To celebrate the two-year anniversary of her acclaimed album “Inuktitut,” Elisapie has teamed up with Montreal producer Hologramme for a brand-new EP, “Inuktitut (Remixes),” out now via Bonsound. The project reimagines highlights from the JUNO-winning record through lush, atmospheric soundscapes while keeping Elisapie’s moving voice at the center.
The idea for the collaboration came when Elisapie, Hologramme, and visual artist Caroline Monnet were commissioned to create a unique work for the Montreal Museum of Contemporary Art’s 60th anniversary. The result was a striking blend of sound and visuals, later performed at Montreal’s Society for Arts and Technology (SAT). The remixes of “Sinnatuumait (Dreams),” “Uummati Attanarsimat (Heart of Glass),” and “Qimatsilunga (I Want to Break Free)” weave together introspection and energy — mirroring the geometric patterns that define Monnet’s art.
With “Inuktitut (Remixes),” Elisapie extends the reach of her celebrated 2023 album. That record not only landed her a Polaris Prize shortlist nomination and multiple Félix awards, but also a JUNO for Adult Alternative Album of the Year. The project reimagined 10 iconic tracks — from Leonard Cohen to Blondie — by translating them into Inuktitut, her mother tongue, each song tied to a personal memory or story. The raw beauty of the Inuit language gave the classics new power and earned her international acclaim from outlets like Rolling Stone, Vogue, CBC, and Le Monde.
Recently featured on the cover of ELLE Quebec, Elisapie remains a singular voice in Canadian music. Born and raised in Salluit, Nunavik, she has always woven her deep connection to her territory and language into her artistry. Her collaborations with leading musicians from Montreal’s indie and folk scenes, and now with rising electronic force Hologramme, showcase her ability to bridge tradition and modernity with finesse.
Stream “Inuktitut (Remixes)”: https://bonsound.co/inuktitutremixesRP
Minneapolis punk veteran Cindy Lawson is back — and she’s not pulling any punches. Her new single, “The Reckoning,” is a searing anthem aimed squarely at every manipulator, betrayer, and bad actor who thought they’d never face consequences. With snarling guitars and Lawson’s voice blazing at full force, the track captures the catharsis of finally seeing the tables turn.
Lawson was a fixture of the 1980s Minneapolis punk scene, sharing stages with local icons like The Replacements and Soul Asylum. But after a devastating betrayal in the music industry, she stepped away, convinced her time on stage was over.
“That part of me had been killed,” Lawson said. “I didn’t want anything to do with being on stage.”
Now, after decades of silence, she’s reclaimed her power — and “The Reckoning” marks her fiercest statement yet.
Fans of Patti Smith, Chrissie Hynde, and Sleater-Kinney will find plenty to love in the song’s fiery blend of punk defiance and rock ’n’ roll swagger. Backed by a band she describes as handpicked and highly recommended, Lawson delivers her sharpest and most unapologetic work to date.
“This song is for anyone who’s been burned, betrayed, and silenced,” Lawson said. “It’s that universal satisfaction when someone evil finally gets taken down. And for me, it’s not just about them — it’s about reclaiming the part of myself they tried to destroy.”
Stream “The Reckoning”: https://tlgent.ffm.to/cindylawson-the-reckoning
Singer-songwriter Lillian King unveils her second single, “Echo,” offering a mesmerizing preview of her debut album “In Your Long Shadow,” set to release October 24 via Pronounced Kroog. While much of the album navigates memory and grief, “Echo” turns inward, exploring the strange comfort of repetition and the way loss reverberates through ordinary moments.
Written in fragments and completed during an impromptu studio session, the track feels windswept and alive with discovery. Robert Salazar’s understated drums, Nick DePrey’s warm organ tones, and King’s low, unhurried vocal form the song’s heartbeat, while producer Jack Henry (Friko, Free Range) captures its rawness in a single, intuitive take. The result is a track that drifts like a live performance yet carries the quiet assurance of something meant to last.
There’s also an undeniable indie weight behind the release. Spencer Krug (Wolf Parade, Sunset Rubdown, Moonface) has championed King from the beginning, making her the first artist signed to his label, Pronounced Kroog. His influence is subtle but present, lending “In Your Long Shadow” the same tension between rawness and restraint that has marked much of his own work.
Fans of Sharon Van Etten, Rosali, and Mazzy Star will find a kindred spirit in “Echo,” a song that doesn’t demand attention but earns it slowly, lingering long after it ends. Rooted in Midwestern steadiness and honesty, King’s storytelling blends tenderness with an edge that keeps sentiment grounded and real.
With “In Your Long Shadow,” Lillian King isn’t chasing hype — she’s building something more enduring. And with “Echo,” she proves that sometimes the quietest songs are the ones that echo longest.
Stream “Echo”: https://pronouncedkroog.lnk.to/Echo
ZZ Ward is giving fans even more reason to celebrate her triumphant return to blues-driven roots with “Liberation (Deluxe).” The expanded edition builds on the power of her acclaimed 2024 album “Liberation,” adding unreleased songs and raw live studio recordings that offer a deeper, more intimate portrait of an artist entering a bold new chapter.
Among the highlights: the long-awaited unreleased track “Halfway There,” a brand-new recording of “Nobody Knows You When You’re Down and Out,” and a live cut of “Cadillac Man” recorded at the legendary Sun Studio in Memphis. The set also includes four stripped-down EastWest Studios sessions — “Mother,” “Naked in the Jungle,” “My Baby Left Me,” and “Dust My Broom” — capturing Ward’s voice and songwriting in their most unfiltered form.
For Ward, this deluxe edition isn’t just a bonus release — it’s a milestone.
“This expanded version means a lot to me because it shares songs we purposely held back from the original album, not because they didn’t belong, but because they were so special we wanted to give them their own moment,” she shared. “Recording at Sun Studio was especially powerful for me, it’s a place with so much history, and you can feel the spirits of the artists who came before.”
Where the original “Liberation” explored themes of motherhood, resilience, and self-discovery, this expanded edition carries the story forward, weaving in songs that complete the journey and live performances that showcase Ward’s raw energy. Blending Chicago blues grit, Delta grooves, rootsy garage rock, and vintage soul, Ward continues to cement her place as one of today’s most vital voices pushing the blues into the future.
With “Liberation (Deluxe),” ZZ Ward proves once again that her music isn’t just about honoring the past—it’s about carrying the fire forward.
Stream: “Halfway There”
Stream: “Liberation (Deluxe)”
Rising indie-rock voice Meg Elsier has unveiled her brand-new Audiotree live session, now available to watch on YouTube and stream across platforms. Recorded in Chicago earlier this year during her run with Blondshell, the set captures Elisier’s magnetic stage presence, raw charm, and the frenetic energy that has made her one of indie rock’s most exciting new names.
Backed by bassist Jashaun Smith and drummer Hayden Cotcher, Elsier delivers dynamic renditions of “spittake,” “itznotreal,” “ifshitfuq,” “eastside,” and “baby” — songs that showcase the off-kilter melodies, grungy guitars, and airy vocals that define her sound. The session highlights not only her knack for lush, weighty production but also the communal intensity of her live shows.
Fans tuning into the YouTube release get an added bonus: an exclusive interview with Elsier, offering an inside look at her creative process and the world she’s building through her music.
Earlier this year, Elsier released “spittake (deluxe),” an expanded edition of her debut album that has earned early praise from outlets including DIY Magazine, Ones To Watch, DORK, and CLASH. With a reputation for emotionally charged live performances, she’s already shared stages with Blondshell, Liz Cooper, and Finom.
Next up, Elsier returns to New York this fall for two special performances: supporting Martin Luke Brown at Baby’s All Right on September 25, followed by the We Save Us abortion access benefit series at Brooklyn Bowl on October 19.
With her Audiotree session now live, Meg Elsier proves once again why she’s an artist to watch — turning raw vulnerability into communal catharsis, one performance at a time.
Stream the Audiotree Live session: https://lnk.to/AT-megelsier
Liverpool-based queer indie-rock project Trial Tapes, the moniker of songwriter and producer Jack McNally, has released its debut single “Coughing Fits,” now streaming everywhere. A dreamy, motorik shuffle blending warped guitars, lush synths, and emotionally candid lyricism, the track explores queer identity, late blooming, and the quiet absurdities of modern life — landing somewhere between the art-rock majesty of Perfume Genius and the sharp British wit of Suede.
Lyrically, “Coughing Fits” lays the foundation for McNally’s forthcoming debut EP (due 2026), a collection shaped by his late coming out story and reconciliation of hetero/homo-normativity. Though it arrives now in full bloom, the song has lived with him for over a decade, first as a fragile voice memo and an occasional open-mic regret.
“It’s quite strange to think about because it’s so very clearly about being unapologetically queer even though I didn’t ‘know’ who or what I was at the time of writing it,” McNally said. “The song itself kind of haunted me for the best part of a decade and lived on my phone as a sad, slow voice memo that I’d listen back to occasionally when I was feeling brave enough. I played it at a few open mic nights too and would regret it afterwards which was a real symbol of my inner conflict. The words and melody are exactly the same, but the mood couldn’t be more different to what the song would become.”
McNally views queerness not as an aesthetic but as a way of reframing the world. That philosophy runs through both the song and its production. Co-produced and mixed by Chris Hendrick (Winterquilt Audio), with drums by Bill Burns, “Coughing Fits” was recorded entirely by McNally at home. Hendrick — whose background is mostly in death metal and vaporwave — added what McNally calls “creative production touches,” embodying the project’s spirit of queering expectations and operating on pure vibe.
Trial Tapes began during what McNally describes as a “euphoric and quietly transformative” stretch between 2022 and 2024, following his return to Liverpool after more than a decade in Brighton. The project’s name, drawn from a mix of early file folders, documentary references, and the tactile charm of cassette recording, speaks to its experimental, preservationist roots.
With its mix of scuzzy indie-rock, lo-fi synth-pop, and deeply personal storytelling, “Coughing Fits” marks a striking debut from an artist reclaiming his voice after nearly ten years of silence. It’s both an arrival and a declaration — raw, cathartic, and unapologetically queer.
Stream “Coughing Fits”: https://ditto.fm/coughing-fits
Canadian-born, Bristol-bred, and now London-based indie-folk artist Noah Villeneuve makes a striking introduction with his debut single “Kneejerk.” The track offers a first glimpse into his forthcoming 2026 debut album, a project rooted in themes of recovery, reflection, and the complicated beauty of starting over.
Villeneuve’s sound blends melancholic indie-folk with touches of alt-rock, lo-fi pop, and emo-Americana textures, creating a backdrop for his emotive vocals and starkly honest lyricism. “Kneejerk” is intimate and heart-wrenching, the kind of song that lingers long after its final notes — drawing comparisons to Leonard Cohen, Mark Kozelek, Elliott Smith, and Matt Berninger.
“Have you ever gone through a heartbreak with someone that you shared an arguably unhealthy codependent relationship with? Kneejerk is about grieving those mistakes of the past with a curiosity in the present and hope towards the future,” Villeneuve said. “It’s putting a mirror up against some of your wrong footing and acknowledging your flaws. Experiencing deep wonder of where that person is now, what they are doing, and feeling that ‘kneejerk reaction’ to call them or reach out for your phone expecting to see that message that never actually arrives.”
The single arrives alongside a cinematic music video that introduces the self-aware, tongue-in-cheek world Villeneuve is beginning to build around his music.
With a history of performing in the UK’s underground scenes, years of touring, and a hard-earned pause to get clean and sober, Villeneuve now steps forward with his first solo project. “Kneejerk” marks not just a debut, but the start of a larger journey — one that promises deeply vulnerable, sharply crafted songs for anyone navigating memory, mental health, and the messiness of modern love.
Stream “Kneejerk”: https://open.spotify.com/artist/7G3OrA3jA0jntLPpGDMeUr?si=e7khjavBQi6YbnSGL0mgVQ
