Mark Volman has led a storied life, and many of those stories are contained in Happy Forever. A true son of Southern California, he has gone from topping the charts with The Turtles (‘Happy Together’) to underground cred with Frank Zappa and beyond. As Flo & Eddie, Mark and his longtime singing partner Howard Kaylan were the not-so-secret ingredient on many other artist’s records, taking Bruce Springsteen into the Top 10 for the very first time and helping T. Rex dominate the British charts. Then came The Ramones, U2, Blondie, Duran Duran, and so many more; the list of credits is long and varied.
Happy Forever covers all of that, along with subsequent forays into animation, a stint as a radio personality in Los Angeles and New York, and a midlife return to academia, which led Mark to create and run innovative college programs in LA and Nashville. But this is not the world according to Mark Volman, and it is not your average musical autobiography. Alongside his own comments, this uniquely insightful book contains contributions from more than one hundred of Mark’s peers, friends, and lovers who share their thoughts on the man himself and on topics that span the social and cultural landscape of past half-century.
Happy Forever’s cast list reads like a who’s who of popular music, featuring members of The Doors, The Monkees, The Byrds, The E Street Band, and many more; producers Tony Visconti, Bob Ezrin, and Hal Willner; voice actors from The Simpsons and the Firesign Theatre; and key figures from the worlds of radio, animation, and academia. The book also includes previously unseen photographs and forewords by Alice Cooper and Chris Hillman.
The immensely talented musician Kristan Toczko has taken AC/DC’s “Thunderstruck” and reimagined it in a way that’s nothing short of spectacular. With an electric harp slung over her shoulder like a guitar, Toczko delivers a fabulous rendition that’s both powerful and utterly captivating.
The prodigiously gifted Luke Pickman, known as InstrumentManiac, has delivered a tour de force performance that’s nothing short of awe-inspiring. Taking on the beloved “Stickerbush Symphony” from Donkey Kong Country 2: Diddy’s Kong Quest, Pickman showcases his extraordinary talent by playing every single instrument on this breathtaking cover.
Get ready to groove like never before! David Byrne’s innovative “SOCIAL!” dance club brought people together in April 2021 for a safe, masked, and socially distanced dance party like no other. Whether you’re a seasoned dancer or just love to mess around, now’s your chance to be part of the magic and he teaches you the moves.
