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18 Out-of-This-World Songs About Planets, to Celebrate the Apollo 11 Moon Landing

Eric Alper
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18 Out-of-This-World Songs About Planets, to Celebrate the Apollo 11 Moon Landing

On July 20, 1969, Neil Armstrong stepped down from Apollo 11’s lunar module and onto the surface of the moon, delivering the immortal words: “That’s one small step for man, one giant leap for mankind.” Fifty-six years later, Earth’s playlist is still echoing through the cosmos.

To celebrate that historic lunar leap, here are 18 fun, far-out songs about planets that will launch your ears into orbit. Some are scientifically accurate. Some… not so much. All of them are ready for liftoff.

Beastie Boys – “Intergalactic”
A sci-fi rap anthem with robot voices, funky beats, and enough space vibes to power a warp drive.

Björk – “Pluto”
Explosive, experimental, and otherworldly. It’s like a volcano erupting on a dwarf planet.

Bruno Mars – “Locked Out of Heaven”
Sure, it’s not about Mars, but the guy put the planet in his name. That counts. Besides, this song is pure cosmic electricity.

David Bowie – “Life on Mars?”
A surreal space opera disguised as a glam-rock anthem. No official update on Martian life, but if it exists, they’re probably humming this.

Duran Duran – “Planet Earth”
New wave meets planetary shoutout. It’s fashionable, futuristic, and fun. Earth deserves a dance track too.

Elton John – “Rocket Man”
Inspired by astronauts, sealed in song by a piano legend. This is the spiritual soundtrack to floating above the Earth in zero-G.

Frank Sinatra – “Fly Me to the Moon”
No moon playlist is complete without Ol’ Blue Eyes. In 1969, the Apollo 11 crew actually played this in space. That’s a flex.

Jamiroquai – “Cosmic Girl”
A disco-funk jam that blasts off like a candy-colored comet. You can practically hear the stars sparkle.

John Williams – “The Asteroid Field” (from The Empire Strikes Back)
Planets beware—this isn’t a song, it’s a full cinematic space chase. Buckle in. Things get bumpy around Jupiter.

Muse – “Supermassive Black Hole”
A gravitationally heavy rock anthem that sucks you in with sinister riffs and interstellar swagger.

Nick Drake – “Pink Moon”
Delicate and haunting, this acoustic gem feels like a whisper from the lunar surface at 3 a.m.

Phoebe Bridgers – “Moon Song”
Heartbreaking and heavenly. Like looking out the window of your spaceship with a guitar and a soft cry.

Red Hot Chili Peppers – “Parallel Universe”
Funky, frantic, and full of cosmic chaos. It’s like drifting through space on a skateboard with Flea on bass.

Sun Ra – “Saturn”
Avant-garde jazz from a man who claimed to be from Saturn. Experimental, groovy, and as spaced-out as you’d expect.

The B-52’s – “Planet Claire”
Quirky, twangy, and totally space-age. Imagine a neon UFO party with retro ray guns and sax solos.

The Police – “Walking on the Moon”
Appropriately bouncy and totally timeless. Armstrong did it first. Sting did it with a bassline.

They Might Be Giants – “Why Does the Sun Shine?”
It’s not technically about planets, but it’s catchy, educational, and has the energy of a classroom with no gravity.

Train – “Drops of Jupiter”
Love, loss, and space metaphors collide in this early-2000s singalong. That title alone launched a thousand science fair posters.

Singer-Songwriter Samantha Hooey Returns With “Red Skies” and EP ‘Silver’

Eric Alper
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Singer-Songwriter Samantha Hooey Returns With “Red Skies” and EP ‘Silver’

Canadian singer-songwriter Samantha Hooey has emerged from a twelve-year recording hiatus with a luminous, introspective new EP titled Silver, led by the radiant single “Red Skies.” A study in restraint, reverence, and resilience, Silver is a collection of five soul-stirring songs that feel both timeless and startlingly present. With textures as gentle as moonlight and lyrics carved from deep personal renewal, the EP is Hooey’s most intimate and focused work to date.

“Red Skies” opens the project like a quiet meteor streaking across the morning—its lyrics evoke the image of birds lifting before a storm, revealing a truth that’s been waiting to be named: “Always thought that I was scared of dying / turns out I was just afraid to live.” That single line, repeated throughout the song, encapsulates the raw emotional clarity Hooey brings to her craft.

“These songs came out of a healing process,” Hooey shares. “I hope they resonate with those seeking a reminder of their own resilience.”

Rooted in the acoustic landscape of her Vancouver home—and written on the same guitar she’s had since her teens—Hooey’s songs on Silver honour cycles of nature and emotion: growth, rest, release, renewal. The project conjures quiet Northern Ontario nights under the Perseids meteor shower and Georgian Bay’s dusky hues, with every track inviting the listener inward.

Produced with care and intuition by Jeff Zipp, Silver benefits from a sonic palette that’s lush yet uncluttered. Hooey is joined by a tight-knit group of collaborators including Yamil Chain-Haddad (bass), Darryl Havers (organ), Geoff Hicks (drums), and Scott Smith (guitar/pedal steel). Each player offers restraint and warmth, giving space for Hooey’s voice to rise and glow like the full moon she sings of in “Red Skies.”

There’s a natural elegance to her delivery, one that recalls early Sarah Harmer or Gillian Welch, while planting its feet firmly in the present. In “Red Skies,” she sings of the dual pull of light and darkness, of fear of vanishing and choosing to stay: “It was a wild force like a white horse / pulling the stars down to me.” The language is mystical but rooted in real, lived experience.

Born in London, ON and now based in Vancouver, BC, Hooey’s deep Canadian roots hum beneath each melody. Her sense of time and space feels organic, even meditative, offering solace for anyone needing stillness in a noisy world. “Silver isn’t about arrival,” she says. “It’s about the journey back to connection.”

With “Red Skies” now available across all platforms and the full EP arriving with quiet force, Samantha Hooey reintroduces herself not as a newcomer but as a deeply felt presence returning home. The songs don’t shout—but they stay with you long after the last note.

Country Guitarist Chase Stevens Releases Nostalgic New Single “Songs In An Old Diner”

Eric Alper
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Country Guitarist Chase Stevens Releases Nostalgic New Single “Songs In An Old Diner”

Mississauga-based troubadour Chase Stevens is back with “Songs In An Old Diner,” a feel-good country single soaked in nostalgia, memory, and the magic of a melody. Recorded in both Nashville and Toronto, the track is a spirited follow-up to 2024’s “As Good As It Gets,” and previews the sound and soul of Stevens’ forthcoming third album.

Chase calls his style “Troubadour Country”—a blend of New Country and classic singer-songwriter storytelling. Inspired early on by the timeless work of Jim Croce, Harry Chapin, and Cat Stevens, Chase found his path in country after discovering Keith Urban and immersing himself in Nashville’s songwriter scene. “It was a trip to Nashville that cemented my direction,” he says. “I realized I wanted to tell stories that felt real, that people could see in their own lives.”

“Songs In An Old Diner” is exactly that kind of song. It’s a lyrical time machine, set in a roadside eatery filled with red vinyl swivel stools and mini jukeboxes that spin up old heartbeats and long-lost dreams. “It’s amazing what a song in an old diner can do,” Stevens sings in the chorus—a line destined to resonate with anyone who’s ever found themselves transported by the right track at the right moment.

The single follows the success of Stevens’ award-winning album Trespassing Castles, which produced a string of #1 hits on the Canadian Indie Country Chart, including “Another Little Roadside Kiss,” “Gypsy Wind,” and “Taking Pictures off the Wall.” “Gypsy Wind” earned him the 2023 ISSA International Single of the Year, while “Another Little Roadside Kiss” was named Best Country Song and Best Video at the Red Carpet Music Awards in Holland.

In Stevens’ words, “This new single is more than a trip down memory lane—it’s a love letter to the people, places, and songs that shaped us. It reminds me of how music marks time. We were running with the wind trying to chase a dream… Every day felt like it was shiny and new.” The song’s vivid lyrics and warm production offer a snapshot of youthful innocence and first love under the glow of neon signs.

Chase’s storytelling gifts first garnered national attention with his debut album Tumbleweed, particularly the track “H.W.R.” about a Canadian WWII soldier—a song that earned features on CTV National News and widespread critical acclaim. That same honesty and sense of history runs through “Songs In An Old Diner,” bridging the past with the present in three chords and the truth.

With more new music on the horizon and a third album in the works, Chase Stevens continues to cement his place as one of Canada’s most heartfelt country voices. His ability to blend visual detail with emotional depth makes each release more than a song—it’s a story worth reliving.

R&B/Afrobeat Artist ZOCHI Releases Bold, Faith-Rooted Queer Anthem “Beside Me”

Eric Alper
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R&B/Afrobeat Artist ZOCHI Releases Bold, Faith-Rooted Queer Anthem “Beside Me”

ZOCHI, Canada’s self-proclaimed Queen of Afropop—and a real-life Nigerian princess—releases her fearless and tender new single “Beside Me” today. Blending R&B soulfulness with Hip-Hop grit and Afrobeat rhythm, “Beside Me” is an anthem for belonging, vulnerability, and queer faith. The song follows her internationally celebrated single “Alone (Whole Again)” and continues her journey as one of Canada’s most exciting rising artists.

“I wanted to write a song that can still be universal even if faith-based,” ZOCHI shares. “We all want to be loved and accepted. It shouldn’t matter if the declaration of love is coming from the queer community. I just want people to feel and be compelled to love when they listen to this song.”

“Beside Me” was recorded and engineered at Monumental Bluedoor Studio in Regina, Saskatchewan, with longtime collaborator Walter Jeworski, and produced by Hip-Hop DJ and friend Dexty (Daniel Rolàk). Though ZOCHI and Dexty speak different mother tongues, she says they speak the same musical language—one rooted in love, liberation, and joy.

Lyrically, “Beside Me” is both intimate and anthemic. “Somebody knows / God was the one who did write it / I can’t even tell you how I feel / My feelings are tied in the rainbow,” ZOCHI sings in the chorus. It’s a poetic celebration of queer identity and divine authorship, filled with urgency and affirmation. “I needed a new love / Somebody a new love / I gave it a new look / I need help I’m sick of / Somebody knows.”

As a queer Christian and lesbian woman, ZOCHI makes no apology for the intersection of her sexuality and her spirituality. “My faith and my connection to God has always been based on authenticity,” she explains. “He has encouraged me to live my truth, even if some Christian teachings might oppose me. We—queer people—are ambassadors of His love. We represent the incredible depth of God’s love.”

Born Uzochi Lolia Ifeanyiukachu in Nigeria and raised in Regina, Saskatchewan, ZOCHI is blazing her own path as a genre-defying artist whose debut EP Afrikaanman Fairytale earned national and international recognition. The EP hit #1 on the campus radio charts and landed in the Top 10 on !earshot’s National International Chart. Her single “Alone (Whole Again)” was featured on CBC’s Marvin’s Room, Billboard Magazine, Tinnitist, Cashbox, and more.

She’s been seen on stages across Canada, including opening for Jully Black on the Saskatchewan leg of her 2025 tour, and will perform July 30 at Sean Jeans “Revival” Residency at The Palais Royale in Toronto. ZOCHI is currently nominated for Best Pop Music Video at the Canadian Independent Music Video Awards, and Afrobeats Artist of the Year at both the Western Canadian Music Awards and Saskatchewan Music Awards.

“Hip-Hop reminds me of my childhood, even though I was raised in an Afrobeat household,” ZOCHI says. “It helped me survive and escape the trauma of growing up gay in a Christian home. But music—and God—chose me. And now, I choose love.”

“Beside Me” marks a continued evolution in ZOCHI’s sound and story, signaling her strength as a lyricist, her vulnerability as a storyteller, and her power as a vessel for healing. “I know that you love me,” she repeats in a melodic refrain near the end of the track, inviting listeners into an embrace that is both romantic and divine.

With “Beside Me,” ZOCHI continues to create music that transcends boundaries—of genre, of faith, of identity—and celebrates the radical, revolutionary force of love.

Mike Rud Blends Jazz, Storytelling, and the Supernatural in Dazzling “The Lonely Sea Monster of Pigeon Lake, Alberta” Album

Eric Alper
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Mike Rud Blends Jazz, Storytelling, and the Supernatural in Dazzling “The Lonely Sea Monster of Pigeon Lake, Alberta” Album

Mike Rud has always stood at the intersection of intellect and imagination. A Juno Award-winning jazz guitarist, vocalist, and composer born in Edmonton, Alberta, and based now in Nelson, BC, Rud unveils the latest chapter of his creative journey: The Paranormal Adventures of Uncle Mike. With his new single, “The Lonely Sea Monster of Pigeon Lake, Alberta,” Rud delivers a poignant and whimsical tale from his youth—one that blends folk roots, jazz textures, and a touch of the otherworldly.

“The Lonely Sea Monster” is a mythical romp through prairie memory and emotional introspection, set against a lonely lakeside and an encounter with a seven-story creature. “Inside you lives a beast a lot like me / Don’t be that way,” the monster warns. It’s a line that speaks to Rud’s lyrical depth—this is a song about heartbreak, empathy, and learning not to hide from who you truly are. Jazz, roots, and nostalgia intertwine as he tells stories soaked in memory and metaphor.

Recorded in Paris, Montreal, and Edmonton, the album was produced by Paul Johnston for Bent River Records and features a remarkable cast:

  • Mike Rud: vocals, guitar, guitar synth, all songwriting and lyrics
  • Karl Jannuska: drums
  • Yoni Zelnik: bass
  • Chris Andrew: piano, accordion, electronic keyboards, theremin
  • Paul Johnston: additional upright bass on “Edna and Maurice”
  • Cynthia Hamar and Annaletha Boateng: backing vocals
  •  

Describing his latest work, Rud says, “It’s a travelogue of Canada—sort of. Filtered through monster movies, prairie dreams, and the heart’s truth of an 11-year-old boy in the ‘70s.” Each song takes listeners into a fictionalized-yet-familiar Canada, from haunted manor houses in Streetsville, Ontario to UFO sightings at CFB Southport, Manitoba.

Notes on Montreal, an album praised for turning Montreal’s literature, such as Leonard Cohen’s, into jazz songs. Now, with The Paranormal Adventures of Uncle Mike, Rud fully leans into his love of storytelling—where music becomes a stage for memory, fantasy, and identity.

“The Paranormal Adventures” is also a tribute to Rud’s roots. Raised in both Edmonton and Montreal, he’s taught jazz at McGill University, mentored rising musicians, and performed alongside greats like Herb Ellis and Kenny Wheeler. But this project—part concept album, part autobiography—is perhaps his most ambitious yet. “The songs are fiction,” he admits with a wink, “but they’re also my deepest truths.”

Thanks to support from Selkirk College and MacEwan University, and guided by Johnston’s vision, the album’s production matches its sweeping creative intent. From the surf-jazz tones of theremin to the shimmering accordion that evokes ghost towns and seashores, each instrument feels like a character in Rud’s world.

Whether it’s “The Lonely Sea Monster of Pigeon Lake,” the tragic love story of “Edna and Maurice,” or the spooky hilarity of “Your Neighbourhood Witch,” Rud’s new album invites listeners into a world that is at once nostalgic, otherworldly, and emotionally true. It’s the sound of Canada through the eyes of someone who’s seen its magic—and lived to write the soundtrack.

The Tragically Hip Top Forty Countdown Now Streaming on SiriusXM Canada’s The Tragically Hip Radio (Channel 757)

Eric Alper
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The Tragically Hip Top Forty Countdown Now Streaming on SiriusXM Canada’s The Tragically Hip Radio (Channel 757)

Canada’s most beloved band just got a permanent place on the dial. The Tragically Hip Top Forty Countdown, hosted by JD Dew, is now streaming on SiriusXM Canada’s The Tragically Hip Radio (Channel 757). This immersive, fan-fuelled podcast celebrates the music, memories, and magic of The Hip—and now it’s available 24/7 on a channel dedicated entirely to the iconic band.

Reaching #1 on Apple Podcasts’ Music Commentary chart in Canada and ranking in over 10 countries, The Tragically Hip Top Forty Countdown has quickly become essential listening for fans across the country and beyond. Every episode dives deep into the stories behind the songs, the personal moments that shaped them, and the lives they touched.

From the anthemic rise of “New Orleans Is Sinking” to the poetic depths of “Bobcaygeon,” JD Dew curates a countdown that’s as much about Canadian culture as it is about the band’s catalogue. Each song is woven together with passionate fan stories, archival moments, and emotional reflections on what The Hip meant—and continue to mean—to millions.

This podcast was born from friendship, memory, and love of music. JD created the show in honour of his close friend Matthew Rona, who passed away from ALS in 2024. What began as a shared love for Gord Downie’s lyrics has grown into a full-fledged community celebration, one that now also fuels a major fundraising initiative for ALS Society of Canada.

This fall, the countdown culminates in a live finale at The Rec Room Roundhouse in Toronto on October 4, featuring a performance by The Strictly Hip. All proceeds go directly to ALS research and support.

Listeners tuning in to The Tragically Hip Radio on SiriusXM Canada (Channel 757, Streaming Only) will now hear select episodes from the podcast, allowing fans to relive the countdown in a new and immersive way—right alongside The Hip’s discography, deep cuts, and live tracks.

As JD Dew puts it, “This podcast is a mixtape made by a country. It’s every concert ticket, every road trip, every Gord monologue remembered by the fans who lived it.”

Listen now on SiriusXM Canada Channel 757 (Streaming Only) or wherever you get your podcasts.

Cowessess First Nation Americana Artist (Uncle) Trent Agecoutay Releases Mesmerizing New Single “The Devil”

Eric Alper
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Cowessess First Nation Americana Artist (Uncle) Trent Agecoutay Releases Mesmerizing New Single “The Devil”

Cowessess First Nation singer-songwriter (Uncle) Trent Agecoutay unveils his latest single “The Devil,” a hypnotic and emotionally rich track that captures the haunting beauty of forbidden connection. Based in Calgary, Alberta, and raised in Red Deer, Agecoutay once again draws from his deep storytelling roots to deliver a song that echoes long after the final note.

“The Devil” is the newest release from Trent’s forthcoming project Uncle Trent and Friends – Legacy, a collection of songs produced with his brother Bryce to honour the musical gifts of their late father, Jim Agecoutay, a performer who spent over 40 years entertaining across Western Canada. While previous single “Burn A Smudge” offered a redemptive tribute to heritage and healing, “The Devil” explores desire, danger, and the magnetic pull of someone unforgettable.

“The Devil has green eyes it’s plain to see / And a pretty smile to capture me / With hair that shimmers in the moonlight glow / The devil’s green eyes have got my soul.”

Set against a backdrop of moonlight, shadows, and whispered memories, the track is steeped in the kind of raw lyricism and atmosphere that have become hallmarks of Trent’s songwriting. “The Devil” blends the narrative strength of classic Americana with layered acoustic instrumentation, conjuring vivid images of longing and reflection under the stars.

Trent began his musical journey by watching his father compose songs at the family’s kitchen table—always with a cigarette, a pot of coffee, and a tape recorder nearby. That tradition of honest storytelling lives on through Trent’s work, which he uses to explore what he calls “the human experience; raw, witty, and unwavering.”

Since joining his father’s band in 1993, 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 introduced listeners to a sound that is deeply personal yet broadly resonant. Trent’s work has earned acclaim across Turtle Island, including a Native American Music Award nomination for Best Blues Recording for “Dancing Along,” which reached #1 on the Indigenous Music Countdown.

With Curt and Chelsie Young, Trent co-created Do You Hear Me Now…Amplifying Indigenous Voices, which uplifted Indigenous singer-songwriters during the pandemic. His second podcast, The Deadly Uncle Podcast, provides a safe and culturally grounded space for Indigenous men and boys to connect and heal.

As with his previous work, “The Devil” benefits from support by organizations like the Alberta Foundation for the Arts, Calgary Arts Development, and The Central Music Festival Society. The new track offers a thrilling addition to Trent’s ever-evolving catalogue, continuing a legacy of music-making that began generations ago.

Whether on stage, on the air, or in a podcasting booth, Trent Agecoutay remains a storyteller committed to connection. “The Devil” is his latest chapter—mysterious, unforgettable, and deeply human.

Club Cadetta Release Self-Titled EP Featuring Electric Single “Talking to Myself”

Eric Alper
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Club Cadetta Release Self-Titled EP Featuring Electric Single “Talking to Myself”

Indie rock outfit Club Cadetta are charting their own path with the release of their debut, self-titled EP Club Cadetta, and its magnetic lead single “Talking to Myself,” both out now on all streaming platforms.

The Brampton/Mississauga-based four-piece—Timour Adjiev (guitar, vocals), Ethan MacKinnon (keys, vocals), Declan Lune (bass, keyboards), and Callum Gibson (drums, backing vocals)—craft their sound with reverence for the past and an eye on the future. Pulling influence from The Beatles, Dylan, Thundercat, Wilco, and beyond, the band has steadily built a vibe that’s nostalgic, fresh, and relentlessly earnest.

“Talking to Myself” was tracked at The Orange Lounge in Toronto with mixing engineer Spencer Sunshine, marking a milestone for the band. “Even leaving the studio after our first session, [Spencer] had sent us the ‘End of Day’ mix of ‘Talking to Myself.’ We listened to it on the drive home, and we were in awe of how good it sounded,” the band recalls. It was also during that session they crossed paths with Joe Jonas, who was working in another room—an unlikely yet memorable cameo in Club Cadetta’s unfolding story.

The EP brings together earlier singles with three new tracks, recorded across a range of studios—Recording Arts Canada, 412 Studios, Catherine North Studios, and The Orange Lounge—each adding a new hue to their sonic palette. From the meditative layers of “Service Waltz” to the horn-tinged grooves of “Riddle” featuring saxophonist Michael Lewis, every track is stitched with intention and soul.

“Creating this EP has been a real journey for us,” the band reflects. “Since recording our first single ‘It Starts Again,’ we’ve learned a lot about our process, and about recording in general. We love every crowd we get to play in front of, no matter the size… we get closer and closer to being a better band than we were last show.”

Live Dates:

Saturday, August 23 – Monarch Tavern, Toronto

With dynamic performances and a debut EP that balances youthful energy and thoughtful songwriting, Club Cadetta are ready to leave the basement and step fully into the indie rock spotlight.

Toronto-Based Funk Brothers Descendant Nathan Ali Releases Empowered Anthem “Forward” From New EP ‘Parallel’

Eric Alper
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Toronto-Based Funk Brothers Descendant Nathan Ali Releases Empowered Anthem “Forward” From New EP ‘Parallel’

Nathan Ali doesn’t flinch from the struggle—he turns it into fuel. His new single “Forward” closes out his deeply personal EP Parallel (Slammin’ Media/Believe) with an anthem for anyone who’s ever felt like giving up but chose to rise instead. Driven by haunting melodies and raw lyrics, it’s a rally cry disguised as a slow jam.

“Sometimes in life / You feel like you’re breaking / Feel you can’t make it / Gotta move forward,” Ali sings, steady and clear. And he means it. “I done been there at the bottom / I’ve felt like there’s nothing / But when I stood up and I got it / I got everything I wanted.” These lines hit harder when you know where Nathan’s been.

Raised in foster homes and shaped by poverty, Nathan found purpose through music. In his 20s, he discovered that his father and late uncle were part of Motown’s legendary Funk Brothers—the session musicians behind the biggest soul records in history. That revelation changed everything. He began blending the grooves of that legacy with contemporary R&B, hip hop, and a voice built from pain and persistence.

Since rebranding in 2018, Ali’s music has pulled in over 1.15 million streams. His breakout 2021 album Jungle tallied more than 456,000 of those plays and earned him a devoted following. But Parallel, his latest five-track offering, takes things deeper. It’s a return to the roots, created with longtime collaborators Keylow Jules and BiggD, and shaped by fatherhood, growth, and reflection.

“Parallel is about duality,” Ali says. “I’m an artist, and I’m a father of three. That balance, that tension—it’s everywhere in this music.” From the romantic introspection of “Driver’s Seat” to the streetwise honesty of “Life We Chose,” each track peels back another layer. “Loyal” celebrates ride-or-die love. “One On One” captures late-night temptation. And “Forward” ties it all together with resilience.

The production throughout Parallel stays tight and emotive. Melodic basslines, modern R&B textures, and hooks that linger long after the song ends. But the lyrics are what land hardest. On “Forward,” Ali names the fear, the hustle, and the hope. “Ain’t nothing that could break me,” he declares. “I ain’t gonna let it take me.”

That clarity connects. Nathan’s music resonates with fans of Brent Faiyaz, Khalid, Jeremih, and SZA—listeners who want beats that bump and lyrics that matter. His voice is smooth but grounded, his storytelling sharp. He doesn’t just paint pictures—he builds bridges.

Nathan’s videos and singles have pulled in more than 1.2 million YouTube views. His growing momentum is backed by Slammin’ Media and Believe Distribution, with a campaign targeting Spotify’s Mood Ring, high-rise, and Northern Bars playlists. And with “Forward” as the emotional capstone, the entire project feels purposeful and focused.

Ali doesn’t sugarcoat the past. On “Life We Chose,” he writes about poverty, violence, and making it out: “Coming out the dirt / Living in the ghetto / Momma trying to tell us / Son, don’t you carry metal.” These aren’t fictional bars—they’re scars. But Parallel offers more than survival. It’s about healing, love, and the path ahead.

“Forward” is the kind of track you put on when you’re picking yourself back up. It doesn’t beg for sympathy. It moves. With this single and the EP behind it, Nathan Ali proves he’s not stuck in his story—he’s rewriting it.

Nathan Ali is already on the move. Forward is the direction.

The Partridge Family Meets Slayer: Not Those Carpenters Unleash “Too Broke to Be Pretty!”

Eric Alper
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The Partridge Family Meets Slayer: Not Those Carpenters Unleash “Too Broke to Be Pretty!”

Straight outta Rocky Mountain House, Alberta, family band Not Those Carpenters are flipping the script on fame, filters, and fitting in with their raucous, rebellious new single “Too Broke To Be Pretty!” — now streaming everywhere.

Somewhere between a campfire singalong and a punk show in a barn, Not Those Carpenters have carved out their own glorious, genre-defying lane. Hailing from Rocky Mountain House, Alberta, this full-throttle family band channels the heart of The Partridge Family with the bite of Slayer, rolling folk, funk, metal, gospel, and punk into one joyfully chaotic package. Their new single, “Too Broke To Be Pretty!”, is out now and ready to be screamed in your car at full volume.

Made up of Brett, Tamara, Phoenix, and Ivy-Ocean Carpenter, and Pharaoh Amnesty, Not Those Carpenters are as real as it gets: a family that sings, plays, and laughs together—and writes anthems for misfits, outcasts, and the gloriously unfiltered. “Too Broke To Be Pretty!” isn’t just a song—it’s a rallying cry.

Written by Tamara Carpenter, the song was sparked by a moment scrolling through social media. “Wow, everyone looks so good!” she said aloud. Her daughter casually replied, “It’s probably filters.” After diving into beauty apps and watching an awards show glitter with glam squads and gold-plated routines, Tamara had a realization: “I am too broke to be pretty.” And more importantly, she was totally okay with that.

“It costs a lot of money for the looks that they get / Fillers, filters, and things I haven’t heard of yet… / “Lovin’ myself and I don’t need your pity / Perfectly happy with my itty-bitty kitty / You’ll find me alone in the country or the city / ’Cause I’m socially awkward / And too broke to be pretty”

The band leans into their homemade charm and powerful harmonies with full confidence and a wink, delivering lines like “Do you like skulls?” and “Wanna see my rock collection?” in a way only this crew can. The result is a track that feels equal parts protest, party, and therapy session in a patchwork dress.

“The song doesn’t criticize those who engage in external methods to feel better about themselves,” says Tamara. “Rather, it’s a reminder to myself that even if I looked a certain way, I still wouldn’t blend in—I’m socially awkward. And I’m okay with that!”

Whether you’re dressed to the nines or covered in cat hair, Not Those Carpenters are here to remind you: beauty fades, but riff-driven joy and radical self-acceptance are forever.

Because you don’t need a ring light to rock. You just need a family, a fuzz pedal, and the courage to be awkward.

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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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