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The Desperate Hours: Twin Singles By WOLFGANG WEBB Promise No Rest For The Wretched

Titling his debut album The Insomniacs’ Lullaby was the first clue that Wolfgang Webb wanted to take us on a trip through the long, dark nights of the soul. But just how long and how dark those nights can be doesn’t really hit home until you’ve heard two of its spotlight tracks, songs steeped in a melancholia that only the anguish of personal experience can convey.

Take “Before You Sleep (The Pills),” which weds some truly harrowing imagery to an uncompromising dirge with the compellingly funereal quality of Leonard Cohen—and a mournful lead vocal that has more than a tad of Tom Waits-style grit.

If you wake up before me, will you hold me?
Will you show me?
And if I can’t wait until morning, will you tell me it’ll be alright?
Hold me, hold me, my friend
The pills stopped working again

The first song written for the album, “Before You Sleep” ended up setting the pace for the entire project, not just in terms of mood but also methodology.
“[All of the writing] was done in my bedroom between 2 and 6 in the morning,” Webb reveals. “I was in a manic-depressive, insomniac state where I wasn’t sleeping, and everything was very fluid. That’s just the way it was. It was really cathartic.”

Meanwhile, “Lonely Heart” has slightly more of a spring in its step rhythmically, but its lyrical sentiments won’t get it confused with a party anthem either. Acoustic- guitar chords fall dourly as Webb declares his longing for something better, with the chilling implication that the peace he’s searching for might not be on this side of the veil.

I got feelings deep
A soul that needs
Transparency all the time
I know a place where the soul won’t break
Do you know what I mean?
I know a place where it’s not all take
Do you know what I mean?

The subject matter might be bleak, but Webb’s overdue debut as a solo artist was delayed a couple of decades not because of depression or fatigue, but because he was simply too busy in his previous career as a sound designer and soundtrack composer for films and TV. Lucrative as that hustle may have been, though, it wasn’t always the best outlet for his own tastes and emotional needs.

The lyric sheet is fraught with references to heartbreak, depression, suicide, and the ghosts of sexual abuse, but at the same time The Insomniacs’ Lullaby is not a wallow. It stares into the darkness with grace and poise and finds the transformative beauty in that darkness. Because that’s how you stop the darkness from getting the better of you.

Recorded everywhere from France to Los Angeles to Nashville Webb’s home base of Toronto, The Insomniacs’ Lullaby finds this emergent singing-songwriting talent backed by studio pros who are veterans of sessions with Johnny Cash, the Pretenders, Lucinda Williams, and others. The overall effect is as accomplished as you’d expect from that collective pedigree, and picturesque to a degree that fully befits Webb’s own CV. The songs on the album are so evocative and atmospheric, in fact, that you can easily envision them turning up in somebody else’s series or feature—perhaps as the music bed to a montage of desperate characters pacing worriedly through dimly lit rooms, with judicious jump cuts symbolizing their unraveling psyches. Maybe he could give pointers.

Whatever happens, Webb says he’s been so energized by the experience of making his own record that he now plans to release three albums in as many years. Somebody better put the coffee on, because it sounds like he’s in for a lot more all-nighters.

“New World” Man: Indigenous Folk Rocker MIKE BERN Shares A Moving Missive From The Other Side

When a child and a parent lose each other, the lines of communication are severed tragically and forever. Or are they? Indigenous folk-rocker Mike Bern volunteers his services as a spiritual middleman on his latest single, “New World,” an imagined declaration of anguish and devotion from a mother who was taken too soon.

Left my daughter behind
Now I’m drowning the sky
There’s one thing I do know
I got no place to go

Carry the love into our lives
Carry her heart
Greet her with my eyes closed
I can’t hold you no more
I love you more than you know
Kind words from above

Bern’s raspy but gentle voice carries the otherworldly communiqué with the utmost grace, his ghostly verse lines answered by reverb-heavy guitar phrases that drip like falling tears. And all of it plays out over a slow, stately beat that feels like the inexorable forward march of fate.

The song is dedicated to Bern’s adopted daughter, whose biological mother passed away in a car crash.

“There are times when my daughter says she sees her mom,” he says. “For instance, while in Montreal, she said she had seen her mom in the clouds waving to her. They both live in new worlds, but somehow, they still see each other and communicate.”

The first-person address of the lyrics reflects Bern’s deep belief that the woman he was writing about had an active hand in them: “She helped me write the song, not just for her daughter, but for her other children and ones that mourn her still.”

You’d expect no lesser level of spirituality from an artist whose roots lie deep in New Brunswick’s Tobique First Nation—situated along the Tobique and Wolastoq rivers, where the Wolastoqiyik people are known as the “people of the beautiful river.” Throughout his musical journey, Bern has maintained a strong connection to his heritage and its belief in the healing power of nature. His last album, released two years ago, was even titled Ancestors, and the single he followed it up with in 2023, “Reverberation,” was a paean to the sweat-lodge experience.

The musical vessel he’s chosen to convey those traditions is a unique brand of folk rock that melds his own background with the vocal stylings of Southern Gospel. Influences like Chris Otepka, Frankie Miller and Ben Schneider have been his North Star as he digs deep into the purity and pain only genuine songwriting can unlock.

A self-taught guitarist since he chose to follow the example of a highly musical uncle 30 years ago, Bern made the crucial step up to creating original material thanks to a rehab counselor, who read some of his writings and declared that they had a distinctly song-like cast. Over the course of Bern’s ensuing career, he’s led the outfits Kickin’ Krotch and District Avenue, the latter of whom won two awards for their “Revival” music video in 2017 and went on to hear the song featured at the Pyeongchang Winter Olympics a year later.

Bern’s time as a solo artist has been marked by successes like 2021’s “First Mother,” which reached the top spot on the Indigenous Music Countdown. As an in-demand live act, he’s opened for the likes of Seaway, The Trews, One Bad Son and The Motorleague.

In the year ahead, he’ll be deepening his commitment to heartfelt originals like “New World” while dropping the occasional cover on his socials. (The first few months of 2024 have brought solo acoustic renditions of “Learn to Fly” by the Foo Fighters, “Long as I Can See the Light” by Creedence Clearwater Revival and “She’s Electric” by Oasis.). But whatever he puts his mind and voice to, be prepared to be haunted—in all the right ways.

Martin Schiller Unveils Abstracted Album: A Journey Through Experimental Soundscapes and Emotional Landscape

Martin Schiller, the musician and composer from Windsor, Ontario, has made a mark in both performance and composition. Apart from his collaborations, Schiller has also carved out his own path as a solo artist, releasing music independently.

You probably know him for his works with the previously released album ‘Dreams Vol. 1’ (2022), with the ‘Future Prints’ single. Now he has returned with the release of his new album, ‘Abstracted’, a deeply personal endeavor.

While ‘Dreams Vol. 1’ explored traditional rock instrumentation, translating simpler melodic and rhythmic ideas into psych-rock folk tunes, ‘Abstracted’ is a collection of sound sculptures, created concurrently with ‘Dreams Vol. 1’ between 2020 and 2021, taking a more fluid approach to music; where the composition is seen as the art of organizing sound, allowing for a more open-ended exploration of sonic landscapes.

“The individual elements that make up this music were gradually constructed over several years, some dating as far back as 2016, but it was during the first pandemic lockdowns that I began editing them, carving them out, and connecting them to create this work as a whole,” comments Schiller, on the creation of the album.

Completed in 2021, the album withheld for release, reflecting a period of significant upheaval and introspection. Conceived as a unified whole, ‘Abstracted’ unfolds in two halves resembling the sides of an album.

The first half comprises a six-part sequence featuring minimalist and environmental gestures, blending playful improvisations with acousmatic computer music.

Featuring approximately 32 minutes of captivating electronic music, the whole album transcends traditional genre boundaries, incorporating elements of Ambient, Noise, Glitch, and other experimental genres; resulting on a sonic journey, weaving together layers of soundscapes and textures to create an immersive auditory experience.

Transitioning to the second half, it offers a lengthy exploration of an electronic drum breakbeat with a heavily modified violin drone in “Hyper Plaid Fulcrum,” followed by a 2-and-a-half-minute drifting ambient piece serving as a poignant outcome.

Conceived concurrently with the instrumentals of ‘Dreams Vol.1,’ but meticulously crafted over the following years, ‘Abstracted’ is a work done with all music by Martin Schiller, mastered by Matt Rideout, and artwork by Amanda Brierty.

However ready for quite some time, Schiller chose to hold the release of ‘Abstracted’ as life unfolded and presented its challenges, including the artist’s father’s diagnosis and struggle with Atypical Parkinsonism, and subsequent passing in 2023. The creation of the album itself became a refuge and a means of processing emotions.

The move from Windsor, Ontario, to Detroit, Michigan, further marked this transformative period, as did the release of other music under the artist’s name, including ‘Dreams Vol.1.’
With so much changing, it’s rhetorical how the track “Gone Places” would be chosen for release from the album, as it holds profound significance amidst the artist’s journey.

“For me, this piece [Gone Places] involves themes of the passage of time, the phenomenon of memory, and symbolically being in more than one place at the same time,” says Schiller on the track’s creation.

‘Gone Places,’ the final piece of the first half of the album ‘Abstracted,’ showcases the artist’s experimental ingenuity and sonic exploration. Through meticulous sound manipulation, the track incorporates elements from diverse sources, including analog drum machines, Scottish bagpipes, and old television recordings.

These sounds undergo extensive processing techniques such as Generative Music, Max-MSP programming, Granular Synthesis, and Michael Norris’ Spectral-Audio processing, resulting in ethereal drones that evoke a sense of mystery and introspection. As a pivotal moment within the album’s narrative, ‘Gone Places’ invites listeners to delve into a world of sonic innovation and discovery.

Known for his dynamic bass performances with What Seas What Shores and contributions to the Noiseborder Ensemble’s multimedia performances, Schiller has entertained audiences globally.
Currently calling Detroit, Michigan home, Schiller continues to push the boundaries of his craft, drawing inspiration from his diverse experiences and surroundings.

Calvyn Cass Redefines Love with Debut Project ‘Every Kind Chapter One: Reigning Stars’

Calvyn Cass’ new project “Every Kind Chapter One: Reigning Stars” imparts a crystal-clear stance on love, and the innumerable stages it transforms into for an individual. The project boasts of themes in love that directly mimics falling in love in the real world. The highest peak in the beginning, highs and lows in the middle, and the desolating ends. In his words, “It’s just not always that simple.”

Cass first burst onto the scene back in 2020 with his debut single “ME, Myself, and I” and has continued to build a strong following in the time since. In just three years, his songs have been streamed over 1 million times on Spotify, and he’s racked up a whopping 500,000 views on Youtube. Now, he’s channeling that momentum into an ambitious two-part album that boasts production from the likes of multi-platinum producers Adam H. (Ray J, Ne-Yo, Elise Estrada, Def Leppard, and Loverboy) and Dave Genn (54/40 and Matthew Good Band).

“Tethered to You,” the 3rd single following “Hollywood Calls,” and “Ménage à Trois”, is an entrancing track that illuminates the feeling of falling in love. Cass opens his heart out about the first time he fell in love, and how intoxicating it was for him at the time. An all-consuming high that feels good on one hand, and confusing on the other.

“The experience of being in love is kind of like an out of this world experience,” he says. “The irony is, it’s probably the best thing about being in this world.”

Tunefully, “Every Kind Chapter One: Reigning Stars” offers an eliciting mixture of funk tones, necessary adlibs in some tracks, the melancholy textures fused into the vulnerable songs– specially “Tethered to You” and “Passion to Pain.” Whereby Calvyn cleverly transports the listener to a gloomy schism about choosing between two outcomes that depend on two different decisions. Furthermore, the use of melancholic chords compels the listener to empathize with the protagonist of these storylines.

Calvyn Cass’ unending devotion to his husband is reflected well throughout this project in variety of ways. And to think he intentionally removed gender for this project, makes this body of art much more formidable. He provides this safe haven where all individuals can relate to and find some kind of solace through music.

“We have both made mistakes along the way and we almost didn’t make it through some of those moments,” he adds, “At the end of the day we always chose to stick it out.” He further expands, “It doesn’t make it hurt less and it’s really reshaped my view of love and how I understand it.”

Cass invited quite a few creative contributors to this new project like mega-producer Adam H., dynamo Taylor Allum on “Passion to Pain,” best friend and fellow songwriter Jess Edo, and some of Cass’ exemplary cinematographer friends for the music videos. For each music video concept, Cass ascertained his relationship is represented well, regardless of what the song is about.

“It’s more of a performance video,” he shares about ‘Tethered to You’ music video, “but it is representative to me of my love for my music and my artistry.”

Following his official debut in the music scene 4 years ago, Calvyn has blossomed into an artist blazing his own trail, and “leaning into the fun” as he puts it. In the same way as artists before him who learnt to embrace their gender fluidity, Cass followed suit. By shadowing musical inspirations he loves – Tina Turner, Celine Dion, Bon Jovi, Bryan Adams to name a few, and honing his 90-style inspired writing techniques.

This 5-track project “Every Kind Chapter One: Reigning Stars” has something for everyone, especially those constantly excluded from relating to lyrics that target a specific gender group.

Doctor Tongue Releases Emotional Single “Green Eyes” In Tribute To Founding Member

Doctor Tongue, the eclectic musical ensemble from Hamilton, Ontario, known for blending elements of rock, funk, soul, hip-hop, and country, proudly announces the release of their latest single, “Green Eyes” – now available. “Love is a drug. When you dive in, expect the extraordinary. ‘Green Eyes’ embodies the essence of two souls revelling in mutual ecstasy. Love transcends mere sweet whispers; it’s an all-encompassing celebration, a wild ride through every emotion, fast, slow, or outright psychedelic,” the band states, capturing the song’s essence and message.

As we now pass the first anniversary of the untimely passing of guitarist and founding member Dylan Matthews, this track holds special significance. It was the last collaborative effort involving Dylan, whose vision and creativity left an indelible mark on the band. The inception of “Green Eyes” can be traced back to Dylan’s days with Torque Hound, where he crafted the song’s compelling main riff, embedding his vision of encapsulating the exhilaration and freedom found in love. His musical philosophy of finding joy and fun in all aspects of life is vividly expressed through this piece.

Lead singer George Panagopoulos found a connection to the song, seeing a reflection of his wife’s mesmerizing green eyes. He was able to craft the lyrics with bandmate Mark McMaster into something through which he could voice his own experience. George’s addition of a keyboard part significantly altered the verse melodies, deepening the narrative and allowing a fresh approach to the lyrics to fit the new melody. This made the song feel new and spontaneous, inviting the muse back to the creative process.

As the song neared completion, it still lacked some lyrics for the chorus. George, with the long drives home on his mind, focused on his anticipation of returning to his wife. The lyrics “Take me home and don’t let go” emerged as straightforward and honest additions, perfectly completing the track and encapsulating the longing and warmth of coming home.
The loss of Dylan transformed “Green Eyes” into a poignant reflection on the valued message he left behind. George explains, “The genesis of ‘Green Eyes’ is deeply intertwined with the band’s history. Like the band, it was initially sparked by Dylan but grew into something dripping in the collaboration that is now Doctor Tongue.”

The song’s studio evolution also followed the song’s philosophy of celebration. Each member was encouraged to be as much of themselves as they could be, with each contributing their unique talents. George’s evocative keyboard melodies, Mark McMaster’s robust drumming, and Olivia Brown’s energetic bass lines were carefully curated to encapsulate the song’s spirit. Guest vocalist Sheri Dunn added a layer of soul, honouring Dylan, who deeply desired multiple voices on the track. Now rich with George, Olivia, and Jethro, Sheri adds a vibrant magic and approach to her part that is unique and impossible to miss when heard.

Doctor Tongue emerged as a vibrant force during the pandemic and quickly captured the hearts of many, debuting at the Come Together festival in May 2022. Despite Dylan’s tragic loss in March 2023, the band’s sound has continued to evolve, enriched by Chris Wheeler’s skillful guitar, Olivia Brown’s dynamic bass and vocals, and Jethro Mann’s dedicated rhythm guitar.

With a significant Spotify following and a studio that bridges musical eras, Doctor Tongue delivers immersive performances that transport audiences across time and space. Their commitment to their art and fans guarantees every concert is an unforgettable experience.

Camie Drops ‘Genesis 3,’ New Single Off New Horror-Fantasy Album Poems In The Ashes

Anxiety spirals triggering apocalypses. Queer cannibals devouring each other. Hysterical heartbroken women turning into dogs. Satan on a really bad date.

Camie is taking listeners on a techno-symphonic journey through the gritty underbelly of her heart, mind, body, and fantasies on her latest album Poems In The Ashes. Coming as the Toronto alternative singer/songwriter’s sophomore release, Poems In The Ashes is a bold showcase of Camie’s transformative musical prowess. The artist’s fascinating, singular juxtaposition of wildly open and vulnerable lyrics with her ultra-modern, yet unabashedly rock & roll style, is bound to send shock waves through the Toronto music scene and beyond. The third single, “Genesis 3,” is out now.

“I wrote and recorded this album in a two-year period, following multiple pandemic-time lockdowns, when I felt ugly, lost, and disoriented by the new world that I was easing into,” Camie recalls. “I had just moved to a new city (Toronto) at twenty-four years old and I didn’t know who I was. I was horribly depressed and anxious. I was working through the most formative heartbreak of my early twenties. I was grappling with my queerness and going on a lot of terrible dates.”

“I had just released my first critically acclaimed, award-winning record, entitled “troubadour” (2021), which was a cinematic, romantic, and dreamy ambient folk record. Releasing that album was strange because I felt like those sonics, and poetics no longer suited my volatile mental and emotional states. I knew that, for my next record, I wanted to do a complete genre shift to account for everything that I was feeling and experiencing. Thus, Poems In The Ashes was born.”

Charting a personal journey from anxiety and self-destruction to catharsis and power, the resulting record is a celebration of the strange, surreal, and serpentine motions of queer womanhood. Blending high fantasy with moments of personal epiphany, transformation, and revelation, each song takes a new, queer, and feminist spin on a different psycho-sexy horror trope. Poems In The Ashes is an album for and about queer women stepping into their desires no matter how taboo, and reclaiming their full identities from outmoded belief systems that warn desire and sexuality are not “for” you.

“I decided to process all of these ugly emotions and experiences in the best way I knew how: by telling stories,” Camie says. “Blending the fantastical and the speculative with my real-world experiences, creating this album felt like a lifeline for me. In writing these songs, I thought a lot about the poetics of excess—hysteria, horror, pleasure, madness, ecstasy, and rapture—and how these things manifest at the limits of human bodies and emotions.”

“These are emotions that everyone experiences in various capacities, but they’re things often seen as “too much” (especially when expressed by queer women), taboo, or shameful. This record allowed me to reclaim my body, my emotions, and my physical and spiritual lives. Now, with this release, all that catharsis can be yours.”

Spotify Premium Listeners in Canada, Ireland, and New Zealand Can Soon Access More Than 250,000 Audiobooks

Attention booklovers in Canada, Ireland, and New Zealand! Listening to your favorite audiobooks is about to get even easier. Beginning April 9, Spotify Premium users in these markets will have access to up to 15 hours of audiobooks per month, seamlessly integrated alongside music and podcasts, on a single platform through a unified subscription.

Their Premium audiobook catalog, already available in the U.S., U.K., and Australia, is one of the largest subscription-based audiobook-streaming platforms at 250,000 titles and growing—we’re already up from 200,000 titles since late last year.

Ever Want To See Charles Schulz In Action Drawing Peanuts? Here You Go.

Explore a captivating 17-minute video featuring the esteemed Charles Schulz as he intricately sketches the beloved Peanuts characters. Schulz, celebrated for his creation of iconic figures like Charlie Brown, Snoopy, and Lucy, embodies timeless artistic brilliance. In this captivating footage, Schulz’s skilled strokes bring these cherished characters to life, offering a unique glimpse into the creative process behind one of history’s most beloved comic strips. Each meticulously placed line on the canvas exudes charm and wit, showcasing Schulz’s enduring magic within every Peanuts panel. Whether you’re a devoted fan or an aspiring artist, witnessing Schulz’s craftsmanship promises a nostalgic journey into the heart of comic strip tradition.

Rainbow Kitten Surprise Unveil “Overtime” Featuring Kacey Musgraves

Multi-platinum live sensations Rainbow Kitten Surprise have released the brand new track “Overtime” featuring 7x-GRAMMY winner Kacey Musgraves (listen HERE). Musgraves shared news of the duet on her socials earlier this week, and expressed her own excitement about the collaboration in a heartfelt message to the band (watch HERE). The effervescent single marks the latest offering from the North Carolina-bred quartet’s first full-length album in six years, LOVE HATE MUSIC BOX, due out May 10, 2024.

Rainbow Kitten Surprise singer/songwriter/frontperson Ela Melo explains: “I really believe in serendipity. I wrote ‘Overtime’ on a Saturday, met Kacey the following Monday, and got up the nerve to ask if she’d be down to lay down some vocals for it on Tuesday. It’s the first time we’ve had a feature on an RKS song and we’re still pinching ourselves that it’s her.”

The band recently announced details for their upcoming Tiny Music Box Tour, a run of underplay shows that feature differing set lists each night, highlighting material from LOVE HATE MUSIC BOX alongside fan-favorites from throughout the band’s beloved discography. With most dates already sold out, the tour will kick off May 6 in Nashville at Brooklyn Bowl, followed by a show at New York’s Webster Hall on May 9. Due to overwhelming demand, additional shows have been added to their previously announced 2-night stands in Boston, Austin, and Denver. (Full dates below; additional dates later in the year to be announced soon). Working with Plus 1, $1 per ticket goes towards supporting organizations delivering mental health treatment and access to care.

“Overtime” follows the album’s effervescent, lead single “Superstar” and surprise fan offering “LOL,” both streaming on all platforms now. Each song arrived accompanied by a music video directed by Matthew DeLisi [Paramore, Judah & The Lion] – streaming on the band’s official YouTube channel.

After years of struggling with her own mental health that resulted in writer’s block, on-stage episodes, and tour cancellations, RKS singer/songwriter/frontperson Ela Melo was properly diagnosed and treated in 2023, vastly improving her quality of life. As if suddenly struck by creative intervention, songs once again poured out of her, writing at least one a day for an entire year and forming the backbone of their 22-track opus LOVE HATE MUSIC BOX. This epic mosaic of sound and emotion was fully realized once the band – guitarists Bozzy Keller and Ethan Goodpaster, drummer Jess Haney and former bassist Charlie Holt – reconvened in the studio, adding another dimension sonically.

Produced by Daniel Tashian (Kacey Musgraves) along with Konrad Snyder (Noah Kahan) and Melo, the much-anticipated album ponders life’s ups and downs, and traces the turbulent trajectory of relationships, painted out loud in hues of pop, electronic, rock, and hip-hop. As such, it finds the musicians at their most vulnerable, vibrant, and vital.

As if channeling another dimension where genres simply don’t exist, Rainbow Kitten Surprise finds harmony in unpredictability – weaving together lyrical poetry, hummable melodies, and a rush of instrumental eccentricities. Now boasting over 2 billion global streams across platforms, the band first began building their devoted fanbase with independent albums SEVEN + MARY(2013) and RKS (2015). The band’s breakout full-length debut for Elektra, HOW TO: FRIEND, LOVE, FREEFALL, arrived in April 2018. Produced by GRAMMY® Award-winner Jay Joyce (Cage The Elephant, Lainey Wilson), the album featured RIAA-certified Platinum single “It’s Called: Freefall,” earned widespread praise from Billboard, TIME, Vice, and NPR who described their sound as “…a mix of jam and indie and whatever else you can throw into the soup…very earnest, beautiful, political, loving rock n’ roll,” and saw the band make several national television appearances, including performances on “CBS Saturday Morning,” “The Late Show with Stephen Colbert,” and PBS’s “Austin City Limits.” After gracing the bills of Bonnaroo, Lollapalooza, and Osheaga, to name a few, RKS moved 80,000 tickets of their own on the sold-out 2018/2019 Friend, Love, Freefall Tour. That tour was earmarked by a sold-out debut at Red Rocks Amphitheatre and three consecutive gigs in Athens, GA (the latter of which were chronicled on their first official live album, LIVE FROM ATHENS GEORGIA, released in 2021).

The band released a two-track single Mary (B-Sides) in May 2019 – consisting of “Heart” and “No Vacancy.” The following year brought the release of standalone single “Our Song” – already a fan favorite in their live rotation prior to release – as well as a livestream concert in July, held for thousands of fans on what would’ve been the date of another sold-out Red Rocks performance (cancelled due to the COVID-19 pandemic). In March 2022, the band released the emotionally charged track “Work Out,” marking their first new music in nearly two years.

2022 also saw the band set out on their first full headline trek in nearly 3 years, a run that included their long-awaited, sold-out, two-night return to Red Rocks. And in 2022 alone, with the help of partners PLUS1 and Propeller, Rainbow Kitten Surprise raised over $170k for food banks in local tour markets, LGBTQ+ causes, and mental health initiatives.

Rainbow Kitten Surprise is: Ela Melo (she/her; lead vocals), Darrick “Bozzy” Keller (he/him; guitar, vocals), Ethan Goodpaster (he/him; lead guitar, vocals), Jess Haney (he/him; drums)

Tiny Music Box Tour:
May 6 – Nashville, TN – Brooklyn Bowl Nashville – SOLD OUT
May 9 – New York, NY – Webster Hall – SOLD OUT
May 13 – Boston, MA – Roadrunner – SOLD OUT
May 14 – Boston, MA – Roadrunner – LIMITED TICKETS
May 15 – Boston, MA – Roadrunner – ADDED NIGHT
May 23 – Austin, TX – ACL Live at Moody Theater – ADDED NIGHT + SOLD OUT
May 24 – Austin, TX – ACL Live at Moody Theater – SOLD OUT
May 25 – Austin, TX – ACL Live at Moody Theater – SOLD OUT
May 30 – Denver, CO – The Mission Ballroom – ADDED NIGHT + SOLD OUT
May 31 – Denver, CO – The Mission Ballroom – SOLD OUT
June 1 – Denver, CO – The Mission Ballroom – SOLD OUT

LOVE HATE MUSIC BOX Track Listing:
Peter Pan
Sickset
Finalist
LOL
Lucky
Meticulous
Hot Pink Ice Cube
SVO
Code Blue
Overtime (Feat. Kacey Musgraves)
Ghoul
John Woo
Low As We Go
Bearwalk
Superstar
Cinderella
Best Man
Rabbit Run
Daddy Yankee
Re-Entry
No Occasion
Thanks For Coming

My Next Read: “Magic: A Journal of Song” By Paul Weller and Dylan Jones

In Magic: A Journal of Song, Paul Weller talks about his life and music through a personally curated selection of over 100 songs spanning his entire musical career. As one of the most innovative and remarkable songwriters of the last 50 years, Paul Weller has proved to be the ultimate shapeshifter, moving from The Jam’s punk sensibilities to the genre-defying Style Council, and later through a remarkable 30-year solo career. Alongside Lennon and McCartney, Weller is one of few artists that has attained a UK number one album over five consecutive decades, and has also received career defining awards from the BRITs (Lifetime Achievement Award), NME Awards (Godlike Genius Award) and a GQ Award for Songwriter of the Year. Magic: A Journal of Song is the definitive book of Weller’s songwriting career from founding The Jam in his teenage years, to creating The Style Council, through to his years as a solo musician. Offering unprecedented insight into Weller’s creative process, his lyrics are accompanied by more than 450 photographs and items of memorabilia, and an illuminating commentary of over 25,000 words. As told to journalist and author, Dylan Jones, Magic is Paul Weller’s most candid and intimate account of his musical life to date.

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That Eric Alper
6-time nominee for Publicist of the Year during Canadian Music Week, a 16-time JUNO Award winner overseeing PR campaigns, and have also been truly honoured to work with some of the biggest and most important artists of our time.

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