Vancouver-born songwriter Alex Little steps into her solo spotlight with “Sounds Like A Deal,” the first single from her forthcoming EP “Spider in the Sink.”
Produced by James Younger (Yukon Blonde), the track channels years of lived experience, punk energy, and sharp-eyed observation into a searing anthem about exploitation and spectacle.
The song’s spark came from an unlikely source — a documentary about The Jerry Springer Show.
“The poor treatment and exploitation of the people on the show was truly awful and I needed to sing about it,” Little said.
The urgency of that reaction runs through the entire track, where wiry guitars, punchy drums, and Little’s commanding vocals collide. Developed alongside guitarist and partner Adam Sabla, with Tony Dallas on drums and Hayz Fisher on bass, “Sounds Like A Deal” captures the raw immediacy and defiant spirit that define her new sound.
Raised between False Creek and Commercial Drive, Little’s musical DNA was shaped by everything from The Replacements and David Bowie to Iggy Pop, The Beatles, and Roxy Music. After cutting her teeth drumming in punk outfit Vapid and fronting Alex Little and the Suspicious Minds, she now emerges under her own name with songs that are melodic, unvarnished, and deeply human.
Across “Spider in the Sink,” Little wrestles with fear, media manipulation, and personal recovery. With “Sounds Like A Deal,” she delivers a fierce opening statement — one that pairs melody with grit, outrage with empathy, and a drummer’s pulse with a frontwoman’s unflinching voice.
Stream “Sounds Like A Deal”: https://ffm.to/soundslikeadeal
Mi’gmaq rapper and activist Q052 has released his fourth album, “Thunder Child,” via Musique Nomade. The record follows the success of his fiery single “Loud Sunday.”
Drawing inspiration from Ty Segall, Immortal Technique, Cypress Hill, Black Sabbath, and Rage Against the Machine, Q052 fuses hip-hop, grunge, alt-rock, and spoken word into a sound that’s as raw as it is revolutionary. His explosive live energy and fearless lyricism confront themes of Indigenous identity, social justice, and personal struggle.
On “Thunder Child,” Q052 pushes his artistry further. The focus track “Look It Up” channels the spirit of Talib Kweli, Mos Def, Danny Brown, and KRS-One, delivering a stripped-back, old-school beat that amplifies every word of his fiery call to action.
“Hip Hop artists are considered to be street journalists who share stories from their environment,” he explained. “In this album, I’m taking listeners on a tour in my mind and expressing how I view the world right now. It’s gone to hell!! From world leaders to the environment, from television shows to the news, from law enforcement agencies invading homes to assassinations, from social media platform addictions to a cold beer!! I’m reporting on it…is this mic on?”
“Thunder Child” stands as a searing testament to resistance, resilience, and truth-telling — a record that demands to be heard more than once.
Stream “Thunder Child”: https://bfan.link/thunder-child
Pop singer, songwriter, and producer elijah woods released his long-awaited debut album, “Can We Talk?” With over 1 billion streams, sold-out headline tours across Canada and Asia, and performances alongside Niall Horan and on major festival stages, woods is on the road to becoming a global pop force — all while remaining an independent artist.
Across eleven tracks, “Can We Talk?” captures the duality that defines elijah’s sound: raw vulnerability wrapped in sleek, magnetic pop production. The record moves between introspection and euphoria, each song unfolding like a late-night conversation — honest, confessional, and irresistibly melodic.
“‘Can We Talk?’ is the most personal project I’ve ever made,” elijah said. “It’s a collection of late night thoughts and real conversations — things I’ve said, things I wish I’d said, and things I’ll probably never say out loud.”
Leading the release is the single “So Good,” accompanied by its official music video. With shimmering synths and an undeniable chorus, the track celebrates the electric feeling of new love.
Originally from Ottawa and now based in Los Angeles, elijah woods has carved out his place as one of pop’s most exciting multi-hyphenates. His crisp production, emotive storytelling, and knack for crafting anthems that feel both intimate and cinematic have earned him four JUNO nominations, multiple platinum and gold certifications, and international acclaim from outlets like Esquire Singapore, 1883 Magazine, and Vogue Hong Kong.
With “Can We Talk?,” elijah delivers his most mature and heartfelt work yet — a luminous debut that cements his place among pop’s defining new voices.
Stream “Can We Talk?”: https://elijahwoods.lnk.to/canwetalk
French singer-songwriter Aurel returns with “Almasty,” a tender meditation on friendship, loss, and the quiet strength found in human connection. Released today via Vérité — the new Capitane Coop imprint dedicated to contemporary pop and chanson — the track offers the first glimpse of his debut album “Tant qu’on aura pied,” expected to release spring 2026.
Born from grief in the winter of 2024, “Almasty” emerged from a single piano motif played on repeat as Aurel processed the death of a close friend. Named after the reclusive Caucasian “bigfoot,” the song transforms that image into a moving metaphor for isolation and the relationships that keep us grounded.
“Without my friends and loved ones, I might look like that Almasty — a recluse, hidden away from the world,” Aurel said. “I wonder what kind of man I’d have been without you / Probably the Almasty — that human you only see at night.”
Produced and mixed by Nicolas Michaux (Capitane Records), the track’s blend of piano, vintage keyboards, and soft percussion evokes the handcrafted intimacy of Iliona, Andy Shauf, and Sufjan Stevens.
“Almasty” also marks a turning point for Aurel. After the acclaim surrounding his earlier EPs “ Ah ouais” and “Saison Mandarines” — and live appearances with Pomme, Voyou, Feu! Chatterton, and Zaho de Sagazan — he found himself disillusioned by the constant push for visibility and success. A bout of tinnitus and a leaking roof became unexpected signs to pause and start anew. From that stillness came Tant qu’on aura pied, a record that favors truth over perfection and intimacy over spectacle.
With “Almasty,” Aurel reclaims music as an act of connection — quiet, human, and profoundly sincere. It’s a song that reminds us of the invisible bonds that hold us together, even in absence.
Stream “Almasty”: https://ymlps5.com/789aauseqaxaeqmeeatajyhazauyhw/click.php
Los Angeles folk-punk outfit Hoist the Colors are back with their new full-length album, “Dear Wanderlust,” out now via HEY!FEVER RECORDS. The record marks a triumphant return for the collective, whose signature blend of Americana, bluegrass, and SoCal punk captures both grit and grace in equal measure.
A staple of the West Coast scene, Hoist the Colors have built their name on anthemic storytelling and raucous live energy — sharing stages with icons and even bringing their sea-faring spirit to Flogging Molly’s Salty Dog Cruise.
“Dear Wanderlus” pushes that adventurous streak further, pairing heartfelt songwriting with the unshakable energy of their punk roots.
The album’s latest single, “The Sins of Saints,” channels both struggle and redemption through a uniquely cinematic lens.
“[‘The Sins of Saints’] focuses on the moments of struggle in our lives and the potential for redemption,” frontman Josh Linden said. “People have a tendency to give up on their dreams when they fail or are told it’s just not worth it. We wanted to give a nod to one of our favorite movies as a band, “Nacho Libre,” so with the help of two amazing pro wrestlers, Primo and Slice from Santino Brothers Wrestling, we were able to put a really cool story together. Probably the most fun we’ve had shooting a video.”
The band’s video for “The Sins of Saints,” premiering on DyingScene.com, nods to their favorite film, Nacho Libre, and features professional wrestlers Primo and Slice from Santino Brothers Wrestling.
Stream “Dear Wanderlust” on: Spotify and Apple Music
Toronto pop-punk mischief-makers The Mendozaz are back with “An American Werewolf in London, Ontario,” the second single from their upcoming concept EP “The Completely Fictional History of This Great Nation of Canada,” out November 3 via Cartridge Heart. Equal parts horror flick and pogo anthem, the track turns a monster movie premise into a razor-sharp love song with fangs — somewhere between The Dead Milkmen’s snark, Green Day’s hooks, and PUP’s storytelling chaos.
“[It’s] an epic tale of forbidden inter-species romance spread across the border,” frontman Jonny said. “It was supposed to be some menacing, proggy thing but the peppy, infectious vocal hook won out and here we are. Classic example of heart over head. Kind of like our werewolf friend.”
The song follows a Michigan werewolf torn between bloodlust and border patrol, terrified that his full-moon crimes could get him deported away from his one true love in Canada. What should have been a horror story winds up a grin-inducing, hook-loaded punk romp — a police report you can dance to.
Since forming in 2017, The Mendozaz — Jonny (vocals/guitar), Michael (vocals/bass), and Dic (drums) — have built a cult following off high-energy live shows and songs that blend absurdity with sincerity. Their upcoming EP takes that formula to the next level, turning Canadian folklore inside out with satire, speed, and unrelenting volume.
“An American Werewolf in London, Ontario” is pure Mendozaz: loud, clever, and completely unhinged in the best possible way. It’s proof that even in the land of polite apologies and poutine, punk can still bite.
Stream “An American Werewolf in London, Ontario”: https://themendozaz.hearnow.com/an-american-werewolf-in-london-ontario
