Greg Graffin is the lead vocalist and songwriter of Bad Religion, recently described as “America’s most significant punk band.” Since its inception in Los Angeles in 1980, Bad Religion has produced 18 studio albums, become a long-running global touring powerhouse, and has established a durable legacy as one of the most influential punk rock bands of all time.
Punk Paradox is Graffin’s life narrative before and during L.A. punk’s early years, detailing his observations on the genre’s explosive growth and his band’s steady rise in importance. The book begins by exploring Graffin’s Midwestern roots and his life-changing move to Southern California in the mid-’70s. Swept up into the burgeoning punk scene in the exhilarating and often-violent streets of Los Angeles, Graffin and his friends formed Bad Religion, built a fanbase, and became a touring institution. All these activities took place in parallel with Graffin’s never ceasing quest for intellectual enlightenment. Despite the demands of global tours, recording sessions, and dedication to songwriting, the author also balanced a budding academic career. In so doing, he managed to reconcile an improbable double-life as an iconic punk rock front man and University Lecturer in evolution.
Graffin’s unique experiences mirror the paradoxical elements that define the punk genre—the pop influence, the quest for society’s betterment, music’s unifying power—all of which are prime ingredients in its surprising endurance. Fittingly, this book argues against the traditional narrative of the popular perception of punk. As Bad Religion changed from year to year, the spirit of punk—and its sonic significance—lived on while Graffin was ever willing to challenge convention, debunk mythology, and liberate listeners from the chains of indoctrination.
As insightful as it is exciting, this thought-provoking memoir provides both a fly on the wall history of the punk scene and astute commentary on its endurance and evolution.
A historical memoir and cultural criticism of punk rock’s evolution, by the legendary singer-songwriter of Bad Religion. It gets released on November 8, 2022 through Hachette Books.
With an unspeakably massive musical presence in Latin America and expanding upswing into Europe, Ottawa pop sensation Andrew Cassara elevates the game with an infectiously groovy song about moving on and letting go with his dancy new single “Better Off.”
Taking his international sound to new heights, Cassara seamlessly blends hints of disco with bright splashes of funk on “Better Off” to reinvigorate the pop music genre while breaking from convention. Cassara charts his own path drawing inspiration from genre-defying artists like Jamiroquai and Maroon 5.
Cassara’s inspiration for the sound of “Better Off” didn’t come from any particular artist, “the feel and direction of the song was inspired by my fans in Latin America that have been so supportive.” Cassara would develop a universal kinship with the people of Mexico, where an established fan base — some who even went to greet him at the airport — provided Cassara with the means for a small tour across the country.
Mexico’s passionate energy would provide all the motivation to create “Better Off” once Cassara returned home. “When I got in the studio, these thoughts inspired me for the overall feel for the melody and production that I wanted to add to this record as a thank you to the fans for their ongoing support.”
The rhythmic synergy of “Better Off” is only matched by the kinetic vocal performance delivered by Cassara, who fearlessly embeds messages of perseverance and self-love in the playfully deep lyrics.
“Played me once that made me cry
Gave me hope then fooled me twice
What is done is done
Now I know to run run”
Much of Andrew Cassara’s success stems from the seminal debut album released in 2020 entitled “Freak On Repeat.” The album went on to garner over 400,000 streams across digital platforms and over 400,000 views of music videos on video streaming platforms, despite an entirely independent album release.
Nominated for multiple Capital Music Awards, including Artist Of The Year and Album Of The Year in 2020, Cassara has also shared stages worldwide with some of the biggest acts today, including Shawn Mendes and Chromeo. Cassara is showing no signs of slowing down with an enormous international tour that stops in several countries across three continents this year.
With the world’s climate emergency only getting worse, it’s fitting that Vancouver, BC-born, Victoria, BC-based alt-folk artist Kele Fleming has dialed up the intensity of her call-to-action pop ballad “Vanishing of Bees” with a dark, soaring Synthwave remix and accompanying video.
The song, which Fleming and her band released last year with a new live video in honor of the same day, sits at the crossroads of a child’s wonder at discovery and an adult’s grief over what’s been lost.
“In the song, I call upon the memories of my childhood self — my wonder and love for the natural world,” Fleming shares. “This is contrasted with the adult voice in the song — a voice that expresses grief for what has been lost…
“Youth and the natural world threatened.”
A child in love with the trees
Gentle giants swaying above me
This verdant world set me free
In what the Vancouver Sun’s Stuart Derdeyn calls “a lush pop ballad boasting a soaring vocal on the chorus”, “Vanishing of Bees” powerfully juxtaposes a nostalgic, youthful worldview with the harsh reality of today’s global environmental crisis.
For Fleming, her approach to producing the video was no different.
“The music video, created from a mix of stock footage and footage I shot myself, juxtaposes images of lush beauty with withered landscapes,” Fleming says. “When I was making it, my imagination was flooded with memories of the scorching summer heat and destructive wildfires that raged in BC, where I live; I found the heat we experienced last summer quite terrifying, and I am fearful for our future.
“The thought of a world without bees and the impact of their absence is equally terrifying,” she adds. “I wanted to create something that honours Atlas to Earth’s interpretation of the song while amplifying the seriousness of the predicament we’re in.
“The video is meant to move you and terrify you a little — as I remain committed to using my art to provoke emotion and spur action.”
The original song features acoustic guitar, a killer bassline, and Fleming’s soaring vocals – and the whole thing is tied together with the texture of ‘60s psychedelia. In contrast, this new iteration, titled “Atlas to Earth Synthwave Remix,” is wholly modern, with building and dissolving walls of shimmering electronic sound; ethereal, high-as-the-heavens vocals; and some gorgeously dark, industrial synth.
The fourth single her fourth studio album The Song I’ll Write for My Whole Life, “Vanishing of Bees” made its first public bow on UN World Bee Day in 2019 as a fundraiser for the David Suzuki Foundation’s Butterflyway Project. “This project supports the protection and sustainment of key pollinator habitats and is very close to my heart,” explains Fleming. “The protection of bee and pollinator habitats is crucial to the sustainment of Earth’s ecosystems and our human food systems.”
A self-proclaimed “nature champion”, Kele (pronounced “Kelly”) Fleming wrote the songs for her latest album while on vacation in remote areas of B.C. and Ontario in 2019. “My writing for this song, and for the whole album, is preoccupied with capturing what we may soon lose in the climate emergency, and grieving that loss,” she said.
Canadian songsmith Christina Martin returns with “In Control,” the second blistering single from her unreleased eighth studio album, Storm.
After the ethereal sweep of opening single, “Stay With Me,” second salvo “In Control” is a pounding percussion-led odyssey about the battle between the need to feel in control, and the need to just let loose.
Dealing grace and grit with equal aplomb, it’s a fitting follow-up.
“This song is about wanting to return to a feeling of being in control, but only after letting go and experiencing some of the human vices that lead to temporary pleasure. I’m pretty well-practiced at living a routine, discipline, and healthy life, but I’m still a mess a lot of the time, and turn to my sources for help getting back to the sense of feeling in control.”
Like all the best sequels, “In Control” is a darker, duskier beast than its predecessor. Grappling with the all-too-common clash between the desire for control over one’s life and the temptation to throw caution to the wind, it finds Martin doing what she does best: taking the deeply raw and personal, making it something instantly relatable, and firing it off in a sonic barrage that grabs you by the scruff and won’t let go.
With clunking drums and broiling guitars swirling like whirlpools beneath, Martin’s restless vocals glide delicately over it all. Tackling hefty themes, “In Control” is very much a song of two emotions, split egos crashing against the edges of the record. Order and chaos slugging it out to that brawny, arena-inflected drumbeat. The verses march relentlessly, whipped along by a crunchy rock guitar with the ghostly, echo-lathered backing vocals sending a spear of anxiety right through the middle. Yet occasionally the song breaks fleetingly into major key, like a whale breaking the surface, unashamedly hopeful with soaring Bowie-tinged synths. Neither part sticks around for too long either — the whole affair is a gripping musical tug of war.
Martin’s lyrics are typically piercing. She artfully sketches the portrait of a figure fighting to keep control of their life, whilst the desire to hang the rules and consequences with them tugs at every line. Simple, powerful, and enigmatic all at once, like a frantic internal monologue ebbing and flowing in time to the music. Martin’s vocal delivery is characterful, desperate yet heavy with the world’s troubles, and occasionally rising to a furious frustrated cry.
The majority of the track was recorded in the century-old Capitol Theatre, an Art Deco antique in Oxford, Nova Scotia not a stone’s throw from Martin’s home. With those growling lead guitars, bass, and pounding drums laid as the bedrock, the track also features all manner of sonic delights from synths, stomps, claps, clangs, and cowbells all drizzled on top. Raw and resolute, “In Control” is a thoughtful, hypnotic outing for Martin with a real emotional undertow. An anxious, urgent march that packs all the punch of a thundercrack.
“In Control” also has an accompanying music video — the second collaboration with acclaimed director Brendan Henry. Henry delivers an epic, cinematic musing on the industry’s need for artists to (metaphorically and literally) break themselves for their art. The video features a giant custom-designed statue of Martin, broken and falling to earth, and all the colossal pieces needing to be gathered from around the globe. Icaran, fable-like, and with a wide scope worthy of such a pounding track, it’s a suitable companion to the single.
Christina works with an expert consultant, Sensory Friendly Solutions, on finding ways to make her in-person and online events more accessible, inclusive, and sensory-friendly. For the official music video launch of “In Control,” custom closed captions will be added to YouTube and Facebook, and the audio-described version of the music video will also be published.
American multi-instrumentalist and songwriter Elliott Novak channels his Salt Lake City, Utah upbringing into his signature pop/country sound with the release of a heartwarming new single and EP, “Why Does Everyday Start With Goodbye.”
Novak’s Inspiration for “Why Does Everyday Start With Goodbye” began innocently enough as a song about what we often find in a typical day, but quickly became much more. As Novak says, “I kept thinking about how everyone — including me — puts all their hopes into finding that special person to share their life with… Only to end up spending most of their time apart.”
As Novak began to reveal his debut single to colleagues and friends, the song’s message immediately resonated. “When I first started showing people the song on the piano, everyone was like, ‘you’re right… Why DOES every day start with goodbye?!’”
Forming cohesive energy that infiltrates both heart and mind, the sonic backbone of the song lies in the sensational guitar work that instantly evokes a sense of familiarity and comfort while uplifting melodies sail smoothly alongside the meaningful message embedded within.
While Novak’s masterful instrumentation and songwriting prowess in “Why Does Everyday Start With Goodbye” serenades the soul, the lyrics are brought to life by the extreme talent of a singer featured on the track; known simply as Sylvie, her raw vocal performance ensures the nuance of the song reaches the depths of any listener.
“Oh yeah, goodbye to you
A sweet text on your break gonna make me smile for a few…oh
But then I’ll spend the afternoon thinking about just being close to you
I know I don’t have room to complain
Some folks don’t have anyone to seek shelter with from the rain.”
Having been a successful songwriter for many acts across the United States, Elliott Novak decided to hone his artistic skillset further with his first solo demo release in 2020 — as the pandemic was raging. Starting every song on the piano, Novak would find his niche harnessing the music he grew up to in the suburban outskirts of Salt Lake City, Utah, with his dad.
“I grew up in my dad’s truck listening to the AM country station,” Novak recalls. “I think this song really shows the influences of where I come from, and where I am now.”
And luckily with that, there’s no goodbye in sight.
The tale of ego versus love is one as old as time itself. For some of us, we lose that battle and nowhere is that concept captured more perfectly than in pop-R&B artist Stanley’s new single, “Twisted.”
As Stanley’s newest release, “Twisted” arrives fresh from the Winnipeg-based artist’s latest album, Resurrection; the LP aims to be a retelling of loss throughout the pandemic, with “Twisted” a pivotal chapter in that story.
Fantastically produced, “Twisted” is reminiscent of The Weeknd’s summer releases, bringing forth images of summer flings ending too soon, and the high energy behind this mix paired with Stanley’s R&B style vocals really sells this track. It’s this façade of feel-good loving that acts as the cherry on top.
“’Twisted’ tells a story about how, in the midst of all I was going through, I had a girl that loved me regardless — but I never wanted her the same way she wanted me,” Stanley shares.
With that, Stanley’s newest single feels like something sweet tainted by pain — like a vodka lemonade with a heavy pour.
The song’s production features punchy synth grooves coupled with well-timed guitar samples that make a guest appearance in the chorus. While these layers of production seem innocent at face value, each instrument throughout the mix plays a role in the mindset that comes with feeling all-worthy of a loved one’s embrace.
“She did all she could do to let me know she cared for me, but I never saw the value in her,” Stanley reflects. “She decided to move on and I instantly regretted losing her; it made me see what I was missing.
“This destroyed my ego,” he continues, before adding “for the better… My ego always told me she should never get it ‘Twisted’; that she will always love me.”
As heard across recent releases — including singles “Waiting,” his 2020 EP, Late Bloomer, and more — Stanley is an innovative musician who blends pop, afro, EDM, and R&B effortlessly.
Moving from Nigeria to Winnipeg, MB, Canada, Stanley was here to further his education — although he never let go of his love for music, a childhood passion of his. In addition to his hundred of thousands of streams across Spotify alone, Stanley is also known for his entrepreneurial spirit and an unlimited supply of ideas and wit. Priding himself on never being boxed in, he works endlessly to leave his musical impact on the world.
“Life is all about perspective,” he says. “How you view it becomes your reality.”
The world has just been through two years of overwhelming uncertainty and isolation with many lives lost, connections broken, and dreams put on hold. Owen Sound singer-songwriter Morgan x Barrie took the world’s suffering, buckled down in depths of the pandemic and made it into something resonant, open hearted, and beautiful for us all with his new album, Lines, and the single “Germany.”
That said, Lines, Barrie’s third full album, isn’t a lament over our recent past… Instead, it’s a raw and honest look at the challenges all generations collectively face in the 21st century; a deeply thoughtful exploration of human hot topics like love, waste, and loss approached in equally passionate terms.
“I wanted to write an album I would want to listen to,” says Barrie, matter of factly.
But Barrie didn’t just ‘write’ this album; Lines is truly a creation all his own volition as he is the songwriter, composer, producer, and engineer — seeing the project through from his imagination to your ears. He writes, composes, records, and mixes all the music in his living room in Owen Sound, Ontario, immersing himself in the pursuit of the right sound reminiscent of Brian Wilson’s legendary musical isolation periods. The result is sonically rich, personal yet relatable, and wholly hard to believe it originated from the artist’s living room and not multiple recording studios.
In the making of this album, one important thing Barrie wanted to listen to be the voices of his past.
“The album started with the song ‘Germany’ — a tribute to my connection with my grandfather and his experience storming Juno Beach on D-Day,” explains Morgan. “I wrote the song after returning from touring Germany, which gave me the opportunity to reflect on how different my experience was in Europe then his would have been.”
I’m connected to you through our history
The blood the battles the brutality
I know it wasn’t you and I know it wasn’t me
It started out in Germany
Making that connection tangible and somewhat haunting, Morgan’s grandfather’s voice became part of the recording.
“Luckily, I was able to find original audio clips that capture him sharing some of his experience at Juno Beach,” he recalls. “When I hear his voice on the song, all the memories come rushing back.”
Unearthing that treasure of his grandfather’s recordings talking about his WWII days brought his experiences so much closer to home for Morgan in writing “Germany.”
“I was fortunate enough that he was able to share some of his darker, more intimate experiences of the war. Through the tears and the pain, it solidified a bond between us that is unique and part of what makes me who I am today.”
And every breath I take and every step I take it brings me back to you
When the earth shakes my heart begins to take I pull away from you
Just like the many ways we humans are connected, the nine tracks on Lines are tied together by transitional audio passages of streetscapes, natural environments, crowded rooms, snippets of conversation, and instrumental flourishes — from subdued to bombastic — that create a seamless experience as the listener follows, willing and intrigued.
Lines is an ambitious concept album that whisks you on an epic, heartfelt journey through the human struggle to make sense of our place in the world around us. Barrie’s rough and tumble, worldly-wise voice is the narrator through contemplative acoustic moments like “Adrift” to full-on roots rockers such as “Strange Days.” In a world of single song servings, Lines is meant to be a full course experience.
Barrie wasn’t totally alone on this sonic voyage. An array of notable Canadian musicians made talented contributions to Lines, including Lisa Lobsinger, Kyle Crane, Mark Mariash, Aaron Goldstein, Tyler Beckett, Matt Epp, and Christina Martin.
Prior to Lines, Barrie released his debut solo LP, North, in 2017 and piqued enough interest to perform several sold-out shows and strengthen his growing music community. Following that, Barrie released Fall in 2018.
Songs from Fall garnered Top 10 placings with CFRC Kingston and airplay on CBC North, as well as praise from international music critics; this success helped Barrie secure an opening slot for Matt Epp on his 2018 European tour. Barrie followed that up with a fully booked three-week tour through Germany and Switzerland in 2020 that was unfortunately postponed as the global pandemic took hold.
Barrie officially released Lines at one of the premier live listening rooms in the Georgian Bay area, the Heartwood Music Hall, and more shows will be on the way in support of this new release.
East coast Canadian rock/blues band Arsenal Mills unleash their no-nonsense approach to good vibes and great times with the supercharged new single, “Give It Up.”
Arsenal Mills hits the ground running with “Give It Up,” an electrifying song about letting go of the toxicity in life and embracing optimism. “I wanted people to know that it’s okay to find the lighter side of these situations and take a humorous angle,” says the band’s lead vocalist/songwriter, Brad Milligan, of the track.
The anthemic new single is not just a testament to the musical dedication of Arsenal Mills but also the commitment to quality sound and production. Lead guitarist/songwriter Griffen Arsenault says, “this is the type of song that really gets your blood pumping and your feet grooving!”
The PEI-based band is no stranger to the power of rock n’ roll, coming out of the gate with an award-winning debut EP, Lovesick & Broke, and consistent melodic chemistry that continues to shine on their latest musical effort. After the success of the EP, Milligan began to imagine the next evolution of Arsenal Mills, sharing that they “were about to start working with award-winning producer Gavin Brown (Billy Talent, Three Days Grace, Barenaked Ladies).
“I thought this could be a great opportunity to really hit our stride.”
As the songwriting and recording were underway on “Give It Up,” it was clear that the band was charting new territory. Arsenal Mills drummer Josh MacNeil says “working with Gavin Brown gave us the opportunity to try new recording techniques, especially with the drums, as Gavin is a very accomplished drummer in his own right. It helped make them sound fuller and more explosive.”
Coming out of Charlottetown, Prince Edward Island, Arsenal Mills is comprised of Brad Milligan’s sensational vocal/guitar work, Griffen Arsenault’s heavy guitar riffs, and Josh MacNeil’s slick percussion skills. André U rounds out the band, pulling triple duty with his chops on bass/keyboards/synths.
With the intention of reimagining rock as we know it, Arsenal Mills came together during the early stages of the pandemic in 2020. Their common influences of new wave, blues, and R&B would inform the direction of Arsenal Mills’ sound; their fresh yet familiar sound is inspired by the rock legends that came before, such as Paul McCartney & Wings, Aerosmith, and Def Leppard.
With the band unified around a fun retro vibe — and having already opened for Kim Mitchell, Glorious Sons and, this Summer 2022, Our Lady Peace — it’s clear Arsenal Mills are in a lane all their own, and recent nominations for both ‘New Artist Of The Year’ and ‘Rock Recording Of The Year’ by Music PEI solidify the band as a rhythmic force of nature destined for greatness.
The red-hot new single “Give It Up” is available now!
Leah Harris has been shining since childhood, and the summation of her career to this point glows on her latest chart-topping offering, “Shine.”
The Canadian-born singer/songwriter is a globetrotter with music in her soul. An encouraging childhood would incite her passion for music, having learned piano from her mother at age four and the fundamentals of songwriting from her father at age nine. Harris’ formative years in the Detroit music community would see her take to the influence of Blues and Motown, and soon the budding starlet had begun gigging professionally.
Harris would move on to study Piano Performance at Berklee College of Music before relocating to Europe to further her career. Having met producer Adam Rhodes during her stint in Boston, Harris released her debut EP, I Don’t Believe In Love (2014), and joined the Blues and Soul scene in Sweden soon after, as well.
Leah Harris was just getting started. Her next stop would be Ireland in 2017 to focus on her songwriting; launching into an independent tour of 13 countries over two years. Her entrepreneurial spirit garnished Harris wide-spread coverage of her journey and earned her legions of fans.
Now, Harris is back in New York City. Her EP Treat Me Good dropped in 2018, again produced by Adam Rhodes. Her frequent gigging in the Big Apple has taken her to the stages of Ashford & Simpson’s Sugar Bar, The Delancey, Rockwood Music Hall, Cafe Wha?, and Club Groove.
It’s Harris’ time to “Shine.” Her wide repertoire of musical endeavours have brought her to this moment. An upbeat, piano-based, and snap-happy diddy oozing with soul and good vibes, “Shine” brings together a career-high for Harris. It’s chill, and melodic. It’s padded with funk, borrows from the pop fringe, and carried through on Harris’ exquisite vocal delivery.
“The writing of ‘Shine’ changed my path completely and brought me back to music again,” says Harris. “Since then, I have connected with so many inspiring artists, performed at some legendary Soul venues around the city, and found my true identity as an artist.
“During this phase of genuine connection, I came across a producer named Sal Oliver,” she continues. “We connected through a shared set of values and approach to music, and I only later found out that he was a GRAMMY-winning producer with an unbelievable resume preceding him. He lined up a remarkable band in Nashville, where we recorded ‘Shine’ and one other future single.”
Harris is currently working on the visual component to the track alongside Andaluz the Artist (best known for his “Kobe” mural at the Barclays Center), as well as Olutayo (lead in Broadway’s Moulin Rouge; dancer – Madonna, Rihanna). Her routine performances and hosting of live music events keeps Harris both connected and busy as a musician conquering New York.
It’s a big world out there. And it’s Leah Harris bringing the “Shine.”
