Fittingly called Tides, Catching Flies experiments a lot with sonic textures with this album, pairing sounds that evoke conflicting feelings and reflect emotions come in waves, and often, humans and nature can produce a whirlwind of reactions that can be both create and destroy.

The track “True Colours” stands out on the album, which creates a melting pot of musical tapestries heavy on Latin-influenced melodies and Caribbean flair. The saxophone is highlighted towards the end, bringing the song together with jazz-fusion influences. It gives the audible essence of sipping a pina colada by the beach while enjoying the breeze.

Each track feels like deja vu, with familiar sounds and feelings that can trigger a memory. The instrumentation on each song captures reflection and introspection, as George takes you on a journey with its ups and downs. “Snow Day” slows things down with emotive synths and humming. Orchestral melodies envelop the song and create significant moments that you’d typically hear in a soundtrack for a film. You can almost picture yourself as the star of your movie scene.

The seventh track and lead single, “Magnolia,” is heavy on the feelings of atmosphere with lush piano chords and glitchy vocal sampling to create both a dizzying and calming experience. They are highlighting the complexities of human emotion. We break from the heavy feels on the next track, “Friday Lake.” “Friday Lake” is a jumpy dance jam-packed with synths that sound like the title: having a Friday night party on a summer evening by the lake.

The title track, “Tides,” comes last and leaves us with a familiar feeling of childlike nostalgia created with high-pitched cracking vocals reminiscent of a broken record and rising and falling synths. Steel drums give it a tropical edge that puts extra character into the track before drifting into a violin solo.

Catching Flies did an amazing job and if an alien landed on Earth today and asked the loaded question: “What is the human experience like?” I would play Tides and watch them go through the motions.

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Cue his new album, Springs Eternal, which chronicles his tumultuous experiences as a Mexican immigrant, surviving a near-fatal encounter with a drunk driver, and navigating the complexities of life as a 31-year-old in today’s climate; Cano’s latest musical offering is a poignant reflection of resilience, introspection, and escape.

Accompanying the album’s release is the visually captivating music video for “Aisle Five,” which seamlessly integrates gameplay footage from Fortnite and iconic internet memes, serving as a nostalgic homage to millennial culture.

The album starts off with a bang on “Hate Me”, a mesmerizingly atmospheric track that envelops your senses, leaving you with a floating sensation. “As I Lay Chillin” delves deep into dream pop, echoing the ethereal sounds of Beach House. Its relatable lyrics capture the universal feeling of inadequacy often experienced by those battling anxiety.

“What U Want” brings out Harmless’ Mexican heritage, infusing Bachata-inspired strings and percussion. Throughout Springs Eternal, the album maintains a cohesive sound, weaving reflective vibes into each track while keeping the listener engaged from start to finish.

Cover images by Robb Klassen, courtesy of the artist

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Donning jeweled masks on their faces, the band’s aesthetic and music create a visual and audible art piece that curates an immersive experience, an intriguing addition to the band’s air of mysteriousness. They never reveal what the masks mean, but in an interview with Rolling Stone India, they said their favorite fan interpretation of the masks is that they represent the mythological notion of Indra’s Net or a representation of an ego death.

Glass Beams’ self-produced works, exemplified in their debut EP Mirage (2021), blend live instrumentation with DIY electronica that takes sounds from creating a captivating synthesis of cultures with Western and Eastern influences via the bandmates’ Indian roots.

After a busy international touring schedule, Glass Beams is back with their latest EP, Mahal. Out digitally on March 22 and via vinyl on May 17 on Ninja Tune, Mahal comes in at 20 minutes, a short journey into a landscape of contemporary Indian sounds and heavy sitar instrumentation. Complete with a theatrical 40-second intro called “Horizon,” the title track, “Mahal,” has echoing vocal work set to the sounds of rich sitar and sparkly percussion pulsating throughout. Tracks like “Orb” use funky bass, sliding psychedelic synths, and Bollywood-inspired backing vocals that sound as cool as they do enigmatic.

“Snake Oil” comes in slightly slower with drippy strings and hypnotizing hi-hats. The last track, “Black Sand,” is the most upbeat of all the songs, with more upbeats, hi-hats, and rising and falling sitar chords that sound like they would be a part of the soundtrack of an exploitation film from the 70s.

Mahal is void of lyrics, but even under a half-hour, Glass Beams takes you on a metaphysical journey to the mysterious depths of the intersections between Western and Eastern music styles. Each note is a brushstroke on an aural canvas that paints vivid images that transcend linguistic boundaries. Glass Beams is an experience, and Mahal is one of the many you will go on.

Cover image by by Sulaiman Enayatzada

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The artistic brainchild of a Jersey-native, Jack Antonoff, Bleachers has racked up Grammy wins and nominations since their debut album, Strange Desire, in 2014. Antonoff announced a new album in 2022, but we didn’t hear anything else until 2023, when the lead single “Modern Girl” was released in 2023. With almost three years in the making, Bleachers is finally back with their namesake album as their fourth full-length addition to their catalog. Bleachers is a 14-track journey heavier on the pop, feel-good vibes than melancholy melodies we have heard from Bleachers before.

Many tracks are reminiscent of nostalgic theme songs to sitcoms, especially the single “Modern Girl,” which is heavy on saxophone and horn-play, guitar strings, and vocals that pack a punch on the instrumental. The lyrics are reminiscent of 80s hair metal anthems riffing about modern girls “shaking their ass tonight.”

This album uses vocals as the most notable instrument. In songs like “Isimo”, the band plays with layering and echoes to weave in and out of the songs. Bleachers is pretty much void of other artists besides the songwriting prowess of Elizabeth Grant AKA Lana Del Rey, who lends her vocals on the edgy “Alma Mater”. Hints of Lana’s writing style shine through with lyrics about “Chasing lines all night” and “Smoking me outta sight.”

The album ends with its most unique track, “The Waiter.” Layered vocoder vocals flow over a minimalist instrumental, spotlighting woozy guitar strings before a gorgeous outro of synths leads the way out of the song.

Bleachers highlights the maturity and growth one would experience after those unpredictable, chaotic, yet beautiful teen years that we all will or have gone through. Where their last albums, Gone Now, Love, Simon, and Take the Sadness Out of Saturday Night, were Molly Ringwald in The Breakfast Club and Pretty in Pink, Bleachers is Molly Ringwald in Betsy’s Wedding. We go from a naive teenager riding the waves of love and life to a mature adult finding humor in the dark times, showcasing deeper wisdom and introspection gained through life’s trials and tribulations. Bleachers will be out on March 8.

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Now, Lee invites us into a new chapter with his latest offering, the six-track EP Honey, a melodic infusion sweetened by the nectar of a deeply impactful relationship that inspired the entire project.

In a candid conversation, Peach Luffe unravels the anime-inspired genesis of his moniker and shares insights into the unique muses that fuel his creativity, including the endearing presence of Mango the Cat. From the dynamic cultural elements of South Korea to the pulsating rhythm of Toronto’s music scene, Luffe unfolds his musical evolution, offering a glimpse into the personal and artistic metamorphosis that shapes Honey out on March 8.

Jess Smith: Where are you right now and how’s the weather?

Peach Luffe: I’m currently in Toronto and the weather sucks. It’s just been so cold But I’m looking forward to spring and summer as always!

JS: I know you are a classically trained violinist. Some people would say it’s a huge jump to go from classical to indie dream pop. How has being classically trained helped with your journey into finding the sound you have now?

PL: I started playing the violin first before any singing or writing music. Lucky for me, violin is the ultimate melodic instrument. Melodies just came easier; unfortunately, rhythm did not!

JS: I know you’ve said that anime has influenced the thematic elements of your music, as well as your name Luffe from Monkey D. Luffy in One Piece. What anime do you think inspired you the most, whether it’s the soundtrack or any other sound elements from it?

PL: Overall, characters from anime inspire me. They’re just so determined and inspiring to me. In one scene, they can be carefree and airy, then serious in the next. The music just fits those epic scenes. The soundtracks almost always have a guitar and violin!

JS: Sonically, how have you evolved since your first EP, Shimmer?

PL: My vocals have sure improved, “Shimmer” was my 2, 3rd year of singing. Sometimes I cringe at how I sang the parts! But I’m proud regardless. Overall, the tone and sound more “polished” as the years went on. Probably because me and my co-mixer have gotten better.

JS: We heard your song “Shimmer” in Swearing Jar. Would you be interested in exploring creating soundtracks for movies or shows?

PL: YESSSS THAT’S ONE OF MY GOALS THIS YEAR. To land music or create music for movies/shows would be a dream.

JS: How has the diverse cultural journey from Seoul to New York and now to Toronto influenced your musical style?

PL: Koreans love beautiful ballads, and it’s in my blood. People in Toronto love vibes more so. I’ve been mixing them both from being exposed to both worlds!

JS: From Drake to The Weeknd to NAV, there is a lot of music coming from Toronto in the last decade. Is there anyone from Toronto (and beyond) that you would make a joint album with?

PL: Daniel Caesar would be awesome!!

JS: I must say your Mango the Cat is an ultra-cutie! Has being a cat dad for the past three years influenced your music or visuals for your music in any way?

PL: Yes! Somehow, I became more soft as a human being. Overall, I’m just more happy. I’m sure it translates into the project

JS: If you could feature Mango on any of your songs from Honey, which one would it be?

PL: To be honest, he’s probably in the recording somewhere because he meows sometimes when I’m tracking. If I were to isolate the tracks…He might be there. If not, I would feature him in Honeymoon. It just NEEDS one of his “longing meows” to add some emotion

JS: Where would you like to see Honey take you next?

PL: Maybe it can help open doors for syncing the music into films or something!

All images by Alex Lam, courtesy of the artist

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Originating from the heart of Canada, Monkman has skillfully chronicled their challenges through the medium of music. Their most recent album, Bekka Ma’iingan, is a significant milestone in their life’s journey. They also were just recently nominated for the Juno Awards’ “Contemporary Indigenous Artist or Group of The Year”.

In our conversation with Monkman, we delve into the transformative qualities of their music, embark on a sonic exploration, dive into the nuances of cultural identity, and discover what lies ahead in their artistic journey.

Jess Smith: On songs like “All Around You” and especially “Brave New World (Without You)”, I couldn’t help, but feel the same tingling sensations that I feel when listening to certain hertz frequencies in meditative music. I know you also said before that music would help your grandmother with dementia help unlock certain memories. Do you believe that music has medicinal properties?

Daniel Monkman: Music definitely helps me remember, I was just in LA and heard “Come As You Are” by Nirvana on the radio. It took me back to when I was 12 or 13 and first heard that song. It was synced to a Dragon Ball Z Fight compilation. My life changed in that moment. With that, I started to explore music and it literally saved my life. The path I was going before the music was very dark. Crime and drugs raided my community and caused a lot of deaths. Music always kept me together even when I was falling apart.

JS: Do you use specific hertz frequencies in your music to invoke healing?

DM: I always keep that stuff in mind when I’m creating, or I guess subconsciously my brain finds the right frequency and that’s when the magic starts to really happen. A lot of my art practice is improvisation, so I’m kinda just going and responding to how my body and mind feel.

JS: Speaking of healing, your quote from Range where you said “Reconnecting with my culture is the healing I needed” stuck with me because as an African American woman, it wasn’t until I started embracing my culture that I truly didn’t feel like I was putting pieces of myself back together. Healing can be different for everyone. What does healing look like to you in all its forms?

DM: It’s nice to hear that other folks from other cultures also have similar cultural healing stories. Colonialism disconnects us from our ancestors and it’s by design. Our body and mind fight for us but it’s not until we accept and search that the healing can fully happen. It’s a team effort. My healing was multi-layered but the shame was heavy on me, I needed to reconcile with that and know that my culture and skin colour weren’t a bad thing.

JS: From a clinical perspective, healing can come in the stages of suffering, awareness, confrontation, and acceptance. Would you say Bleached Wavves, A Sterling Murmuration, Big Pharma, and now Bekka Ma’iingan represent different stages in that journey, and if so what stage does Bekka Ma’iingan represent?

DM: Bekka Ma’iingan was me fully accepting myself. I had a hard time looking at myself in the mirror or letting anyone take photos of me. I felt a lot of shame. In this album, I let photos be taken of me and fully embraced my fem and masc side, and the balance is how I feel. I was raised by only women my entire childhood. It was women who protected me when my dad would be too intoxicated. So I’ve always felt safe and comfortable around fem energy.

JS: In the past couple of years, music soaked in cultural elements has taken center stage. Afrobeats, reggaeton, and K-pop are prominent on the charts and sweeping the award shows. Would you want to see native and indigenous culture more prominent in the mainstream, and if so how do you think this could happen?

DM: Yes, I do believe native people are always a bit behind the mainstream. I don’t mean in a bad way either. We’ve always just been that way. In that, we have always created some of the more interesting styles of music but I do see a lot of native folks trying to be like mainstream and sometimes it can be cringe. I truly believe we are on the verge of being part of the “mainstream stream” but what makes us really cool is we’re doing our own thing in our own terms.

JS: Could you see moccasin gaze being represented by more people in the future and gaining traction as a genre or would you say it’s more specific to you?

DM: I already see it picking up across Indian country. I get young native kids messaging me about it all the time. They explain that seeing someone who looks like them on stage or on the music charts is powerful and gives them hope. Hope is what kept me alive all those years of healing, but there weren’t very many native folks doing the same type of music. Since putting out my music I’ve connected with lots of indigenous folks making the same kinds of music.

JS: As you continue to thrive and change sonically with each piece of music you release, how would you seek advice from a vet like Kevin Drew?

DM: Kevin has been like a big brother to me. Always giving me advice about what not to do and when to take risks. Whenever I have a question I always think of Kevin. I’m very fortunate to know a lot of veteran musicians, I hope to be that for native artists.

JS: Speaking of Kevin, you both are going on tour very shortly. How did the idea for this tour come about?

When you leave the stage on tour, what do you want your audiences to leave feeling every night that would make you feel like you are succeeding as the musician you want to be?

DM: Yeah we are! It was kind of my idea, to be honest. I’m always looking for opportunities to promote my new album. I decided last year that I would try and tour as much as I could. I felt like I wanted to overcome a fear of mine which is playing live. When I saw Kevin touring I knew I wanted to be part of his beautiful album. We both have been singing about the loss of our parents. I was so happy When Kevin agreed to take me on. It’s been an incredible tour so far and can’t wait to continue into the new year.

Image credit: Vanessa Heins

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As the world learns more about his grandad’s legacy in the new movie Bob Marley: One Love, we chatted with the oldest son of Ziggy Marley about his unique artistic path in a harmonious blend of generational heritage and innovation. Hailing from Jamaica and currently living in LA, Bam talked with us about his latest single, “Eclipse,” his aspirations to score films, and offers a glimpse into the visionary journey he has for the future.

Jess Smith: Your grandfather’s music and the name “Marley” are larger-than-life entities that almost seem mythical in how they’ve transcended nations and generations. Sometimes, being a part of that kind of lineage can be both a blessing and a curse. How do you navigate between honoring your family’s musical heritage and not being pigeonholed into a particular sound?

Bam Marley: Uhm, as interesting as this question is I get it all the time but to me there is no need to navigate between honoring family and being pigeonholed in regard to sound. I feel like being yourself is honoring your own legacy and lineage. Being yourself is essential.

JS: Has your perspective on life and music been shaped by being part of the family lineage?

BM: I would say it is given, you grow up in it. It developed me into a person that listens keenly, is very observing, and dedicated to pursuing dreams. It shaped my work ethic and taught me a lesson about how powerful music with a positive message is. In regard to being part of this family, it kept me grounded and intrigued in finding out what this world is about more. It allows me to be a dreamer and visionary.

JS: Who in your family do you pull from the most when it comes to asking for advice or getting inspired by them musically?

BM: Hahaha, there is not one person. It is the source and as a collective, we all pull from each other as a strength, and we are all available to each other either it is musical advice or personal. Overall, I am inspired by my family, the whole entirety.

JS: As we talk about your family lineage, I’m wondering if you have gotten a chance to see Marley: One Love yet?

BM: Yes. Yes, I have and it is phenomenal, I recommend everyone to watch it. No spoilers, haha.

JS: You said your song “Eclipse” manifested in a dream after you watched the movie Mune. Are you going to revisit this idea of opposing sounds creating harmony in more of your songs?

BM: Uhm, great question. I feel like one of the things that pulls me into music is what hasn’t been tried out yet. Not to say it has not been done, but I have not done it. I would say yes, definitely more songs are from that feeling because I represent different worlds in music in one.

JS: “Eclipse” is a lot more atmospheric and airy than some of your tracks like “Beyond,” which had a more gritty vibe to it. Is this the direction you’re looking to go into with your music now, or do you want to experiment with a bunch of different sounds?

BM: I would not call it experimenting with a bunch of different sounds, more so an intentional process of creating something that makes me feel alive. So, my sound is an expression of my emotions along with the feeling of the world.

JS: Speaking of movies, are you just going to focus on music now or do you see yourself delving more into the acting world after your debut in Vagabonds?

BM: I definitely see myself doing more acting, uhm, and not just acting, but I really would like to score films as well. Movies play a big role in my creative process.

JS: Who are some features you’d have on your ideal album that might surprise some people?

BM: Lenny Kravitz, Burna Boy, Victoria Monét, Tame Impala or Ziggy Marley.

JS: I was being nosey and saw Syd from The Internet liked some of your IG posts. Could we ever have a collaboration with them in the future?

BM: We are like fam. We have created in the past and we continue to create. We are all making great music, so time will tell.

JS: What’s next for you? Could we see a full-length album or see your names on some festival lineups soon?

BM: Currently, preparing to put out a project called Time Never Fails, and getting ready to go into the studio for a full-length project for later this year. As for festivals and shows, I am ready whenever they are.

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This isn’t the old-school stuff that you might hear at Stone Love Headquarters in Kingston. I Am Chippy, co-executive-produced by pop-Reggae artist Shaggy, is a 9-track album soaked in auto-tune melodies that are so commercially polished it lacks character.

I Am Chippy kicks off with the lead single “Drift,” which has already got hit by the viral TikTok bug with a dance that even I can do with my aching millennial knees. The chilling beat has a grim vibe, which is the theme of the first two tracks on I Am Chippy. “Fully Auto” features the gruff vocals of Bayka that slide over haunting piano chords.

Next, we leave the gritty sounds of the first two songs and hit the club with “Twerk It”. The track sounds like it samples the Santana classic “Maria, Maria” and has a Latin-inspired sound that brings some originality to the album. The remix to the lead single, “Drift,” gets help from Afrobeats titan Davido, making an impressive fusion of the two regional genres.

Teejay took a break from the club hits with the second to last track. “Star,” featuring Jaydon and Quan, hits you in the feels with inspirational lyrics echoing vocals and encouraging clapping at the song’s end that could make anyone want to go out there and follow their dreams. I found myself singing the hook to myself over and over after listening.

I Am Chippy closes out with “Never,” which is probably the least memorable of the nine—featuring a simple, lackluster beat scant of a lot of bass and energy. The project is catchy but void of the bombastic culture that makes dancehall timeless as a genre.

Cover photo by Jimmy Fontaine, bottom image by Hakeem West.

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