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BUNT., The Chainsmokers, and Izzy Bizu Unite for Hypnotizing New Single “Spaces”

Eric Alper
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BUNT., The Chainsmokers, and Izzy Bizu Unite for Hypnotizing New Single “Spaces”

Stutter house pioneer BUNT. has joined forces with Grammy-winning duo The Chainsmokers and vocalist Izzy Bizu for their new collaborative single, “Spaces.” Out now via Arista Records, the track is a kinetic blend of festival-ready energy and late-night intimacy, capturing the hazy nostalgia of a fading summer. First debuted during BUNT.’s packed Lollapalooza set and recently performed at a surprise NYC pop-up show, the song explores the disorienting emotional landscape of falling out of love. For BUNT., who was delivering food for Uber Eats just two years ago, the collaboration marks a massive full-circle moment alongside the duo he considers his “childhood heroes.”

The release comes during an exceptionally prolific run for all artists involved. BUNT. is currently in the midst of a global tour following the success of his breakout hit “Clouds” and recent collaborations with artists like Tom Odell and Mapei. Meanwhile, The Chainsmokers continue to refine their modern dance sound, tapping into the brash, UKG-inspired production that fueled their latest hits like “White Wine & Adderall.” As both acts embark on extensive worldwide tour dates through the fall—including stops at CRSSD Fest and major arenas—”Spaces” stands as a centerpiece of their live sets, bridging the gap between the 2016 EDM era and the cutting edge of the current stutter house movement.

AIEnhancer watermark remover: More Than Cleanup, a Practical Image Toolkit

Eric Alper
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By Mitch Rice

Images don’t usually need miracles. They need quiet fixes that make them usable again. A mark removed, details restored, file size reduced, colors stabilized. AIEnhancer is built around these everyday needs, offering a set of focused tools that can be used independently or combined when the situation calls for it. The idea is simple: solve real image problems without turning every task into a design project.

Starting from the Problem, Not the Tool

When an image almost works

Most workflows begin with an image that’s close but not quite right. The composition is fine, the subject still relevant, yet something blocks reuse. Often it’s an overlay or logo added long ago. Before thinking about enhancement or editing, that obstacle needs to be removed cleanly.

Clearing visual interference

This is where a reliable watermark remover becomes the natural first step. AIEnhancer approaches removal by analyzing context rather than masking areas. Backgrounds are reconstructed based on surrounding texture and light, so the image doesn’t look altered, just uninterrupted.

Keeping the image intact

A watermark remover is only useful if it preserves what remains. AIEnhancer avoids flattening detail or softening edges. The image keeps its structure, which makes everything that follows—if anything follows—more predictable.

Image Quality After Removal

Seeing the next limitation

Once a watermark remover clears the obvious distraction, other issues tend to surface. Slight blur, muted colors, or low resolution become more noticeable. This isn’t a failure of removal; it’s a normal part of reuse.

Enhancing without exaggeration

AIEnhancer’s image enhancement tools focus on restoring clarity rather than amplifying it. Resolution is increased, details are refined, and colors are balanced carefully. Used after a watermark remover, enhancement helps images hold up across screens and sizes.

Old files, new stability

Compressed or archived images often benefit the most. After removal, enhancement brings back definition without introducing sharp, artificial edges. The result feels usable, not reprocessed.

Compression That Fits the Workflow

Size still matters

Clean images aren’t useful if they’re too heavy to load. AIEnhancer includes smart compression that reduces file size while keeping visual quality consistent. This step often comes after using a watermark remover and enhancement, preparing the image for real-world delivery.

Balancing quality and speed

Compression here isn’t aggressive. The goal is to preserve what the watermark remover and enhancement tools have already fixed. Images stay visually stable while becoming easier to distribute.

A quiet but necessary step

Compression rarely gets attention, but it closes the loop. AIEnhancer treats it as part of the same practical workflow, not an afterthought.

Editing as a Separate Capability

Not every image needs editing

Many users stop after removal and enhancement. AIEnhancer doesn’t force creative changes. Editing exists as an option, not a requirement, which keeps the workflow grounded.

Prompt-based adjustments

When changes are needed—new framing, background tweaks, or stylistic shifts—the AI image editor allows users to select models, set output ratios, and guide results with prompts. It’s designed for directed changes, not endless tweaking.

Independence between tools

The watermark remover, enhancement tools, and editor operate independently. You can clean an image today and edit it later, or never. This separation reflects how image work actually happens.

Beyond Photos: Other Media Use Cases

Logos and brand visuals

Logos often carry marks or outdated elements that limit reuse. AIEnhancer’s watermark remover handles these cases with attention to edges and proportions. Enhancement ensures clarity, especially when logos are scaled.

Video frames and short clips

Video content presents similar challenges. Marks appear frame by frame, and compression artifacts accumulate quickly. AIEnhancer applies the same principles—clean removal, stabilization, and controlled compression—across motion content.

Consistency across formats

Whether it’s a still image, a logo, or a video frame, the watermark remover behaves consistently. This predictability reduces trial and error, especially when working with mixed assets.

How the Tools Fit Together

A modular but coherent system

AIEnhancer isn’t built around one flagship feature. The watermark remover often acts as the entry point, but enhancement, restoration, compression, and editing support different stages of the same lifecycle.

Use only what’s necessary

Some images need just a watermark remover. Others benefit from enhancement or compression. The platform allows users to exit the process at any point, which keeps work efficient.

Designed for repetition

These tools are meant to be used repeatedly, not admired once. Consistent behavior across images builds trust and speeds up decision-making.

Practical Outcomes in Daily Work

Content production

For blogs, social posts, and marketing materials, AIEnhancer shortens the gap between finding an image and publishing it. The watermark remover clears distractions, enhancement restores clarity, and compression prepares assets for upload.

Internal and presentation assets

Screenshots, reports, and slides often reuse visuals that weren’t designed for presentation. Cleaning them with a watermark remover and light enhancement makes them presentable without redesign.

Personal and archival projects

Old photos and scanned materials benefit from the same approach. Removal cleans visible marks, enhancement improves legibility, and the image remains recognizable.

A Toolset with a Clear Direction

Focus on reuse

AIEnhancer is built around extending the life of images. The watermark remover removes barriers. Enhancement restores confidence. Compression enables sharing. Editing remains optional.

No unnecessary complexity

Each tool has a clear role. There’s no pressure to combine everything, no hidden dependencies. The workflow stays flexible.

Quiet progress over spectacle

AIEnhancer doesn’t aim to impress with dramatic transformations. It aims to make images usable again, reliably and repeatedly. In that sense, the watermark remover is not just a feature, but the foundation of a practical image toolkit that supports real work.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Leah Kate Introduces New Era with ‘Act I: It Doesn’t Take a Genius (To Ruin Everything)’

Eric Alper
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Leah Kate Introduces New Era with ‘Act I: It Doesn’t Take a Genius (To Ruin Everything)’

Platinum-certified pop artist Leah Kate has officially launched the journey toward her sophomore album, ‘Genius’, with the release of ‘Act I: It Doesn’t Take a Genius (To Ruin Everything)’. Featuring the new singles “Meltdown” and “ill,” this first installment sets a cinematic tone for an album Leah describes as a dissertation on her own bad decisions and chaotic unraveling. By releasing the record in three distinct acts, she aims to lead listeners through a narrative arc that moves from self-inflicted ruin to empowerment. The project arrives during a massive creative streak for the Los Angeles alt-pop star, who recently lent her sharp songwriting skills to pop icon Kesha for the nightclub anthem “ATTENTION!”

The lead tracks “Meltdown” and “ill” follow the success of Leah’s summer single “Dead Sexy Body,” further cementing her reputation for pairing “kiss-off” anthems with booming, rock-influenced production. With over a billion global streams and a string of viral hits like “10 Things I Hate About You,” Leah continues to define a generation of heartbreak anthems while maintaining a razor-sharp, tongue-in-cheek perspective on her own life. As she prepares for the full release of ‘Genius’ on November 7, this first act offers an intimate, high-energy look at the unraveling that precedes self-discovery. Each subsequent chapter promises to take fans deeper into the “vibrant movie” Leah has constructed for her most ambitious album to date.

Spin Doctors Revisit Prince Classic “Purple Rain” for Musora’s ‘Covers’ Series

Eric Alper
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Spin Doctors Revisit Prince Classic “Purple Rain” for Musora’s ‘Covers’ Series

In a special episode of the Musora series ‘Covers’, the members of the legendary 90s pop band Spin Doctors were tasked with performing a spontaneous rendition of Prince’s “Purple Rain” with minimal preparation. The performance offers a unique behind-the-scenes look at the group’s creative process in the studio, demonstrating their ability to lock into a classic arrangement while infusing it with their own signature energy. Beyond the technical execution, the session highlights the profound emotional power of music to bridge memories and connect artists through a shared appreciation for one of the most iconic songs in the pop canon.

Twin Shadow Confronts Insecurity on New Single ‘Awkward Backward’

Eric Alper
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Twin Shadow Confronts Insecurity on New Single ‘Awkward Backward’

Following a successful run of Southern California dates on his ‘Georgie Goes West Tour’—including a notable sold-out performance at Pappy & Harriet’s—Twin Shadow has released “Awkward Backward,” the second single from his upcoming seventh album, ‘Cadet’. Arriving via Dom Recs, the track utilizes twisting synths and a push-pull rhythmic tension to navigate the internal friction of relationship self-doubt. Twin Shadow describes the song as a vulnerable confession regarding his own defensive shortcomings and the ego-driven need to predict a partner’s exit before it happens. By stripping back the layers of these insecurities, the track serves as both an admission of past patterns and a sincere invitation to abandon the chase for the upper hand in favor of genuine emotional connection.

Keren Ann Captures the Spirit of Home on New Album ‘Paris Amour’

Eric Alper
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Keren Ann Captures the Spirit of Home on New Album ‘Paris Amour’

Singer-songwriter and producer Keren Ann has released her tenth solo studio album, ‘Paris Amour’, out now via her own Bring Back Music label. While the record travels through various themes and landscapes, it is unique for being crafted entirely within her home in the Montmartre neighborhood of Paris. This creative homecoming arrived 25 years after her debut and follows a career spent bridging the gap between French and English-language folk-pop, including a string of acclaimed releases on Blue Note Records. Produced by Keren Ann herself, the album functions like a film score for her personal horizons, blending her signature “serene mystery” with a stunningly diverse collection of songs that observe the world from her hilltop view in the 18th arrondissement.

The album opens with “La Sublime Solitude,” a track celebrating the creative necessity of seclusion, before moving into the pulsating energy of “La Musique À Fond,” a homage to the transcendent power of song. The collection concludes with a powerful collaboration featuring jazz trumpeter Avishai Cohen on “L’Echo des Tirs,” a haunting electronics-driven piece that addresses the aftermath of violence while maintaining a luminous sense of hope. From the direct love letter of the title track to these darker, more atmospheric explorations, ‘Paris Amour’ reflects the full spectrum of urban life—joy, mourning, sensuality, and yearning. It stands as a definitive portrait of an artist who is both a citizen of the world and a permanent resident of the Parisian musical landscape.

Dierks Bentley and The Band Loula Share Live Collaboration “Get Down On Your Knees and Pray”

Eric Alper
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Dierks Bentley and The Band Loula Share Live Collaboration “Get Down On Your Knees and Pray”

Dierks Bentley has teamed up with rising country duo The Band Loula to release a powerful, roots-infused live rendition of the Bill Monroe classic “Get Down On Your Knees and Pray.” Recorded during Bentley’s massive 30-city ‘Broken Branches’ tour, the track captures a swampy, delta bluegrass arrangement that became a nightly highlight for arena and amphitheater crowds across the country. Bentley, who first heard the song performed by the Del McCoury Band, noted that the unique energy of The Band Loula inspired him to finally incorporate the gospel bluegrass tune into his own set. The resulting performance has been described as a hair-raising number filled with grit, heart, and a physical manifestation of the spiritual intensity found in traditional bluegrass.

The release marks the conclusion of a milestone summer for Bentley, which wrapped this past weekend with a headlining return to Madison Square Garden. The tour served as a showcase for his latest album ‘Broken Branches’, blending new tracks like “She Hates Me” and “Well Well Whiskey” with career-spanning hits. For The Band Loula, the collaboration represents a definitive moment in their trajectory, moving from tour openers to creative partners on a recording that will endure beyond the road. By leaning into their specific “delta bluegrass-y” sound, the trio has breathed new life into a foundational piece of American music, offering fans a taste of the electrifying live chemistry that defined one of the season’s most successful tours.

Folk Singer Carla Muller Celebrates the Season with the Re-Release of Her Holiday Album ‘Snow Came Falling’

Eric Alper
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Folk Singer Carla Muller Celebrates the Season with the Re-Release of Her Holiday Album ‘Snow Came Falling’

Woolwich, Ontario Folk singer Carla Muller proudly announces the re-release of her cherished holiday album ‘Snow Came Falling’, a collection inspired by family, tradition and the spirit of the season. The album returns with renewed focus on its themes of connection, memory and the warmth of shared music, inviting listeners into the comforting world Muller has created through song.

Carla reflects on the journey behind the project with gratitude for the creative community that helped bring her work to life. She says, “This has been an interesting time, finally fulfilling my life-long dream to share my music with the world, with themes of family, love and loss. I write from my heart, for the people I love, and for myself – past and present. It is a good place to be, and I have been so blessed to work with so many talented musicians, all helping to bring my stories to life. The past three years at Canterbury Music Company have been such a learning experience, working with Jeremy Darby and Julian Decorte, and great musicians such as Andrew Ascenzo, Dave Barnes, Burke Caroll, Melanie Conly, Gary Craig, Jessica Deutsch, Davide Direnzo, Jason Fowler, Kevin Fox, Rich Grossman, Robbie Grunwald, Nathan Hiltz, Charles James, Drew Jurecka, Mark Kelso, Juliann Kuchocki, Maury Lafoy, Mark Lalama, Joy Lapps, Dave MacDougall, Ross MacIntyre, Mark Mariash, Scott Metcalfe, Rob Piltch, Chris Quinn, Paul Reddick, Alex Samaras, John Showman, Ernie Tollar, Kevin Turcott, Quisha Wint, and more.”

Originally created as a musical tribute for her father, ‘Snow Came Falling’ features a blend of original compositions and Christmas standards that echo the sounds Muller grew up hearing in her family home. Songs such as “Once Upon A Christmas Eve”, “Snow Came Falling”, “Go And Find Him” and “Sirens Of The Snow” highlight her gentle vocal style and the acoustic textures that frame the album. Each song reflects the intimate atmosphere Muller envisioned when revisiting the carols and memories that shaped her love of music.

The album also includes German and English selections that honour Muller’s heritage. “Weißt du Wieviel Sternlein Stehen / Heaven’s Sky” preserves the lullaby her father sang to her as a child, and the children’s choir led by Quisha Knight brings the piece to life with the excitement Muller hoped to capture. The arrangement emphasizes the song’s tender roots and its place within her family’s Christmas traditions.

Listeners will also find inventive interpretations of seasonal classics, including “Leise, Rieselt Der Schnee (Softly Falls The Snow)”, arranged with Hawaiian guitar, steel drums and a bright choral lift. Muller’s reimagining of the piece offers a fresh, joyful sound that complements the album’s quieter moments. Across the track list, she builds a world shaped by sincerity, warmth and lyrical storytelling.

Among the original works, “I Can Hear The Bells” stands as one of the most deeply personal. Co-written with the late Sean Cunnington, the song reflects themes of faith and resilience. Muller has spoken often about the comfort she finds in its words, which became especially meaningful in the years following the loss of her friend and her sister. Its message of hope and continuity remains central to the album and to this re-release.

Recorded at Canterbury Music Company and mastered by David Travers-Smith, the album showcases an impressive group of musicians whose work supports Muller’s arrangements with elegance and care. Contributions from Jason Fowler, Mark Lalama, Rob Piltch, Ross MacIntyre, Gary Craig, and an expansive roster of instrumentalists and vocalists create the rich sonic landscape that defines the project.

With the re-release of ‘Snow Came Falling’, Muller invites listeners to rediscover the songs that made the album a seasonal favourite. The collection continues to reflect her belief in the power of music to hold memories, honour loved ones and lift the spirit during the holidays. Its blend of originals, traditional carols and heartfelt performances offers a space of calm and reflection that feels especially resonant each December.

Steve Poltz Announces Extensive Canadian Tour For Spring 2026 Supporting New Album ‘Joyride’

Eric Alper
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Steve Poltz Announces Extensive Canadian Tour For Spring 2026 Supporting New Album ‘Joyride’

Acclaimed singer-songwriter Steve Poltz announces his return to his Canadian roots with an extensive 17-date spring tour across Eastern Canada, kicking off April 15, 2026. The Halifax-born artist continues his momentum following sold-out theatre runs and massive responses at major festivals across Australia and the US, bringing his “good old-fashioned sing-along” show to intimate venues throughout the Maritimes, Ontario, and Quebec. The tour supports his 14th solo album, JoyRide, out January 30, 2026, a collection of “unsaturated, unadulterated art” that captures the chaos and poetry of his creative life.

Recorded in East Nashville with producer Dex Green, JoyRide represents a raw, unfiltered approach to recording. “Capturing me in a studio is like convincing a whirling dervish to stop spinning long enough to sign a bill into law,” says Poltz. The album embraces a spirit of “no seatbelts, no helmets,” featuring “real humans making real noise in real time”. The sessions utilized the legendary rhythm section of Bryan Owings and Christopher Donohue—best known for their work with Emmylou Harris—to create a natural, organic feel.

The new collection highlights Poltz’s penchant for contemporary collaboration, featuring co-writes with industry heavyweights like Vince Herman of Leftover Salmon and Jim Lauderdale. On the track “Love a Little Bigger,” Poltz and Herman turned a spontaneous chorus into a “rowdy” anthem that serves as a “singalong reminder to forgive faster and swim more often”. The album also features “Fixin’ Up,” a track Poltz wanted to capture the essence of a moment in Andy Frasco’s kitchen, where the song stopped Frasco from doing dishes to ask, “What the hell is this? I love it”.

True to his reputation as a “musical trickster,” Poltz infuses the record with humor and storytelling. The track “The Son of God” recounts a dream conversation with Jesus about “buying some Funk and Wagnalls encyclopedias,” while “Hairlift” rhymes “Mao Zedong” with “well hung” in what Poltz calls a “little bit of humor that leaves you with a sideways smile”. The title track, “JoyRide,” is described as a “love song to the road” that feels like “a warm hug after a long road trip”.

About Steve Poltz Steve Poltz is a Canadian-American singer-songwriter and founding member of the indie-rock band the Rugburns. While he is known for co-writing the hit “You Were Meant for Me” with Jewel, Poltz has spent recent years crushing festivals in Canada, Australia, and the US, building a reputation as a prolific live performer. His recent work focuses on contemporary collaborations and high-energy touring, including successful runs with Danny Michel. He continues to capture the hearts of crowds with his unique blend of musicianship and storytelling.

Steve Poltz 2026 Tour Dates:

April 15, 2026 – The Union Street, Berwick, NS
April 17, 2026 – The Carleton, Halifax, NS
April 18, 2026 – The Carleton, Halifax, NS
April 19, 2026 – The Carleton, Halifax, NS
April 20, 2026 – The Frolic & Folk Pub & Grill, Iona, NS
April 21, 2026 – Decoste Centre, Pictou, NS
April 22, 2026 – Charlotte Street Arts Centre, Fredericton, NB
April 24, 2026 – Royal City Mission, Guelph, ON
April 25, 2026 – Marsh Street Community Centre, Clarksburg, ON
April 26, 2026 – Aeolian Hall, London, ON
April 29, 2026 – Horseshoe Tavern, Toronto, ON
April 30, 2026 – The Spire, Kingston, ON
May 1, 2026 – Red Bird, Ottawa, ON
May 2, 2026 – Red Bird, Ottawa, ON
May 3, 2026 – Motel Chelsea, Chelsea, QC

JUST ANNOUNCED: Wavelength Music Festival + Conference March 19-21, 2026

Eric Alper
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JUST ANNOUNCED: Wavelength Music Festival + Conference March 19-21, 2026

Indie music non-profit Wavelength Music announces its inaugural Music Festival and Conference, expanding its annual winter season festivities to include conversation programs and interactive activities along Toronto’s west end while shifting timing to the first weekend of spring. Following its massive 25th anniversary celebrations, in 2026 Wavelength goes global in scope, with emerging Canadian artists spotlighted alongside international guests from Australia, France, Hong Kong, Ireland, Portugal and the United States. In addition to the 30+ live acts, a festival highlight will be the book launch event for the memoir by Melissa Auf der Maur, Canadian-born alternative rock icon (Hole, Smashing Pumpkins), in partnership with the AGO.

Musical line-up includes: 

Ada Lea * Alex Cameron * Bad Waitress * Bibi Club * bikebike * Burs * Casper Skulls * Cinna Peyghamy * Colle * Ebril * Dan English * Dastgâmachine * Dumai Dunai * Fortunato Durutti Marinetti * Hélène Barbier * Lucid Express * Mad Iris * Maria Somerville * Melissa Auf der Maur (book launch + DJ set) * Orbital Ensemble * Paul Chin * Pizza Bush * P.S. Lucas * Ribbon Skirt * Salar Ansari * Sheenah Ko * Slash Need * Sook-Yin Lee * Status/Non-Status * Tara Kannangara * Tarek Funk

Plus: Panels * Poets * Synth Petting Zoo * Walking Tours * Workshops 

About Wavelength Music Festival + Conference 2026


Toronto’s Wavelength Music welcomes a prominent roster of artists, venues and community partners with Wavelength Music Festival + Conference 2026. Proudly independent, homegrown and artist-centric, the festival brings a grassroots-oriented approach that reflects the diversity of the Toronto music scene. For the first time in its 25+ year history, Wavelength will offer a weekend-long series of its acclaimed talks, panels and workshops, aimed at both music industry professionals and the general public. And with the festival now taking place in mid-March, family-friendly March Break programming includes the Synth Petting Zoo, an interactive synthesizer exhibition.

At its apex is its home base Wavelength @ St. Anne’s, an arts hub known for immersive and intimate performances in a gorgeous historic church hall. Building on Wavelength’s key role in the west-end creative community, events will also be held at Lula Lounge, the Art Gallery of Ontario, The Baby G, The Garrison, and InterAccess.

Local heroes and international artists fill the stacked lineup, with globe-trotting guests including Australian yacht-rock icon Alex Cameron, Irish dream-pop singer Maria Somerville, and Hong Kong shoegazers Lucid Express. Wavelength is delighted to welcome back Bibi Club and Ribbon Skirt, following their Polaris Music Prize short list success and 2024 appearances at Wavelength. Melissa Auf der Maur will fête the publication of her new ‘90s alt-rock memoir Even the Good Girls Will Cry with three events in Toronto, including a book launch at the AGO, a late-night DJ set, and an alphabetically pleasing lineup co-presented by Basilica Hudson, her independent venue in upstate New York curatorially inspired by their annual music and art festival, Basilica SoundScape. Additional events include a Nowruz (Persian New Year) party showcasing Toronto’s vibrant Persian electronic music scene, a spotlight on Indigenous musical talent co-presented with Tkaronto Music Festival, and a global-meets-hip-hop night at the Garrison co-presented with Uma Nota Culture. 

“After celebrating our 25th anniversary all throughout 2025, I’m thrilled to wrap things up with a bow by presenting the lineup for our first-ever Wavelength Music Festival Conference in March of ‘26. Wavelength grew out of the “think globally, act locally” ethos of the ‘90s, and this lineup still embodies that a quarter-century later: with concerts connecting our diverse, vibrant local music community with groundbreaking artists from around the world. 

And what a dream to inaugurate our conference with the book launch for a true ‘90s icon: the one and only Melissa Auf der Maur, musician, photographer, curator, producer, and now author. A Canadian music legend, Melissa exemplifies artist-run culture at the highest level, demonstrating her commitment to the grassroots by running a venue and festival in her adopted hometown of Hudson, New York. We need cross-border co-operation between arts communities now more than ever, and we hope Melissa’s talks and readings will inspire future generations of musicians and organizers.” – Jonathan Bunce (aka Jonny Dovercourt), Artistic/Executive Director and co-founder of Wavelength

For the full festival schedule, more information and artist bios, please visit wavelengthmusic.ca. Tickets and passes will go on sale Friday Dec. 12 at 10am. Conference programming will be announced in early 2026. Free tickets for Melissa Auf der Maur’s book launch at the AGO will be available in Feb. 2026.

About Wavelength

Founded in 2000 by a collective of indie musicians, artists and curators, Wavelength Music has evolved from its roots as a weekly Sunday night club series and monthly photocopied zine, to a non-profit multi-format platform including outdoor festival experiences, thought-provoking conversations, and diversely curated concert presentations — while never wavering from its original vision of building more excitement for the DIY Toronto music scene. In recent years, Wavelength has expanded into research projects such as the acclaimed Reimagining Music Venues, proposing a path towards new models of conservation and innovation for Ontario’s live music spaces. Having just celebrated its 25th anniversary, Wavelength looks forward to championing the Canadian independent live music sector and providing a space for forward-looking conversations.

Wavelength Music Festival + Conference is supported by:
The Government of Ontario, Ontario Arts Council, Toronto Arts Council, Department of Canadian Heritage, Canada Council for the Arts, FACTOR, TO Live, Sonic Boom Music, The SOCAN Foundation, Adamson, DICE, Exclaim!, Great Lakes Brewing, and Yamaha.
With community partners: the Drake Hotel, Little Portugal BIA, the Art Gallery of Ontario, Basilica Hudson, Basilica Soundscape, InterAccess, Link Music Lab, Lula Music & Arts, Synth Palace, Tkaronto Music Festival, Tri City Synthesizer Society, and Uma Nota Culture.

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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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