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Rising Indie Pop Artist Alice Moore Unveils New Single “Pressure” Ahead of Debut EP ‘The Waiting’

Eric Alper
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Rising Indie Pop Artist Alice Moore Unveils New Single “Pressure” Ahead of Debut EP ‘The Waiting’

Rising Canadian indie pop artist Alice Moore proudly announces the release of her new single “Pressure,” a powerful preview of her debut EP ‘The Waiting’, out now. With her distinctive vocal timbre, intimate melodies, and evocative songwriting, Moore continues to establish herself as a compelling new voice in alternative indie pop.

Alice Moore’s career has been steadily gaining momentum since her debut single “Cigarettes” introduced audiences to her atmospheric style and lyrical depth. Growing up between Trois-Rivières and Drummondville, she developed a songwriting voice that draws on honesty, vulnerability, and emotional richness, weaving influences from indie traditions into something distinctly her own.

Her forthcoming EP ‘The Waiting’, reflects years of dedication and collaboration. Recorded with her band – Samuel Lessard (guitar), Léandre Bourgeois (keys), Ismaël Chagnon (drums), and James Forest (bass) – the project carries the immediacy of live performance and the intimacy of late-night confessions. Together, they create soundscapes that echo the hazy allure of artists like Lana Del Rey and the emotional gravity of Radiohead, while remaining rooted in Moore’s unique perspective.

“Pressure” stands as one of the most personal and authentic tracks from the record. Moore shares, “This song stayed close to the vision I had when I first wrote it. It feels like the truest reflection of where I come from musically and emotionally.”

The single resonates with striking lyrical imagery. Moore sings: ‘“Pressure, pressure / Don’t put pressure on me / Silent, silent / I was gonna say it, but something’s keeping me silent.”‘ Later, her voice admits the fragility beneath the surface: ‘“I’ve been crying at the bar / Something feels off / Been trying to fill that void / Something’s broken, something’s broken.”‘ These lines invite listeners into her inner world with honesty and grace.

At the heart of “Pressure” is an exploration of emotional resilience. With lines like ‘“Been trying to keep it all / But something’s leaking, something’s leaking,”‘ Moore captures the tension between holding on and letting go, turning deeply personal moments into universally felt experiences.

The new single builds on the anticipation surrounding her EP release. Scheduled to premiere live on October 3, 2025, at Le Zaricot in Saint-Hyacinthe, the launch show will be a full-band performance designed to immerse audiences in Moore’s sound and storytelling. The event marks a milestone in her journey and offers fans the first opportunity to experience her music in its full live form.

Reflecting on the creative process, Moore explains, “Recording this EP was about trusting my instincts and surrounding myself with people who understood the energy I wanted to capture. Every song, especially ‘Pressure,’ is meant to bring listeners closer to that shared moment of honesty.”

With “Pressure,” Alice Moore continues to define her artistic identity—introspective yet expansive, delicate yet powerful. Her work reflects a fearless embrace of vulnerability, connecting deeply with listeners who recognize themselves in her words and melodies.

As the holiday season approaches and the year closes, ‘The Waiting’ promises to be a striking debut: a collection of songs that carry warmth, resonance, and authenticity.

Holly Cole Surprises and Delights Fans With a “Comin’ Home Baby” and Expanded Edition of ‘Dark Moon’

Eric Alper
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Holly Cole Surprises and Delights Fans With a “Comin’ Home Baby” and Expanded Edition of ‘Dark Moon’

Renowned Canadian / International vocalist Holly Cole released an expanded version of her album Dark Moon featuring the new song “Comin’ Home Baby.” Teaming up with her long-time live performance partners, along with additional musicians to create rich harmonies and layers, this album is a true ensemble project that highlights her signature style. Dark Moon (Expanded) is available now via Rumpus Room/Universal Music Canada.

Holly Cole isn’t one of those artists who falls into any one category. Her smoky voice is sultry, her arrangements smart and sexy and all the while she and her musicians very uniquely reshape traditional Jazz, Pop and Country standards this time particularly from the New American Songbook writers including Marty Balin, Peggy Lee, Hal David, Burt Bacharach and Johnny Mercer.

The new single “Comin’ Home Baby” is being released on the eve of Mel Torme’s 100th Anniversary. It includes a brilliant harmonica solo feature by Howard Levy, one of the original members in Bela Fleck And The Flectones. In addition to Holly’s long time live performance / recording mates, Aaron Davis (piano), George Koller (bass), Davide Direnzo (drums) John Johnson (saxophone), Kevin Breit (guitar), and Howard Levy (harmonica), Brazilian-born percussionist Cyro Baptista was added for a little extra percussion and rhythm throughout the track. Additional guests on ‘Dark Moon’ include the three-part 1950’s Nashville style harmonies of the Good Lovelies. Together they define the absolute best in “ensemble playing.”

“I’ve always loved the uptempo Mel Torme version of “Comin’ Home Baby.” One day it struck me that the song could also sound great sung in a more sultry tempo, with a really laid-back feel. Since it’s an old-fashioned call and response, I decided to sing only the call and have members of the band handle the response. I think it really lets the tune breathe.” – Holly Cole

Dark Moon is available now via Rumpus Room/Universal Music Canada on CD, 180-gram black vinyl, and Expanded Edition standard, Hi-Res digital + ATMOS.

Tom Wilson (Tehoháhake) Releases New Single “We Live In Dreams” Co-Written With Tanya Talaga

Eric Alper
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Tom Wilson (Tehoháhake) Releases New Single “We Live In Dreams” Co-Written With Tanya Talaga

Celebrated Canadian musician, author, and visual artist Tom Wilson (Tehoháhake) announces the release of his new single “We Live In Dreams,” co-written with award-winning journalist, storyteller, and filmmaker Tanya Talaga.

The song is featured in the powerful new documentary ‘Ni-Naadamaadiz: Red Power Rising’ (trailer here), directed by Shane Belcourt and produced by Talaga’s company Makwa Creative. The film features an original score composed and performed by Tom Wilson and his son Thompson Wilson, marking a continued father–son collaboration that blends emotional ambient depth with musical craft. Audiences experienced the documentary and heard the full score for the first time when the film premiered at the Toronto International Film Festival last week.

“We Live In Dreams” captures the spirit of the documentary’s message—celebrating Indigenous resilience, identity, and the strength of community—while also standing alone as a poignant musical statement from one of Canada’s most compelling voices.

“We are here to give everything we’ve got to honour the warrior hearts who have dodged bullets, cut through razor wire and thrown their lives on the line to free the spirit of our people.

We are here to create art to fight the hate and the violence towards our people that does not mingle in the news cycle and has conveniently escaped our history books.

We are here to tell the truth because it’s too easy to listen to lies.

We are here to stand for love and we are here to win with love.”

– Tom Wilson Tehoháhake

Drummer and Rising Pop Star Jordyn Sugar Rolls Up Emotion and Energy with “Ghost”

Eric Alper
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Drummer and Rising Pop Star Jordyn Sugar Rolls Up Emotion and Energy with “Ghost”

In an era when artists often stick to one lane, Jordyn Sugar is carving out her own. The Montreal-based singer-drummer is equally at home behind the kit as she is behind the mic, merging rhythm and melody into a pop sound that’s as vulnerable as it is powerful. With her latest single “Ghost,” out now, she proves herself not only a performer but a storyteller for a generation still figuring out how to process silence in a hyper-connected world.

“I’ve been through it, and I know so many others have too,” Jordyn says of the phenomenon behind her song. “‘Ghost’ is the first track I’ve created that asks a direct question to the audience: ‘Why’d you have to ghost on me?’” For Jordyn, music is less about wallowing in heartbreak and more about capturing the spiraling thoughts we often leave unspoken. “This is like a conversation with the listener. Your feelings are valid, and it’s okay to be confused without having all the answers.”

Born in Toronto and raised in Montreal, Jordyn has spent the past few years honing a style she calls Empowered Pop™. Her early single “Leaves Me” in 2021 introduced her mission to push back against unrealistic beauty standards and celebrate imperfection. Opening slots for Gloria Gaynor, CeeLo Green, and Kardinal Offishall have put her in front of thousands, but Jordyn insists her real breakthrough comes from connection. “I want my music to be the kind of place people turn to when they feel unseen,” she says.

That drive is matched by her chops. A multi-instrumentalist who commands both voice and percussion, Jordyn co-wrote “Ghost” with songwriter Bayla and producer Lucas Liberatore. The recording process was, she recalls, “a smooth, creative, and collaborative session that brought the vision of the song to life.” On the track, you can hear that synergy: polished pop production balanced with raw emotional intensity.

Her lyrics cut deep in their simplicity. “Didn’t say goodbye / Left me high and dry” she sings in the opening verse, before the chorus demands answers: “Why’d you have to ghost? You left me in the cold.” Later, she hammers home the transformation from intimacy to absence: “We went from lovers / To strangers / No more see ya later.” For a 21st-century heartbreak anthem, it feels startlingly direct—less about closure than about learning to live with the lack of it.

That honesty places Jordyn within a lineage of artists who blend pop accessibility with emotional heft. Like Olivia Rodrigo, she finds strength in vulnerability. Like Halsey, she pulls from the personal while crafting hooks made for arenas. And like HAIM, her embrace of live instrumentation—including drums—sets her apart in a field dominated by laptop beats. Critics have even compared her blend of empowerment and relatability to early Pink, who redefined pop stardom through raw truth and big choruses.

Within today’s pop landscape, Jordyn represents a Gen Z reaction to hyper-polished icons. While TikTok virality has boosted her reach—her videos have earned millions of views—her music resists fleeting trends. Instead, she’s building a catalogue rooted in authenticity, weaving together pop, rock, and R&B into something both retro-inspired and future-facing.

As Jordyn Sugar steps into this new chapter, the message is clear: she’s more than a viral moment. With her dual gifts for rhythm and melody, her refusal to conform to pop clichés, and her unwavering honesty, she’s shaping a career that could redefine what empowerment sounds like in the streaming era. Or, as Jordyn herself puts it: “Right now, ‘Ghost’ is our focus single, but I have several other songs ready. This is only the beginning.”

Joe H Henry Strikes with Thunderclap Soul on New EP ‘Real Things’ And “Only A Whisper” Single

Eric Alper
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Joe H Henry Strikes with Thunderclap Soul on New EP ‘Real Things’ And “Only A Whisper” Single

Some voices sneak up on you. Joe H Henry’s doesn’t. It hits like a thunderclap in an empty church—sacred, soulful, and impossible to ignore. The East Coast singer-songwriter has been lighting up stages across the Maritimes with a sound that fuses Americana grit, soulful storytelling, and gospel-sized emotion. With a voice “as powerful as a freight train” and lyrics that peel back the layers of lived experience, Henry is about to take the next bold step forward—one whisper at a time.

Before he was trading verses with Gordie MacKeeman and Catherine MacLellan or headlining at Cavendish, Joe H Henry was hopping freight trains and finding shelter in music. “It wasn’t always beautiful,” Henry recalls. “But even when I had nothing, I had stories. And those stories turned into songs.” A self-taught guitarist, Henry drew from the deep wells of his Red River Métis heritage, his time spent homeless, and the quiet joys of family life to create music that feels like lived-in denim—rugged, soulful, and timeless.

In 2023, Henry dropped his debut EP Keep the Fire Burning, a slow-burn triumph that sparked big buzz and bigger honors: ECMA and Nova Scotia Music Award nominations for Blues Recording, Americana Recording, and Indigenous Artist of the Year. Troy Greencorn of Stanfest called him “one of the brightest new lights on the East Coast music scene”—a nod that opened even more doors for Henry’s roots-soul revival.

His latest EP, Real Things, digs even deeper. On “Bad Dude,” he howls through redemption with Dave Gunning, while the hypnotic “Quicksand” (co-written with Chris Kirby and Claira Blanchard) examines the fear of getting stuck in one place too long. But it’s the breakout single “Only A Whisper” that’s turning the most heads—a danceable, soul-drenched farewell to a relationship that couldn’t weather the rain. “Our brush with love was painting pictures out in the pouring rain,” Henry sings, “Those subtle dreams of sunshine tones, have bled and turned to grey.”

‘Only A Whisper’ was one of those songs that haunted me,” Henry shares. “I tried to scream to hang on, but it was only a whisper. That’s love sometimes—it’s loud until it isn’t. It took years to get that one right in the studio, but the extra time gave it the soul it needed.” The track’s rhythm sways like a body remembering how to dance again, even when the heart’s still heavy.

The EP also brings some all-star collaborators to the table—Geoff Arsenault on drums, Ron Hynes on bass, and engineering by Lil Thomas at Sonic Temple. Henry produced the record himself, but he credits his five kids for keeping him honest. “They tell me straight-up when a song doesn’t hit. If I get a head nod from the kitchen table, I know I’ve got something.”

As he prepares for a string of intimate August shows across the East Coast, Henry’s mission is simple: connect. “There’s a lot of noise out there. I just want to make music that reminds people they’re not alone,” Henry says. “To me, that’s the real thing.”

The Celtic Tenors Announce 2025 Canadian Holiday Tour Blending Celtic Charm and Christmas Classics

Eric Alper
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The Celtic Tenors Announce 2025 Canadian Holiday Tour Blending Celtic Charm and Christmas Classics

Join the Celtic Tenors for an unforgettable performance of vocal brilliance and festive cheer. Their enchanting blend of Celtic charm, timeless favourites, and modern hits is paired with a heartwarming selection of Christmas classics. This special holiday concert promises a mesmerizing celebration of Celtic culture and the joyous spirit of Christmas, leaving audiences uplifted and inspired.

The Celtic Tenors will give you a night to remember. Whether performing in neighbourhood cathedrals or world-renowned concert halls from New York to Amsterdam to Shanghai, every performance sparkles with professionalism, warmth, and good humour.

With more than a million CDs sold worldwide, they’ve built a reputation for excellence and authenticity while never losing the fun that makes them beloved by fans everywhere. Their concerts feel less like formal recitals and more like high-wire acts of charm—equal parts vocal muscle, backstage banter, and the kind of intimacy that usually belongs in a living room singalong.

Their Canadian tour begins November 27 at the Bell Performing Arts Centre in Surrey, BC, and end December 17 at Orillia Opera House.

Each performance blends the best of Celtic tradition with exhilarating classics, powerful a cappella moments, and popular contemporary songs. The Celtic Tenors’ charm and charisma ensure that audiences leave with hearts soaring and spirits renewed. Think of it as a jukebox of cultures, where centuries-old ballads sit comfortably next to sly reinventions of pop standards, all carried on a wave of harmonies that can swell to cinematic grandeur or collapse into a wink and a grin.

Founding member Matthew Gilsenan, from Kells, County Meath, Ireland, has long been admired for his powerful, emotive voice and captivating stage presence. His ability to connect with audiences makes every performance deeply personal. “For me, every concert is about making a connection—sharing a song and a story, and leaving the world a little brighter,” says Matthew.

Daryl Simpson BEM, from Omagh, Northern Ireland, adds both artistry and versatility. A trained operatic tenor, Daryl has performed with leading orchestras and remains dedicated to community through his work with the Omagh Community Youth Choir. Awarded the British Empire Medal for peace and community relations, he brings heart as well as voice to the trio. “Music has the power to heal, unite, and inspire—on stage and far beyond,” says Daryl.

George Hutton, from Derry, Northern Ireland, is the newest member of the group, bringing fresh energy and a rich musical background that includes touring with Anúna, performing with Hozier, and collaborating with Phil Coulter. With his humour, humility, and genuine love for singing, George adds new dimension to the Celtic Tenors’ already unforgettable sound. “If there’s one thing I can’t do without on tour, it’s a good cup of tea!” he shares with a smile.

Together, Matthew, Daryl, and George deliver more than a performance—they create an evening to savour. The Celtic Tenors embody a rare balance of skill and personality, offering three unique solo voices that, when called upon, blend into one soaring Tenor Sound. What makes them different isn’t just the technical brilliance—it’s the sense that they’re letting you in on the joke, the story, the heartache, and the triumph all at once.

With their polished international reputation, The Celtic Tenors remain rooted in joy and authenticity. Their performances highlight why they continue to be one of Ireland’s most successful crossover acts: world-class artistry paired with a down-to-earth love for sharing music.

Celebrate the season with The Celtic Tenors as they bring their acclaimed sound to Canada this holiday. From Celtic ballads and festive favourites to contemporary hits, their 2025 tour promises nights of music, laughter, and unforgettable memories.

Tour Dates – Tickets Available On The Celtic Tenors’ Website:

November 27, 2025 – Bell Performing Arts Centre, Surrey, BC
November 29, 2025 – Port Theatre, Nanaimo, BC
December 1, 2025 – Mary Winspear Centre, Sidney, BC
December 2, 2025 – BC Community Theatre, Kelowna, BC
December 4, 2025 – Knox United Church, Calgary, AB
December 5, 2025 – Burton Cummings Theatre, Winnipeg, MB
December 7, 2025 – Théâtre Beanfield, Montreal, QC
December 9, 2025 – Shenkman Arts Centre, Ottawa, ON
December 10, 2025 – Empire Theatre, Belleville, ON
December 11, 2025 – Sanderson Centre for the Performing Arts, Brantford, ON
December 12, 2025 – Meaford Hall Arts and Cultural Centre, Meaford, ON
December 14, 2025 – JAG Soundhouse, St. John’s, NF
December 16, 2025 – Regent Theatre UOIT, Oshawa, ON
December 17, 2025 – Orillia Opera House, Orillia, ON

BettySoo Returns with New Single “What Do You Want From Me Now?” from Album ‘If You Never Go Away’

Eric Alper
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BettySoo Returns with New Single “What Do You Want From Me Now?” from Album ‘If You Never Go Away’

“There was no big epiphany, and honestly, the recording just flowed easily from years of playing it live,” explains beloved Austin-based singer/songwriter BettySoo about her new single “What Do You Want From Me Now?,” a gorgeous anthem that carries a bounty of angst and an even larger haul of melody, bringing a lush groove, layered harmonies, and the unmistakable warmth of her band’s chemistry. Originally written by acclaimed songwriter Ralston Bowles, it is a crowd favorite that she has played live for years and is out now. It is the first track to be released from her album, If You Never Go Away, out now.

“‘What Do You Want From Me Now?’ kicks off with a swagger, but underneath that rhythm is someone asking, ‘Will you accept me for who I am?’ That tension- of confidence and insecurity- felt like the right way in,” she says, adding that she got a thumbs up from Bowles himself. “I just loved it and thought it would be fun to play at shows with my band. Part of my joy in playing covers is spreading word about music written by people I like, especially if the writers don’t tour much. And part of it is just playing a song that feels good.”

Marking a much-anticipated return to the studio, “What Do You Want From Me Now?” is a taster for more music to come from the revered artist (her last studio offering, When We’re Gone was released in 2014). A buzzworthy standout in the Americana and Folk worlds (MSNBC anchor Rachel Maddow is among her many fans), BettySoo has garnered fawning praise from the likes of Austin Chronicle, Austin American Statesman, Cowboys & Indians, and No Depression. Affectionately coined as “The Queen of the Bummer Jams,” her ability to marry melancholia with hyper-immediate melodies is a well-documented gift. Austin’s KUTX calls her music, “beautiful, heart-wrenching songwriting that is also edgy and unwavering,” while Acoustic Guitar praises, “BettySoo may well have the most gorgeous voice in Texas …if not in all contemporary folk – its purity and strength can be downright devastating.”

Occupying the space in between studio albums with live shows (she is a frequent touring companion for icons James McMurtry and Chris Smither), BettySoo’s in-between-song screeds are stuff of legend. Balancing her “bummer jams” with hilarious and often self-deprecating humor, her live performances and songs often trace the arc from love to heartbreak – yet she remains one of the most magnetic and entertaining performers onstage. “I’ve always been drawn to broken and sad things because they make me feel less alone in my own brokenness,” she laughs, “But I’m not intentionally balancing sadness with humor – it’s just part of being human.”

With more music to come this Summer, BettySoo is ready to step back into the spotlight, but with no expectations. “A lot of people told me that the danger of releasing an album after a long gap is that no one remembers who you are,” she admits. Her upbringing found her living in a traditional Asian-American multigenerational home (“We often had as many as twelve people living under one roof at a time!”), so attention-grabbing wasn’t an inborn trait. “As the third of four daughters – the lesser of the middle children, I didn’t grow up expecting anyone to remember who I was or even to take notice of me. I was neither born nor raised with a rockstar mindset,” she says, self-effacingly. With all the powerful moments encoded in her upcoming album If You Never Go Away, BettySoo is in for a rude awakening.

Patty Griffin Shares “Born In A Cage” from ‘Crown Of Roses’ Album

Eric Alper
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Patty Griffin Shares “Born In A Cage” from ‘Crown Of Roses’ Album

Patty Griffin has shared “Born In A Cage,” the second song from her new full-length opus, Crown Of Roses. The album is Griffin’s 11th studio collection and first in over six years. Crown Of Roses out now, via her own PGM Recordings label via Thirty Tigers.

“Born In A Cage” is an atmospheric, western-tinged ballad that contemplates a vanishing world with a beguiling sigh, blending warm fiddle and the warbling of the santur. The song captures what Griffin’s mother was experiencing as her time wound down and the natural beauty outside her window changed.

“At the end, my mom was noticing that the songbirds weren’t showing back up in the spring, and rabbits and all kinds of animals were disappearing,” says Griffin. “Even the coyotes moved into Maine because they lost their habitat. There were all these changes to the delicate balance, and it must’ve been really hard to see.”

Crown Of Roses was heralded earlier in the month with the release of its first song, “Back At The Start.” With its purposeful position as song one on side one, “Back At The Start” sets the rich tone for the album, embodying a rhythmic and soulful shadowy shuffle written during the pandemic, junked, and then reclaimed. The murky yet pulsating track sees Griffin probing the idea of letting go of the stories we tell ourselves.

Crown Of Roses sees Patty Griffin once again forming a poetic tapestry woven from the threads of love, loss, grief, disillusionment, resilience, and hope, shifting fluidly between intimate confessions, philosophical musings, and symbolic storytelling – all grounded in intensely human feelings and emotion. Burrowing into the stories she had long been telling herself, the award-winning songwriter ruminates on a vast array of themes and deeply personal topics, spanning the trajectory of women in the 20th and 21st centuries and communion with nature to the sound of her voice after cancer treatment made its mark to the relationship with her late mother, whose wedding day photo graces the album’s cover, set into artwork by Mishka Westell that captures many of her greatest loves, including the Maine woods of her – and Patty’s – childhood.

Produced by longtime collaborator Craig Ross and featuring musical contributions from her trusted band members David Pulkingham (guitar) and Michael Longoria (drums), the album drifts from spare folk to gauzy Americana to sly gospel blues over the course of eight moody new songs that evoke the scrubby west of Griffin’s adopted Texas and the calming verdancy of her home state of Maine. From the atmospheric “Born In A Cage” and the spectral “Long Time” (which includes a backing vocal cameo from Robert Plant) to the sparse, emotional authenticity of “Way Up To The Sky,” Crown of Roses is among Patty Griffin’s most profound works to date, continuing her exceptional talent for translating thorny concepts and finely wrought character studies into songs that speak as much to her own experience as they do to the lives of those who have loved her music now for more than three decades.

“If I try to hit things on the nose, they don’t feel authentic to me,” Griffin says. “If I can emotionally dance around things, it feels like I can be more honest singing it.”

Griffin will celebrate Crown of Roses by joining forces with legendary 2x GRAMMY Award-winner Rickie Lee Jones for a very special tour. Dates begin October 10 at Philadelphia, MS’s Ellis Theater and then continue through a November 1 finale at Dallas, TX’s historic Longhorn Ballroom.

Charles Kelley Releases New Solo Album Songs for a New Moon, Blending Yacht Rock, Country, and 80s Pop Flair

Eric Alper
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Charles Kelley Releases New Solo Album Songs for a New Moon, Blending Yacht Rock, Country, and 80s Pop Flair

Embracing the next chapter of renewed possibility and fresh perspective, both musically and personally, multi-Platinum singer-songwriter and Grammy-winning artist Charles Kelley celebrates “stepping into a bold new creative chapter” (Entertainment Focus) today with the release of his second solo album SONGS FOR A NEW MOON.

Produced mainly by Sam Ellis and Lindsay Rimes and with Kelley co-penning all the original songs, the new collection “blends genres from yacht rock to country throughout its 16-song track list” (Good Morning America), fully embracing a freeing sense of sonic abandon, bursting with unbridled optimism and irresistible 80’s pop flair.

It’s throbbing synth-and-smoke banger lead single “Can’t Lose You” is quickly climbing the Adult Contemporary radio charts, already pushing into the Top 10, and fans can catch a performance of it today on The Kelly Clarkson Show (check local listings).

With richly textured digital grooves feature roaring saxophones, saccharine guitars and Kelley’s sky-high vocal stacks, SONGS FOR A NEW MOON pushes one of “music’s most reliable and versatile singers” (American Songwriter) to new levels. Like two sides of the moon, “Take Back Goodbye” infuses the urbane edge of new-wave pop with an effortless, laid-back vibe, while “Can’t Be Alone Tonight” explores the epic R&B feel pioneered by Boyz II Men, stirring haunting romantic memories with grand piano and digital beats. Elsewhere, the unabashed anthem “Run,” captures the rush of a couple making their escape from the world, as “Driving And Listening To Music,” a nostalgic, windows-down jam, reminisces on an escape into the sunset. The one-last-time anthem “Kiss This Thing Goodbye” sees Kelley and producer Nathan Chapman go for a sexy, ravenous romp, and the propulsive “Angel Eyes” gets lost in hypnotic desire – with ’80s icon (and Lady A producer) Dann Huff laying down the guitar solo – while the velveteen plush of “Lost and the Lonely” offers a vibey retreat from heartbreak. Inclusive of covers of The Killers’ “Here With Me” and reimagination of Cyndi Lauper’s immortal “Time After Time,” the collection ends on the sentimental piano ballad “Look What We Did.”

Torpedo Share Video for “SOME WOLVES” From Album ‘What the F*ed Do We All Do Now?

Eric Alper
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Torpedo Share Video for “SOME WOLVES” From Album ‘What the F*ed Do We All Do Now?

Lausanne, Switzerland trio Torpedo share the official video for “SOME WOLVES” from their sophomore album, What the f***ed do we all do now?

The album release coincided with the band’s return to the US for West Coast dates throughout July. Torpedo is a noise rock, post-proto punk, industrial, and psychedelic trio which give itself over to creating a contrasting and unleashed music, seeking the perfect mixture that will metamorphose the leaden world into light and sulfurous gold. A slam on the brakes to avoid hitting the walls and a skid on gravel, riding a shredded bike at full speed. Can you feel your knees?

The story began in 2016 with a psychedelic and alternative post-punk duo. Carro Loubère (the howling lyre scratchers) and Jay Liseron (the bass screed and diabolic rhythmics worker and scraper) have fun weaving songs like webs around the stars and planets twinkling above the undulating sea. A beautiful trip with drum machines.

The first Hammer arrived in 2017, followed by a recording session on the European fringes of stormy Ireland, buffeted by winds and washed by ocean waves, one February of 2018. The first LP, Sphynx, was released in 2019. A post-punk and grunge album floating on harsh vocals and raw guitars, around which the bass dances, accompanied by tireless and heady drums. It was at this time, just before the album’s release, that the second kicker arrived: Drew Hammer! This was followed by the recording of a new album entitled Orpheo_ Nebula in 2020. The tracks were recorded live in their rehearsal space (not much choice at that time…), the band then worked extensively in the studio to create a form of devastated opera made of layers, collages, and experiments around six poems with sprawling references spanning the ages.

Released in 2022, Orpheo_ Nebula received a warm reception from the media, and the band completed two tours on the American West Coast. In addition, two singles were released in the meantime, HOPE | DREAM in 2023 and La Mer Ondulee in 2024 – a 4-minutes excerpt from a much longer, yet unreleased jam.

Soon, the band is about to release a gut wrenching third album: What the F***ed Do We All Do Now? | – Lights, projecting us beyond the show, into the rawness of real life, that of you and me in our kitchens, weeping over a human world that has become unbearable for all the Living. Toward the essential questioning we all have under our nose.

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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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