Asthma Kids are angry. They have always been angry. But on their ferocious new single “The People United and Strong,” that anger has been alchemised into something even more dangerous: hope. This is not a soft pivot. This is a band that has looked at billionaires hoarding the planet’s resources, looked at the boot on the neck of the working class, looked at a world on fire, and decided that the most radical thing they can do right now is demand that we stand together. “The union united and strong / the people united and strong / all the genders united and strong / the poor united and strong.” Go ahead and try to get that out of your head.
The song was born in the studio on the day Trevor Hutchinson became a grandfather. His twenty-year-old daughter gave birth while the band were mid-session, and that eruption of new life cracked something open in the writing. “We had a musical structure and I was working on lyrics that matched the anger of our recent releases,” Hutchinson says. “But that life news got me to frame our message in a positive light that promotes unity.” Make no mistake, the fury is still there and fully intact. “I’m still beyond angry,” he adds. “It’s time for us to tax billionaires out of existence and end the psychopathic distribution of wealth. But that is going to take unity, harmony and love.” A grandchild entered the world. A punk anthem came out with him.
The lyrics do not flinch. “The rich are getting richer, the poor are getting poorer / Now I know what I’m fighting for” sits alongside “I believe in welfare, but I prefer taxes / Or any other measure that evens out the classes.” This is not protest music that hedges. Asthma Kids, composed of Trevor Hutchinson and JP Gill, have never heard a genre they won’t gleefully subvert, repurpose, and rebuild from the wreckage, and “The People United and Strong” is a punk earworm that refuses to stay inside any lines at all. They are famously genre-agnostic, stating plainly that they leave labels for soup cans. Adjacent to punk, freak folk, country, and power pop, they are ultimately something else altogether: seemingly nice neighbours living next door to musical convention, until they burn down every house on the street.
The production matches the ambition. Hutchinson produced the track himself at Jack Cade Studios in Lindsay, Ontario. Adam Haggart mixed it at the Reverie Recording Studio in Peterborough. Then it went to Abbey Road in London, where mastering engineer Alex Wharton put the finishing edge on it. A punk song about taxing billionaires out of existence, mastered at the most storied studio on the planet. That is exactly the kind of move Asthma Kids make.
The single arrives on the heels of their 2025 EP ‘The Meek Are Getting Ready,’ named one of the best EPs of 2025 by PunkNews.org and distributed via Dammit Distro across the EU and UK, and 2 Bar Town Records across North America. The track has already been added to both WARM and Earshot. A summer tour launches in Toronto in late August and pushes westward from there. Asthma Kids are not waiting for permission to be heard, and they are not asking nicely. The people are united. The people are strong. The song says so.
Silka Weil, one of Montréal’s most compelling emerging voices in folk-rock and alt-pop, today releases “Make Me Lose Control,” a charged and urgent new single that announces the arrival of her second EP, ‘Midnight Blue,’ due July 3, 2026. Seductive, confrontational, and alive with tension, the track is the fullest expression yet of the sonic territory Weil has been carving out since her celebrated 2023 debut – and the most immediate proof that her ambitions have only grown.
The song was born from a simple and deeply practical impulse: Weil wanted something fun and electrifying to play live. What emerged was something richer – a moody, propulsive love song that she describes as “done my own way.” “I sometimes enjoy being confrontational in my writing and performance,” she explains, “so for the most part it’s a little more direct than subtle.” That directness is everywhere in the lyrics: “Tear through your heart and soul / You’re everything I want and more / Reduced down to our flesh and bone / You’re gonna make me lose control.” It’s a love song with its teeth in.
What makes “Make Me Lose Control” particularly striking is the dynamic range Weil and producer Jean-Sébastien Brault-Labbé have built into it. The verses and chorus hit hard and rock-heavy, while the bridge opens into something softer and more intimate – a contrast Weil describes as “a real pleasure to work with.” The track also carries the energy of a song written in motion: Weil finished the third verse on the spot in the studio – and also sings backup – with the freedom of that process is audible in every moment. A last-minute decision to swap electronic drums for real drums after the bridge gave the recording a final surge of physicality that pushes the track into another gear entirely.
Recorded, produced, mixed, and mastered at Studio de la Ruelle, “Make Me Lose Control” marks another chapter in Weil’s ongoing collaboration with Brault-Labbé, who also produced her EP ‘Midnight Blue’ and whose broader credits include Gabrielle Papillon, Samuele, Matt Stern, Erika Lamon, Vamoise, Le Husky, and the Blue Seeds. The single arrives with a lyric video designed by Weil herself, whose hands-on approach to her visual identity is as considered as her approach to the music. The result is a track that already has a strong live response from her audience and is set to reach a significantly wider one.
Weil earned Musi-Flo’s Artist of the Year for 2023 and appeared on the July 2025 cover of radiodowntown.ca, with radio play and interviews across Canada and internationally – including a live interview with Mexico-based media organisation Ella Suena. Her music has been compared to PJ Harvey and Lana Del Rey for its ability to hold boldness and intimacy in the same breath, and “Make Me Lose Control” does exactly that – a song that leans into desire, plays cat and mouse with vulnerability, and arrives at something genuinely thrilling. “I would stay up all night / I would walk over fire / To stand in your light,” she sings in the bridge – and you believe every word.
Cowessess First Nation singer-songwriter (Uncle) Trent Agecoutay releases his deeply personal new single “The Foundation,” out now. Written with his late father Jim Agecoutay in the days following the funeral of their Kokum Agnes, it is the first song Trent ever co-wrote with his dad – making it one of the most intimate and significant recordings of his career. “The Foundation” serves as the lead single from Uncle Trent and Friends – Legacy Deluxe edition, the acclaimed project Trent created alongside his brother Bryce to honour their father’s musical gifts after his passing.
The song carries the full emotional weight of its origins. Born in grief and shaped by gratitude, it opens with a scene of devastating tenderness: “Kokum started her journey on a rainy day in May / I’ve never felt so helpless, don’t like to feel that way / A wave of lonely, it tore me up inside / I kissed her on the cheek, I held her one last time.” From that place of loss, the song builds toward something enduring – a chorus that names the thing that holds us when everything else gives way: “The Foundation of who I am, it runs strong and deep / Generations surround me while my soul weeps / They light the path when darkness follows me / The Foundation of who I am – it’s my family.”
“Family is the Foundation of who we are as musicians, and men,” Trent reflects. “The gift of music our father gave us, along with the strong influence of our Aunts, Uncles, Cousins and Grandparents, truly shaped us into the men we are today. The song will connect to any listener – people with a strong bond with family, and those longing for that family connection.” It is a song built for both.
The legacy that gives this project its name stretches back to a kitchen table in Western Canada, where a young Trent and Bryce would slip into the next room to listen as their father Jim composed songs – always with a pot of coffee, a lit cigarette, and an old tape recorder close at hand. All the songs on Legacy were written or co-written by Jim Agecoutay, and the album, funded by the Alberta Foundation for the Arts and Calgary Arts Development, stands as a testament to everything he left behind.
Legacy has already made a significant mark since its April 2025 release – earning a number-one single on the Indigenous Music Countdown with “Burn a Smudge,” placing “You’re the Reason” in full rotation on Sirius XM Indigiverse for much of 2025, and charting in the top ten of the Earshot National Folk, Roots and Blues chart. “The Foundation” opens the album’s next chapter with the song that perhaps best captures its entire purpose.
Since joining his father’s band in 1993 and performing in Alberta honky-tonks across Western Canada, Trent has grown into a respected artist and community voice. His previous albums – I Don’t Regret a Thing, Now…And Then, and A Place to Call Home – established a sound that is deeply personal yet broadly resonant, earning him a Native American Music Award nomination for Best Blues Recording. Alongside Curt and Chelsie Young, he co-created Do You Hear Me Now…Amplifying Indigenous Voices, and his podcast The Deadly Uncle Podcast continues to provide a culturally grounded space for Indigenous men and boys to connect and heal.
Martin Larose and Anaïs Vanessa today release “Breathe In Breathe Out,” the luminous and searching new single from their forthcoming collaborative album ‘The Solivagant Tales,’ both out now. Where their partnership has already demonstrated its capacity for politically charged progressive rock, this new track turns the lens inward – a visceral, emotionally precise meditation on anxiety, the need for stillness, and the courage it takes to find space in an overwhelming world.
The song arrives as both a musical statement and an act of permission. “Inhale the fear, exhale the pain / The only door that still remains / Is deep inside a quiet space / Where I can breathe and find my place,” Vanessa sings in the opening lines, establishing at once the track’s emotional terrain and its central invitation: to turn toward discomfort rather than away from it. Her lyrics have always carried what admirers describe as a therapeutic quality, and “Breathe In Breathe Out” distils that gift into something urgent and immediate – the kind of song that feels like it was written specifically for the moment you needed it most.
Vanessa’s writing on the track is unflinching in its honesty. “The race goes on I can’t keep pace / They call it life I call it chase,” she reflects, before arriving at the song’s galvanising core: “Breathe in the ache / Breathe out the sin / The only way out / Is deeper in.” It is a lyrical turn of genuine force – reframing the instinct to escape as an invitation to descend, to trust the interior landscape rather than flee it. The daughter of a chansonnier who grew up filling notebooks with poems before she ever called herself a songwriter, Vanessa brings that lifelong intimacy with language to every line.
For Larose, the track presented a compositional challenge that suited his instincts perfectly: building a soundscape capacious enough to hold Vanessa’s emotional range while retaining the progressive architecture and guitar-driven depth that have defined his eight-album catalogue. Trained at the Chicoutimi Conservatory and recognised by Guitar World in the early 1990s, Larose has long been drawn to music that rewards patient listening. The multi-layered production of “Breathe In Breathe Out,” recorded and mixed at his state-of-the-art Le Studio Septentrio in Saguenay, is no exception – it breathes with the song, expanding and contracting alongside Vanessa’s vocal, as though the music itself is practising what the lyrics preach.
The single is the second to be drawn from ‘The Solivagant Tales’ – a title Larose chose to reflect his long-held sense of occupying an unusual position in the Canadian and Québec music landscape: prolific, distinctive, and deliberately his own. The album, co-written almost entirely by Larose and Vanessa, represents the full flowering of a creative relationship that began more than two decades ago, when Vanessa was his student. “At 15, she delivered a rendition of The Cranberries’ ‘Zombie’ in front of a packed audience,” Larose has recalled, “and I was completely floored.” That early astonishment has matured into one of the most compelling partnerships in contemporary Québec rock.
Vanessa’s own path to this moment has been as unconventional as it is inspiring. She spent years as a backing vocalist and performer across various projects, worked as a counsellor at a drug addiction treatment centre, and at 31 made the bold decision to enrol at the École nationale de la chanson – presenting her original compositions that same year on the stage of the Festival de la Chanson de Saint-Ambroise. Her short bio puts it well: “the road may be winding – but don’t worry… she’s used to crossing the lines.” “Breathe In Breathe Out” is, in many ways, the most nakedly personal expression of that resilience to date.
‘The Solivagant Tales’ features the duo’s cover of The Cranberries’ “Zombie” – a song both artists feel carries renewed and urgent relevance – as well as a bonus track, Bob Dylan’s “Down in the Flood,” which Larose describes as concluding the album “in a fun yet darker mood.” Together, these choices signal a project alive to history, to the weight of the present moment, and to the enduring power of a song to say what ordinary language cannot.
When “Soundcheck: Mental Health in the Canadian Music Industry” – the first national study of its kind – revealed this month that 94% of music professionals consider mental health issues “prevalent” in their industry, and that 53% have felt that life was not worth living, Jon Mullane was not surprised. He has lived on both sides of that data for most of his adult life.
He arrives at this moment with considerable momentum behind him. His recently released EP The Road – co-written in Nashville with Grammy-nominated hitmakers Michael Dulaney and Michael Jay – has already produced a number-one single on the Yangaroo/DMDS chart with “Moon on Fire,” while “Remember in November” won Best of Canada Music Video at the 2026 California Music Video Awards. Across five albums, multiple Top 40 Billboard singles, placements with NBC’s Olympic Games coverage, and stages from the House of Blues in Hollywood to the Molson Canadian Centre, Mullane has built the kind of career that lends weight to everything he says about what it costs to sustain one.
Mullane is available to media as a credible and compelling expert voice on the study’s findings. He brings to the conversation something rare: the lived experience of a working Canadian artist, the academic grounding of a university degree in psychology, and a decade of active partnership with mental health organisations including the Canadian Mental Health Association and The Campaign to Change Direction in the US. He is not an observer of this crisis – he is someone who has navigated it, written about it, and has been a strong advocate around bringing it into the open.
That work began in earnest with his single “Born Beautiful,” whose uplifting music video (which has an anti-suicide, self-empowering theme) earned four awards across the US in 2016–17, including wins at the Hollywood Music in Media Awards and the Music California Video Awards, while receiving commercial radio airplay and generating international attention. The song was not simply a hit – it was the foundation of partnerships with mental health organisations that Mullane has maintained and deepened ever since. For him, the Soundcheck findings are not statistics. They are the backdrop against which he has been making music for years.
His own story gives that perspective its texture. Mullane lost both parents while still very young, overcame a potentially career-ending case of tinnitus, earned a psychology degree, and briefly considered law school before being drawn back to music by those who recognised what he was capable of. That combination of personal loss, academic training, and hard-won professional resilience gives him a vantage point on the Soundcheck study that few in the industry can match – as both subject and analyst.
The Soundcheck study calls for systemic change – for labels, agents, and industry bodies to take seriously what the numbers are now impossible to ignore. Jon Mullane is the kind of artist who can help translate those numbers into a conversation that reaches beyond the industry and into the public.
There is a particular kind of song that a band carries with them for years, one that survives set-list cuts and line-up changes and the ordinary pressures of making music, and keeps insisting on being heard. For Phantasia, the Toronto indie rock trio of Ethan Flynn (vocals/guitar), Mario Prifti (bass), and Michael Colangelo (drums), that song is “King Of All My Dreams.” Written by Flynn nearly nine years ago, it is the debut single from their brand-new album ‘I’ve Been Here Before,’ out now on all major platforms, and the opening statement of a band that has spent the better part of two years earning every note.
The song carries the weight of its subject with a kind of clear-eyed grace. It is about waiting for someone who may never come back. “There’s a kind of stubborn hope in it,” Flynn says, “even though it might not be healthy.” That tension lives in the lyric itself: “I just don’t know what to do / when my dreams, they all come true / but I’m nothing without you.” The arrangement makes space for that recognition through verses built on an unsettled 7/8 time signature that opens, at the chorus, into an emotionally direct 4/4. The music and the lyric resolve together into something both honest and hard to shake.
To understand what makes the recording sound the way it does, you have to understand how Phantasia prepared for it. Before a single note was committed to tape, the band spent a full year performing, auditioning over 40 songs in front of live audiences, rewriting and retitling tracks through dozens of shows around Toronto and the GTA, letting the chemistry between three musicians develop in the one place it actually counts: on a stage, in real time, in front of people. By the time they walked into RHC Music with engineer Jon Savard, they were not a band trying to find their sound. They already had it.
That preparation made possible the way the album was recorded: instrumentally, live off the floor, across just two days, with no click tracks, no metronome, and no locked tempo. Three musicians in a room, listening to each other and reacting, the interplay between Flynn, Prifti, and Colangelo captured exactly as it sounds when the band is firing. “It lets the song breathe in a more human way,” Flynn explains. The result is a recording that carries the energy of a live performance without sacrificing clarity. Guitar, bass, drums, and vocals, nothing more, mixed and mastered by Taraz Yazdani with the same commitment to directness that shaped every other decision the band made.
Phantasia came together in March 2024 when Prifti reached out to Flynn with the idea of turning his solo work into something collaborative. Colangelo came on board, and the three of them simply never stopped, writing, performing, refining, and eventually funding the album entirely themselves, with no label and no outside budget. “After lord knows how many gigs, rehearsals, and a chunk of studio time, I’m proud of what we’ve done,” Prifti says. “This is the first ever album that I was part of writing, conceptualising, and releasing. First of many more, I should hope, but it may always be the most memorable.” ‘I’ve Been Here Before’ is the sound of a band that has done the work. “King Of All My Dreams” is where it begins.
Bad Mothers Union’s debut album ‘Sore Losers’ is out now, and new single ‘Cut in Half’ makes an immediate case for why this Irish collective has been turning heads since the start of 2026.
Where previous single ‘God’s Intercom’ drew attention from Hot Press, IMRO, First Music Contact, and a string of other industry tastemakers, ‘Cut in Half’ pushes deeper into the band’s experimental post-punk instincts. Extended well beyond the standard single runtime, the track opens with a shimmering invitation before pulling the listener into something considerably darker. Two basslines snake around each other, oscillations rise and fall, and a semi-audible sample extolling the virtues of a solid Irish breakfast surfaces occasionally to deepen the unease. It’s reminiscent of BDRMM’s more recent output and post-Pistols PIL at their most disorienting, and it’s completely riveting.
The recording process is as compelling as the result. Michael Lanigan instructed drummer Aaron Harbourne to play a simple beat ad infinitum, letting the band swirl around it. Three guitars intertwine and melt together until discerning who plays what becomes nearly impossible. String scrapes create tension throughout. And when Shay English, ill during the session and unaware the tape was rolling, smashed his bass off the floor in frustration, that accidental noise became a new layer in the track. Bad Mothers Union don’t just allow happy accidents; they absorb them.
The collective operates without standard membership structures, thriving on collaboration and the distinct voice each player brings. Drawing from Sonic Youth, The Osees, Mogwai, Primal Scream, Shellac, and a healthy dose of David Lynch’s surrealism, their live shows combine somber atmospheric lows with cascading, almost soaring highs. ‘Sore Losers’ captures that same unpredictable energy on record.
‘Following the Ghost,’ the debut album from London DIY four-piece Middleman, is out now via Evil Speaker Records, and the early verdict is emphatic. MOJO handed it 4 stars, Uncut called it “a homespun, rough-hewn debut,” and So Young declared that “our undivided attention should be with Middleman.” All three are correct.
9 tracks in 26 minutes. The math alone tells you something about the band’s approach. Rusted, wiry hooks, whipcrack drums, and Noah Alves’s scarred howl carry the record at a pace that never lets up, drawing from the taut assault of Mission of Burma, the raspy melodic charge of The Replacements, and the pioneering punk of The Wipers, with the more restrained, tender moments of Big Star and Neil Young rounding out the edges.
Latest single “Morning All The Time” is a re-recorded version of the first song written for the album, and the upgrade is audible. Alves explains: “The lead hits a lot harder, and it’s really got some texture between the guitar tracks but still enough space to breathe.” It’s one of the band’s live favorites, and this version makes clear why.
Middleman have been building toward this moment since forming as a three-piece in 2022 with their debut EP ‘Cut Out The Middleman.’ By 2024’s ‘John Dillinger Died for You’ EP, the buzz was considerable, backed by a BBC Radio 6 Music session for Marc Riley and tours with Powerplant and Island of Love. ‘Following the Ghost’ is the arrival that all of it was pointing toward.
Aussie players have been logging into this platform for nearly two decades, and the numbers keep growing. Winward Casino is Costa Rica licensed, crypto-forward, and carries over 200 games from Betsoft, Habanero, and Octopus Gaming, sitting in a comfortable spot: established enough to trust, active enough to keep things fresh. Three no-deposit bonuses sit at AU$44, AU$50, and AU$55 before a single dollar goes in. The VIP programme runs five tiers and rewards players who stick around and build genuine history on the platform.
Banking at Winward Casino
Banking shapes a lot of the experience at any online casino. Winward Casino has built its cashier around crypto, which for Australian players translates into faster cashouts and cleaner fee structures.
Deposits
Getting money in is quick across all methods. Crypto clears instantly, fee-free on the casino’s side. Cards process instantly too, though some Australian banks flag international gambling transactions, worth a quick check before the first deposit. The AU$10 minimum keeps the barrier low for new accounts.
Withdrawals
This is where crypto earns its keep. Bitcoin and Litecoin withdrawals clear in under two hours once approved. Bank transfer is available for players who prefer fiat, with the AU$500 minimum and 5–15 working day window making it the better fit for larger, planned payouts.
Method
Fee
Min Amount
Processing Time
Bitcoin
Free
AU$30
Under 2 hours
Litecoin
Free
AU$30
Under 2 hours
Bank Transfer
AU$29 flat
AU$500
5–15 working days
Weekly withdrawal limit sits at AU$4,000 for standard accounts. VIP players access higher caps depending on tier. A 72-hour review window applies before funds move, and KYC verification is required before the first cashout.
The VIP Programme
Five tiers: Silver, Gold, Platinum, Titanium, and Master. The structure rewards consistent players who build up play history over time, so it’s worth mapping out before the first session.
How the Tiers Work:
Tier
Key Benefits
Silver
Entry level, basic loyalty points
Gold
Improved point accumulation
Platinum
Exclusive bonuses, tournament invitations
Titanium
Extended promotions, priority processing
Master
Dedicated casino host, private events
Platinum is where the programme starts paying off for regular Aussie players. Tournament invitations, exclusive bonus access, better support treatment. Master tier is invite-only: a casino host and private event access for the platform’s most engaged players. Most regulars will spend their time between Platinum and Titanium, which is where the day-to-day perks actually live.
One detail worth knowing: the programme deducts 2 loyalty points for every dollar withdrawn. Plan cashouts accordingly if points accumulation matters.
Pokies and Table Games
Winward Casino carries games from Betsoft, Habanero, and Octopus Gaming. Around 200 titles across categories, a focused library where each provider earns its place.
Pokies
Betsoft’s catalogue is the centrepiece. Dragon Kings, Fruit Zen, and a range of 3D video slots with multi-layered bonus mechanics. Habanero contributes high-variance titles with strong visual production. For Aussie players used to pokies with genuine feature depth, both providers deliver.
Classic 3-reel slots sit alongside the video pokies for players who prefer the stripped-back format. Game contribution toward bonus wagering is 100% for slots across the board.
Table Games
Blackjack, roulette, baccarat, casino war, and keno. Wagering contributions vary:
Game
Wagering Contribution
Slots
100%
Roulette
10%
Baccarat
10%
Casino War
10%
Keno
10%
Blackjack
2.5%
Video Poker
20%
Table players working through a bonus should factor these rates in before choosing a game. Blackjack at 2.5% contribution is going to take considerably longer to clear than pokies.
Live Dealer
Live roulette and live blackjack, both accessible through the browser. Real dealers, real-time studio feeds, chat functionality. The kind of setup that land-based Aussie players tend to gravitate toward once they find it. Runs cleanly on 4G or Wi-Fi, and a stable connection matters here more than on standard slots.
Bonuses at Winward Casino
The promotional structure covers new players, returning regulars, and high-volume accounts through the VIP tier. Each layer serves a different purpose.
Welcome Package
Three deposits, three bonuses, 110 free spins total. The first deposit carries a 200% match up to AU$2,000 with 30 free spins attached. Wagering on the combined deposit-plus-bonus sits at 35x. Free spin winnings carry a separate 5x wagering requirement, with full withdrawal access once cleared. Minimum deposit to qualify is AU$10.
No Deposit Offers
Three free chip bonuses are available before any deposit: AU$44, AU$50, and AU$55. Each carries a 20x wagering requirement and a AU$100 maximum cashout. For Aussies who want to test the platform before putting money in, these are the place to start.
Ongoing Promotions
Active accounts get access to cashback calculated on the previous week’s deposits at 15%, credited automatically. The Races tournament runs on a rotating schedule with cash prize pools. Dino Eggs is a separate promo for regular players. Reload bonuses land for returning depositors. At higher VIP levels, event invitations and exclusive offers add to the mix.
Mobile and Platform
Winward Casino runs entirely through the browser: Chrome, Safari, or Firefox on any current Android or iOS device. HTML5 across the game library means the same titles available on desktop play at full quality on a phone screen. Account functions, banking, and bonus management all work from mobile. Transaction history syncs in real time, handy for keeping tabs on a bonus mid-session. The only practical requirement is a stable connection for live dealer titles; standard slots run cleanly on mobile data.
Security
Costa Rica licence. 128-bit SSL across all transactions. Session-based cookies handle login persistence, with sensitive account data kept server-side. Responsible gaming tools, deposit limits and self-exclusion, available through the support team on request. The platform has operated continuously since 2008, which by itself carries more weight than most licences. Players who want to verify SSL status can check the padlock in the browser address bar before entering any account details.
Customer Support
Live chat runs around the clock, seven days a week. Account managers handle real-time queries on bonuses, payments, and account access. Email support covers anything that needs more detail or documentation. Australian players rate the live chat team positively, particularly for payment and bonus queries. Response via email typically lands within 24 hours.
FAQ
What is Winward Casino?
Winward Casino is an online casino established in 2008, licensed by the Costa Rican government, and carrying over 200 games from Betsoft, Habanero, and Octopus Gaming. It accepts Australian players and supports crypto banking.
How many games does Winward Casino have?
Winward Casino carries around 200 titles including video pokies, classic slots, blackjack, roulette, baccarat, keno, and live dealer games.
What are the no-deposit bonuses at Winward Casino?
Winward Casino offers three no-deposit free chip bonuses at AU$44, AU$50, and AU$55, each with 20x wagering requirements and a AU$100 maximum cashout.
How does the VIP programme work at Winward Casino?
Winward Casino runs a five-tier VIP programme: Silver, Gold, Platinum, Titanium, and Master. Meaningful perks begin at Platinum, with tournament access, exclusive bonuses, and priority processing. Master tier is invite-only with a dedicated casino host.
Does Winward Casino offer cashback?
Yes. Winward Casino credits 15% cashback based on total deposits from the previous week, applied automatically to active accounts.
Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
‘Mind Palace,’ the new album from acoustic punk road scholar Duane Regretzky, is out now on High End Denim Records, and it arrives with 14 tracks of vaudevillian mania, punk anthems, heartfelt protest songs, and acoustic ballads that occasionally explode into skate punk or power metal riffage without a moment’s warning.
Second single “Cannibal Integrity” lands as one of the record’s sharpest moments, a full-throttle dive into the threat of generative AI art. Regretzky doesn’t hedge. “Fuck generative AI. Don’t use it to make art. It’s a pointless drain on our planet’s finite resources. It looks dumb and homogenized. It steals real life income from human artists.” That directness runs through everything he does, and it’s a large part of what makes him so compelling.
‘Mind Palace’ is the clearest expression yet of Regretzky’s range and versatility. The record free falls through culinary calamities and full-band punk anthems with equal comfort, held together by sincere, thoughtful songwriting that sits comfortably alongside the likes of Jeff Rosenstock and SNFU. It’s a wild, funny, occasionally furious record from an artist who earns every bit of the chaos he creates.
