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Original MuchMusic VJ, Platinum Singer/Songwriter CHRISTOPHER WARD Releases “Black Velvet” From ‘Same River Twice’ Album

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JUNO Award-winning Canadian songwriter, artist, author and MuchMusic original VJ Christopher Ward has recorded a new take on his most recognizable song, the Billboard #1 hit “Black Velvet” — available now.

The writers who have achieved a #1 single number in the hundreds. This songwriter’s take on the classic comes 31 years after this achievement. It is worthy of your attention.

As far as resumes go, Ward’s is among the nation’s most prolific: To leap by decades, he was a recording artist throughout the 70s, a television icon and founding VJ through the 80s, and a hit songwriter in the 90s. He’s written songs for many — including Diana Ross, Amanda Marshall, Colin James, and the Backstreet Boys — as well as for CTV’s Instant Star, the Degrassi franchise, Cirque du Soleil, and more. His songs have been performed on Idol shows around the world, and he’s won a JUNO Award for Songwriter of the Year. Ward has also authored three novels, Is This Live?, and co-hosts a podcast, Famous Lost Words.

Now, Ward’s take on “Black Velvet” is one of many; the song precedes his forthcoming album, Same River Twice — set for release on May 28, 2021.

Produced by Ward, Arun Chaturvedi, and Luke McMaster, the album signals a homecoming, or a return, if you will. After a career of writing songs for others, Same River Twice tells his own tale as an artist and writer. “It’s a testimony, of sorts, from someone who’s been ‘working life out’ on a guitar and in a notebook for half a century — and counting, and as times change, and we all age, we still have new stories to tell.

“The ground I cover in Same River Twice is personal, and the telling is honest and hopeful. These are songs that say it was all worth it, that our choices matter, and that we need dreams to live for.”

A deep faith in the creative process led to the making of Same River Twice this past summer. “A group of brilliant players and singers gathered in the legendary Orange Lounge studio,” Ward recalls. “We recorded in a way that harkened back to the classic Motown and Muscle Shoals style of working; I’d play the song on acoustic guitar for the band, then they’d run it down a few times, making notes and talking about the shape of the song.

“We’d press record,” he continues, “and once everyone was happy, on to the next!

“It was my belief that capturing a performance of the song, live off the floor and while the players were still discovering it themselves, would lead to the ‘loose and live’ feeling that’s so elusive in recording sessions.”

And capture it, they did. The result is a 13-track LP, along with Ward’s reinvention of “Black Velvet,” that will “take you to the places where the song was born.”

“The creation of Same River Twice was a process of rediscovery, like falling in love again,” Ward explains. “I started to write songs that reflect my own life experiences, which I hadn’t done in decades and it led me to value what I have and what life’s about a whole lot more. I wanted to share that to empower people to listen to their own inner voices, as I came to terms with mine.”

Ward talks about the process of making Same River Twice, “How to get those songs recorded was going to be a challenge, but together, my collaborators and I found a way to work safely and still explore the intimacy of playing as a group, bouncing ideas back and forth as we went along. For the players, who had been working exclusively at home for a while, it was like coming out of hibernation, and for me there’s nothing like the joy of playing together and seeing a song evolve before your eyes.”

With inspiration drawn from the greatest songwriters of all time including Bob Dylan, The Beatles, Joni Mitchell, Willie Dixon, Laura Nyro and Hank Williams, Ward embraces the possibilities of limitless artistic self-expression and a continued and ongoing drive to create. A lover of the process of collaboration, he believes it ultimately makes for a better song — like travelling down a river to discover something new as the ultimate reward.

“I’m happy with the work I’ve done, but will always want to write another song,” Ward explains, when asked about who else he would like to write for, or with, next. “I can’t imagine retiring, it’s a terrifying prospect for me. I’m a storyteller with a restless imagination, and with this new album, I want to connect with the listener by trying to make the most out of who I am, how I’ve evolved, and by sharing the process of rediscovery. If I write something true, that touches someone, that’s where the real gratification is.

“I found something meaningful during the process of making Same River Twice, that I thought I had lost. I believe I’ve just made the best music of my life,” he adds. “And I’m not done yet.”

“Black Velvet” is available now. Same River Twice is available May 28, 2021.

Esther Spiegelman aka Let’s Be Giants Says “I Don’t Mind” in New Single

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There’s a ‘beauty in tragedy’ and ‘dreaminess to heartache’ that Canadian multi-instrumentalist Esther Spiegelman — and group Let’s Be Giants — weave into their encapsulating new single, “I Don’t Mind” — available now.

Landing ahead of the Montreal-based band’s forthcoming album, Fade In / Fade Out, the song features simple lyrics with a profound message; Spiegelman both implores you to listen, and also hear what she’s feeling, what she’s wishing, and what she’s needing.

Drawing on the nostalgia of 90s soundscapes — think Liz Phair asking Dolores O’Riordan to the dance, only to find out that Mazzy Starr was the opening band — “I Don’t Mind” lulls you into memories of heartbreak, but with an air of hope that you’ll survive this, too.

Having fronted several outfits over her tenure as a singer/songwriter, it was Spiegelman’s assembly of Let’s Be Giants where she found her niche. After recruiting Jeremie Dallaire on guitar, Matt Wozniak on bass, and Simon Pesant on drums, songs Spiegelman had started penning began to take a life form all their own.

“Esther often writes songs about being in her own head, and in her own world, where she can view things the way she wants to,” says the band. “As an introvert, she writes a lot about what goes on in her mind, and often references not wanting to go out into the real world.

“‘I Don’t Mind’ is the perfect example of that,” they continue. “It’s especially the ‘I don’t mind, change my mind’ lyrics that provide listeners with the possibility of change and hope.”

As a song that delves into the core of ‘human spirit,’ and challenges it to leave it all on the dance floor, the subsequent music video is another brainchild of Spiegelman where she found her creativity not only in song and on screen, but also behind the lens.

The ‘walk, sing, think, speak, cry, cringe, beg, plead, play it out, dance it out, figure it out’ nature of the video is immersive, and its cleverly drawn animated features keep audiences’ interest piqued. Hand-crafted by Spiegelman and her co-director, Dominic Levert, the pair had mere days to assemble the crayon drawings, storyboard the set, determine the appropriate shots, and see their concept through to translate to video.

Citing, and albeit jokingly, they recall never having “worked that much” in a three-day period, the effort pays off in fastidious ways. The detail in post-production with live and animated elements, mingling with the ingenuity of the whimsical indie rock melody of the song, produces a snapshot in time — from losing it all, but clinging to the aspiration of winning one day again.

“The post production that came after the filming was even more time consuming than everything we had done so far,” the band explains. “Esther took the lead in post production, and literally learned how to animate to make this video possible. Because of the learning curve of it all, it ended up taking about 100 hours longer than anticipated.

“But she was determined,” they continue. “She got it looking how she originally envisioned it, bringing all her crayon-coloured illustrations to life frame by frame — of course, with the help of Dominic, who showed her the ropes and prepped mostly everything for post production.”

The results are a transcendent and brightly coloured visual for a contrastingly melancholy song.

But that’s exactly what Let’s Be Giants does so well: they move you to tears, while giving you permission to feel okay about it.

Like they say, “we give the extroverts the opportunity to be introverted, for even just a few minutes.”

“I Don’t Mind” is available now. Fade In / Fade Out is available June 1st, 2021.

Reggae Rock-Pop Duo Black Creek Reign Embrace Escapism & Summer Vibes in Newly Minted Single, “Run Away”

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Reggae rock-pop duo Black Creek Reign continue to ride the wave of recent critical acclaim with this, the release of their newest single, “Run Away.”

Echoing calls to a lover to pick up and take off for a night, and teeming with sweet thoughts and island vibes, the track features Black Creek Reign members Darren Armoogam and Lex Stultz alongside collaborations with fellow Toronto-based crossover group, The Band Destiny, and Caribbean artist, Logun.

“Reggae is a genre that’s been near and dear to our hearts since our inception,” Armoogam shares. “It’s energetic, vibrant, calming, and can even be political at the same time.

“We’re all about creating within a very fluid genre-bending experience, and are influenced by a variety of styles — rock, pop, funk, and everything in between,” he continues. “But with reggae, there’s a sense of authenticity in it with us, too, considering half the band has an origin story there.”

“Our friends The Band Destiny and Logun really hit a home run with their parts, and this song would not be the same without them,” Stultz says, citing the contributions from Trinidad & Tobago’s Logun (Kevin Ramlogan), and Toronto and Trinidad & Tobago’s The Band Destiny’s Stephen Nanan, Celine Nanan, Dylan Harpal, Curtis Bernard, Kamela Singh, Vijai Ramdath, Vikash Ramdath, Kiran Dhindlal, Shrija Srivastava, and Armoogam, who is also a member.

“The Band Destiny have been our friends for years now, and skillfully blend reggae, soca, chutney, and Bollywood-style music in a way that makes it no surprise they’ve won ‘Top Soca Band’ in Toronto three years in a row.

“Logun has shared the stage with the likes of Wayne Wonder and Ludacris, to name a few, and brings his own unique, Island-rooted flair into the genres of hip hop, reggae, roasting, and soca,” Stultz continues. “We’ve also known him for quite some time, and saw this collaboration as the perfect opportunity to incorporate a vibe that only he can execute. Really, we couldn’t have done it without him, he crushed it.”

“In all,” Armoogam adds, “this song is a rare blend of authentic Caribbean vibes that’s edgy and exotic — perfect for Summer!”

Penned and produced by Armoogam and Stultz, Logun joins on songwriting credits, while The Band Destiny’s Stephen Nanan and Global Music Entertainment’s Jovan Jovanov join on production.

Dubbed “a band with a great blend of funk, rock, reggae, and blues” by Canadian Beats, “Run Away” follows close on the heels of Black Creek Reign’s recent release, “You & I” featuring multi-Platinum, multi-award winning and SiriusXM Artist of the Year Danny Fernandes.

These tracks and collaborations are the latest in the band’s steady stacking of successes: Winners of Raising the Roof / Revival Bar’s Battle of the Bands, and runner up in the following year’s Ultimate Champion rematch, songs from their debut EP Excommunicado — not to mention recent singles “All I Ever Wanted (This Year)” and “The Rain” — have been heard across radio stations and playlists nationwide, and heralded by the likes of Canadian Beats, Indie Pulse, Buzz Music, and more.

“(Black Creek Reign) will immediately cause involuntary movement from the waist down,” Bucket List Music Reviews writes. “It doesn’t matter where you are, what mood you are in, or if you possess any dancing abilities, these groovy tunes will have you bouncing around the entire time. Don’t fight it. Just let go and have yourself a grand old time.”

With hundreds of live performances under their belt — including the final show at Toronto’s Hard Rock Cafe, Hollywood’s infamous Pig N’ Whistle, Pearson Airport’s YYZ Live, and the Los Angeles Songwriters Association — the duo has taken the stage from Nashville, to Los Angeles, and back to their hometown of Toronto.

Making Popular Music in the Midst of Change and Transition: PopCon 2021 Keynote Panel

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NPR Music is proud to present the keynote panel conversation for the 2021 Pop Conference, hosted by New York University’s Clive Davis Institute of Recorded Music. The keynote is titled “Fluxed: Making Popular Music in the Midst of Change and Transition.”

To kick off a four-day special “Convergence” version of the annual Pop Conference, the keynote conversation invites a panel of four artists thriving within the highly volatile environment of contemporary popular music to discuss how the spirit and realities of change both challenge and inspire them. From taking on the themes of transformation and precariousness in their own music, to fully exploring what new technologies can communicate, to coping with a radically altered social and economic landscape, musicians must act at the forefront of new 21st-century modes of being. This open-ended conversation connects the transforming craft and business of music-making to the art of capturing musical meanings in a highly turbulent world.

The panel’s participants are leaders in reimagining what music and its cultures can be: singer-songwriter-auteur Devonté Hynes, whose work under many different names (Blood Orange, Lightspeed Champion) exemplifies the refusal to adhere to outdated categories; producer and musician Rostam, who has been instrumental in defining the anti-genre sound of 21st century pop; singer, songwriter and producer Roísín Murphy, whose dance-inspired music finds the point where past meets future, and Tamara Lindeman, who records as the Weather Station and models how the singer-songwriter role is changing in response to both exploding musical categories and a world in crisis. Ann Powers, NPR Music Critic and author of many books, most recently Good Booty: Love and Sex, Black and White, Body and Soul, moderates. The event is produced by Jason King.

Marc Anthony’s New North American Tour Kicks Off In September

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CMN and MAGNUS announced today Marc Anthony’s new U.S. Tour is set to start August 27, 2021 in San Antonio Texas.  The “Marc Anthony Tour” will play in 23 cities and will mark his return to some of the most prestigious arenas in the country and also includes two shows in Canada.

The pre-sale for tour dates is scheduled for Wednesday April 28 at 10am (local time), and tickets for the general public will be available Friday April 30 at 10am (local time).

For fans looking for the VIP experience, VIP packages will be available for purchase. These VIP Packages will allow fans to reserve premium seating, dedicated entrance, merchandise gift, commemorative VIP laminate, parking pass, Etc.

For more information visit www.marcanthonyonline.com

DATE CITY VENUE TICKETING
Friday, August 27, 2021 San Antonio, TX AT&T Center Ticketmaster
Saturday, August 28, 2021 Houston, TX Smart Financial Centre Ticketmaster
Friday, September 3, 2021 Dallas, TX American Airlines Center Ticketmaster
Sunday, September 5, 2021 Atlanta, GA StateFarm Arena Ticketmaster
Friday, September 10, 2021 Washington DC Capital One Arena Ticketmaster
Saturday, September 11, 2021 Charlotte, NC Spectrum Center Ticketmaster
Saturday, September 18, 2021 Uncasville, CT Mohegan Sun Arena Ticketmaster
Sunday, September 19, 2021 New York, NY Barclays Center Ticketmaster
Friday, October 8, 2021 Chicago, IL Allstate Arena  Ticketmaster
Saturday, October 9, 2021 Kansa City, MO T-Mobile Center AXS
Friday, October 15, 2021 Tulsa, OK BOK Center Ticketmaster
Sunday, October 17, 2021 Denver, CO Ball Arena Ticketmaster
Saturday, October 23, 2021 Las Vegas, NV Michelob Ultra Arena AXS
Sunday, October 24, 2021 San Diego Pechanga Arena AXS
Friday, October 29, 2021 Ontario, CA Toyota Center Ticketmaster
Sunday, October 31, 2021 Phoenix, AZ Phoenix Suns Arena Ticketmaster
Friday, November 5, 2021 FT Myers, FL Hertz Arena Ticketmaster
Saturday, November 6, 2021 Orlando, FL Amway Center Ticketmaster
Friday, November 19, 2021 Miami, FL AmericanAirlines Arena Ticketmaster
Friday, December 3, 2021 Montreal, Canada Bell Center Evenko.ca
Saturday, December 4, 2021 Toronto, Canada Scotiabank Arena Ticketmaster.ca
Friday, December 17, 2021 San Jose, CA SAP Center Ticketmaster
Saturday, December 18, 2021 Los Angeles, CA The Forum Ticketmaster

 

Marc Anthony is one of the most influential artists of his time and a true ambassador of Latin music and culture.  He has received countless gold and platinum certifications from the Recording Industry Association of America (RIAA) and has been credited with over 30 Billboard chart hits and over 7.1 Billion views on YouTube.

On May 10, 2019 Marc Anthony released OPUS, his first new studio album in six years on Magnus Media / Sony Latin Music. OPUS is his eighth salsa album in the 26 years since Otra Nota (1993) established him. In addition to winning the 2020 Grammy Best Tropical Album, Opus has earned Marc Anthony a #1 at Billboard’s Tropical Airplay list with “Parecen Viernes”, 4 nominations to Latin American Music Awards for: Favorite Album (OPUS), Favorite Artist Tropical, Favorite Song (Parecen Viernes), and Favorite Tour.  He was a finalist in 4 categories for the 2020 Billboard Latin Music Awards (Tropical Album of the Year – OPUS, Tropical Song of the Year – Parecen Viernes, Tropical Artist of the Year – Solo, and Tour of the Year – OPUS TOUR).

His previous album, Marc Anthony 3.0, released July 23, 2013, received an American Music Award; a GRAMMY® Award nomination; five Premios Lo Nuestro; two Premios Juventud; ten Billboard Latin Music Awards; three Billboard Awards; and special recognitions from the Univision and Telemundo networks.

Anthony has also established a highly credible acting résumé. Besides his music and acting accomplishments, in 2012, the six – time GRAMMY® and Latin GRAMMY® Award winner launched the Maestro Cares Foundation, hosting a series of fundraisers throughout the year to benefit the non-profit organization and build orphanages in Latin America. He also has his own clothing and accessories line for Kohl’s, and he is a minority owner of The Miami Dolphins. His entertainment and sports venture Magnus Media, is the leading Latin artist and athlete representation company in the nation, and focuses on developing new ventures that bridge content creation and commerce.

On November 16, 2016, Anthony received the prestigious “Person of the Year” honors from the Latin Academy of Recording Arts and Sciences. In September of 2017, Marc Anthony and Magnus created the alliance of artists and athletes Somos Una Voz, to help provide humanitarian relief to areas affected by natural disasters throughout the southern United States, Mexico, Puerto Rico and other affected areas in the Caribbean.

His tours “Vivir Mi Vida”, “Cambio de Piel”, “Full Circle”, “Legacy” and The OPUS Tour, have been included in the “Global Top Grossing Concert Tours Lists. His OPUS Tour kicked-off in the United States and other international markets in 2019.  Recently, Marc became the first artist of his genre to receive a 6-time Diamond RIIA Certification” for his album 3.0 and was recognized with his third Guinness Records.

Colorado’s Billboard-Featured RnB Producer & Artist MATELL Makes a Bold Statement in “Fragile (Help Someone)”

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Billboard-featured RnB producer and artist Matell is making a bold statement in this, his new single “Fragile (Help Someone)” — available now.

Heralded for previous releases like “I apologize 2u & u2,” “Quickly,” “Low expectations,” “I said I’m Gonna Go, Oops, Oops Upside Your Head” — and the strong response from the multi-licensed “My conversations with God” — the Colorado-based singer/songwriter aims to leverage “Fragile (Help Someone)” to send a heartfelt, intimate message against the violence that’s become normalized in recent years.

One can assume the track’s crude, bare-bones approach aims at creating a sobering effect to the harsh reality that has become normality throughout Northern America, and the world. When asked, Matell indicated he was intending this piece as a “we are the world meets 2021.”

The minimal beat, which borders between call-and-response, and a much more meditative musical texture, calls to the melancholy of what the two eras shared — a true catastrophe that’s affecting all of humanity in those specific times, and a cry to protect what this world has to offer that’s fragile, but at the very center of humanity itself.

Artistically speaking, Matell shines with sensitivity in this take. The lyricism in this performance underlines a very difficult time, and how fragile our world is, as well as the importance of bonding together through difficult times. The bold arrangement is sparse and translates well to the hardship of both the pandemic, just as Haiti back in the 80’s, while showcasing Matell’s soulful melodies.

Platinum-Selling Hall of Famer MYLES GOODWYN of April Wine Releases “Will The Last Voice I Hear Be An Angel?”

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Award-winning Hall of Famer and multi-Platinum selling producer, songwriter, and April Wine leader Myles Goodwyn asks a tall and transcendental question as he releases this, his first-ever spiritual song, “Will the Last Voice I Hear Be an Angel?” — available now.

Beyond a legendary mainstay of the Canadian music landscape in his own right, Goodwyn is joined on the track with Bruce Dixon (Oakley Band, Rita MacNeil, Roch Voisine) and Jim Henman — the latter with whom he started the iconic rock band, April Wine, alongside David Henman and Ritchie Henman in 1969.

The stunning song arrives ahead of Goodwyn’s forthcoming recording project, Long Pants, set for release this Summer 2021. A collection of his most personal songs to date, the new full-length dives deep into the masterful musician’s extensive and previously unreleased archives, with one song’s origins even dating back 40 years.

“The ‘oldest’ new song on the album, ‘Forever Amber,’ was written four decades ago,” Goodwyn shares. “I wrote it for my daughter, Amber, on the very night she was born.

“The recording will feature a song I’ve written for each of my three children,” he reveals. “‘Talk to Me’ was written for my son, Aaron, and is about love, and the importance of communication between a child and their parents. And ‘Over the Moon’ was written when I learned my younger boy, Cary, was diagnosed with Type 1 Diabetes. It’s a serious and chronic disease, and the song is one of love, understanding, optimism — which is an important message of hope and love to all children and parents dealing with diabetes.”

It’s a robust release traversing Goodwyn’s interests, introspect, and outward observations; there’s a fun song about kittens, plus a rollicking drinking song, to boot. There’s a touching love song, “Princess Rain,” with his lifetime partner, Kim, as its muse, and “Right Myself,” co-written with multi-award winning singer/songwriter, and distinguished member of The Order of Canada, Lennie Gallant.

Also among the 12 tracks are “I Leave Today,” a stirring song about euthanasia, inspired by Dan Hill’s mom choosing the option at the age of 90, and “Darling Where Are You,” a deeply poignant penning expressing concern and compassion for missing Indigenous women.

“This song — ‘Will the Last Voice I Hear Be an Angel’ — is the release’s ‘youngest’ new song; I wrote it this Spring,” he adds. “It’s a tune about life, and reflection, and contemplating one’s mortality.”

Teeming with Goodwyn’s inimitable vocals and distinct, immediately recognizable musicianship, Long Pants lands as yet another top-shelf addition to his extensive discography and career.

The recipient of the prestigious Helen Creighton Lifetime Achievement Award, multi-award winning Myles Goodwyn also recently took both the 2019 and 2020 ECMA Blues Recording of the Year Awards for his solo albums, Myles Goodwyn and Friends of the Blues, and Myles Goodwyn and Friends of the Blues 2.

Upon publishing, his self-penned memoir, Just Between You and Me, hit the 2018 Globe and Mail bestseller list. Detailing the deeply personal tale of his upbringing — from at home in rural Nova Scotia, to the later years as the lead singer of one of Canada’s most popular bands of all time, Canadian Music Hall of Fame inductees April Wine — the book’s special and accompanying Live performance featured the likes of “Fast Train,” “You Won’t Dance With Me,” its title track, “Just Between You and Me,” and more.

Breezy Folk-Rock Duo ROBINSON KIRBY Are Off to “Find A Way” in New Single

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Breezy Canadian folk-rock duo Robinson Kirby are off to “Find A Way” when it comes to lost affections in this, their heartwarming love-quest of a new single and video.

Freshly pressed from their 2021 seven-track album offering, Little Dreams, the rhythm section of “Find A Way” instills a sense of beautiful calm, reminiscent of a gentle stream while the satiny vocal tones send the listener floating through the song with a feeling of warming assurance.

The song features a graceful, echoey twang of the electric guitar, and its solo, along with the slide of the lap steel, tie the instrumentation together seamlessly. These elements combined create a serene audible flow that contrasts the turbulence surrounding the song’s theme based on the uncertainty of lasting love.

Love may be blind, but we can always find our way through. These sentiments are suggested by the lyrics: ‘I don’t look at you the same, since we played the losing game, but I will try and find my way.’

With that in mind, “Find A Way” is a song about revelation, and what we uncover both about ourselves as well as our loved ones during times of uncertainty amidst emotional strife. The overall message is relatable, as those who have felt love dwindle in the past have oftentimes found themselves questioning who they are, what they could’ve done differently and, perhaps, making peace with the circumstance by accepting that their counterparts’ hearts may no longer be aligned with mutual perception of love.

‘Lay me down beside what happened here, wasn’t my love bigger than your fear,’ brings about the suggestion that it may come time for one to accept that, despite their best efforts, the love given may not always be the saving grace we’d like it to be.

When it comes to the single, as well as the Toronto-based band’s Little Dreams EP, Robinson Kirby describes the songs therein by saying, “They reflect a time of growth and change in our lives. Conceptually, the songs are about love, searching for connection, and finding your place in the world.”

The Little Dreams EP, which hosts the lead single, was written between studying at the Berklee College of Music in Boston and while living in Los Angeles. They cite their musical influence as being the spirit of singer-songwriters from the genre’s heyday in the 70s, but with a fresh, modern approach.

Robinson Kirby consists of lead singer-songwriters, Luke Robinson (vocals, guitar, percussion) and Madelyn Kirby (vocal, guitar), as well as Jonathan Elyashiv (bass) and Ross Hodgkinson (drums, percussion). “Find A Way” is backed by the talents of Paul Phelan (lap steel) and Harrison Lenz (backing vocals).

The single was written and composed by Luke Robinson and Madelyn Kirby. The single, as well as the EP, were engineered by Pedro Calloni at the Village Studios, in Los Angeles, California and by Harrison Lenz at Lenz Entertainment in Toronto, Ontario. Mixing was handled by Harrison Lenz. Mastering was handled by Philip Shaw Bova. Photography and design were provided by Madelyn Kirby and Tori Chippindale, respectively.

Vancouver Folk-Roots Rocker CHRIS RONALD Unveils “City Girl” From Emotionally Juxtaposed “Light & Dark” Album

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Top 10 charting Canadian folk-rocker Chris Ronald muses aloud in this, his new single “City Girl” — available now.

Rife with Ronald’s signature sound and Songwriter of the Year-nominated lyricism, the song serves as the first preview for the Vancouver-based artist’s forthcoming emotionally expansive album, Light & Dark (Borealis Records).

His fifth album release, the 11-track LP is steeped in Ronald’s British roots, poetic song craft, and buttery blend of folk and rock instantly reminiscent of 60s-era revivalists and 70s-era singer-songwriters.

Leaning slightly towards a more rootsy sound, powerful vocals and musicianship across the board (guitar, harmonica, and ukulele) offer a well-rounded folk-Americana, roots-rock release that landed just where Ronald — and his long-time collaborator: award-winning, Platinum-selling and chart-topping producer, engineer, songwriter and multi-instrumentalist John MacArthur Ellis — set their sonic sights a few years ago.

“After showcasing at Americanafest in Nashville in 2018 — and really soaking up the vibe of the Americana music scene down there — John and I knew which direction to take this next album,” Ronald recalls. “Where my most recent album, Fragments, was more on the folk-side of Americana, Light & Dark has more of a contemporary roots sound.

“The track listing includes a few rewrites of songs that originally appeared on some of my early demo albums,” he continues. “There are also more recent compositions, including ‘Old Lover,’ which was co-written with my brother shortly after the first COVID-19 lockdown.”

Beyond “Old Lover,” the pandemic played a larger role in shaping the terrain for Light & Dark — from lyrical nuances, to navigating strict restrictions for recording, to the untimely passing of Ronald’s father within it.

“Songs like ‘Please Don’t Come For Me Now’ and ‘Bones’ took on a particularly new poignancy for me,” Ronald shares of the previous year’s series of circumstances. “As the title suggests, the album’s track sequence intentionally alternates between dark and light moods and themes…

“There’s a bit of an emotional rollercoaster ride.”

With the album first laid having just three band members on-hand — Ronald, Ellis, and Chris Nordquist — four songs, including “Pacific Time,” also feature the stunning vocals of Vancouver-based singer-songwriter Natalie Ramsay (nom de plume, Daughter of the Moon).

The collaborative contributions didn’t end there; for the environmentally-themed song “Still Turning,” Ronald increasingly wanted more people singing the chorus to give the impression of a growing movement. “To do so, and to add a youthful touch, I had my children, who were 12 and 14 at the time of recording, join in for the final rousing chorus.”

The album art for Light & Dark was created by JUNO Award-winning designer Michael Wrycraft.

Chris Ronald has four previous album releases, including Pacific Time (2004), Turning Tides (2011), Timeline (2014), and Fragments (2017). He was nominated for Songwriter of the Year at the 2014 Canadian Folk Music Awards, achieved Top 10 artist, song, and album ranking on The Folk Charts, and tours internationally — including annual showcases at the Americana and Folk Alliance music conferences.

“City Girl” is available now, with his next single ‘I Won’t Change’ — a melancholy take on the fallout of unrealistic expectations — set to drop April 28, and can be pre-saved on Spotify or pre-added on Apple Music on April 21, 2021. Light & Dark is available for streaming and digital download on May 26, 2021. Physical copies will be available on May 28, 2021.

See What THE GREAT FUSS Is About For Saskatoon-Based Rockers’ New “Hairbrain” Single & Video

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We’re confident the current year is 2021, but one listen to Canadian rockers The Great Fuss and their new single and video for “Hairbrain,” and… It’s hard to not double-check the calendar.

An homage to yesteryear’s pulsing piano melodies and indelible electric guitar riffs, this Saskatoon-based four-piece goes for a generational collision, capturing a decidedly 60s vibe within a new-age kaleidoscope of rhythm and lyrics on the track.

On “Hairbrain,” the band explodes with chiding questions, including scathing sentiments like ‘You think you know what I’m after? I’ve seen your kind, it’s clear that you’re a disaster.’

Laced with low-fi pop rock riffs that earworm their way into your consciousness, the track’s accompanying music video showcases the band interspersed with places of travel, dimly lit, brightly coloured, black and white, in and out of focus.

The delight in the Great Fuss is to keep you wondering if they’re inspired by Warhol, the Beatles, or Joe Strummer… Or if they’re simply themselves in a great tidal wave of love and lyric. In their own words, the band is a finely tuned cross breed of 60s British invasion and modern rock elements; think the Kinks had a baby with Spoon.

Landing firmly on the Saskatchewan scene in 2016, members Pete Oldridge (Vox/bass), Erik Sample (Drums), Chris Valleau (Guitar), and Kat Jones (Keyboard) have been leaving their distinct imprint along the festival and concert circuit ever since.

Their 2018 eponymous debut record, The Great Fuss, was met with well-received support and acclaim, giving way to live appearances at major events — including Saskatchewan’s prestigious Ness Creek Music Festival, and performing in front of a sold out crowd at the Coors Event Centre.

Aside from being smart songwriters and clever lyricists, the band also finds success in their ability to self-produce and record with Oldridge at the helm of engineering from his personal studio. From the first written note to the final recorded piece, The Great Fuss find beauty in spreading their talent from start to finish — a knack also heard on their 2019 sophomore offering, Root Thyself!