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My Next Read: “Son Of The City: A Memoir” By Dante Ross

You might not know his name—but you’ve heard his work.

Dante Ross, raised by political activists on New York’s pregentrified Lower East Side, would play a pivotal role in the golden age of hip-hop. Named as one of Complex Magazine’s Top 25 Greatest Hip-Hop A&Rs, Ross got his start at Tommy Boy Records, where he would sign and handle the careers of De La Soul and Queen Latifah. At Elektra Records, he would go on to sign Brand Nubian, Grand Puba, Pete Rock & CL Smooth, KMD, Busta Rhymes, and Ol’ Dirty Bastard.

As a producer, he has worked on a range of hit records by artists such as 3rd Bass, Del the Funky Homosapien, Run-DMC, and Everlast—including the multi-platinum album Whitey Ford Sings the Blues and the gold follow-up, Eat at Whitey’s. Ross earned a Grammy in 1999 for his production work on Carlos Santana’s Supernatural and also produced and cowrote two songs featuring Macy Gray and Young Z for the soundtrack to Eminem’s 8 Mile.

In this highly entertaining memoir, Ross pulls no punches as he details his chaotic childhood, his life in hip-hop, and all the hard lessons he learned growing up in New York as a true son of the city.

Folk Rock Duo HuDost Has The Cure For Furor On “Acting Out the Outrage” Single

Righteous indignation is society’s most perfect perpetual-motion machine: Once it gets started, it has little problem generating its own energy and heat. Turning down that temperature is the objective of “Acting Out the Outrage,” the new single from the eclectic, electric rock/folk duo HuDost that urges us to lower the boiling of the culture wars to at least a simmer.

Partners in melody Moksha Sommer and Jemal Wade Hines have issued a plea for empathy and tolerance that manages to come off as measured and wise, without succumbing to knee-jerk both-sideism or victim-blaming.

A little bit of rain removes the static
Clear our eyes of all the panic
Take a breath from all the manic
Little space from our mistakes

In keeping with the “chill out” message, the song starts out as an airy slow jam that gives full exposure to the gorgeous richness of Sommer’s voice. But just past the halfway mark—right when you’ve started to wonder if HuDost really feels a lullaby is the best remedy for social injustice—the whole thing kicks into a double-time rave-up that fully vindicates the pair’s reputation as impassioned activists.

The antihero, the prophet and the sage, they’re
Acting out the outrage
Acting out the outrage
The CEO, the politician on crusade
Acting out the outrage, Acting out the outrage

Sommer and Hines say they were driven to write and release the song by the banning of drag performances in Tennessee, which clearly hit close to home for this Kentucky-by-way-of-Quebec outfit. The context is made plain by the accompanying music video, which features a breathtaking transformation by Canadian queen KIARA that develops into a full-on Pride parade. But the breadth and purposeful ambiguity of the lyrics reflects HuDost’s belief that performative uproar is distorting and delegitimatizing a host of other important issues, including women’s rights, LGBTQ rights, faith, race, education, and politics in general.

“We live in a time of challenge,” the group says. “Debates on social media rage on every issue, with little consideration of who those debates affect. What if we hear the perspective of people whose lives are truly being affected? What if we share the stage instead of stealing the spotlight?”

When it comes to their own music, HuDost is certainly willing to share the spotlight. They co-wrote the new song with Dan Haseltine of Jars of Clay, and the recording itself finds them joined by a host of friendly collaborators. In addition to the bedrock contributions of Sommer (on vocals, keys and harmonium) and Hines (guitars, vocals, production), the track features Hasletine’s bandmate Charlie Lowell on keys, as well as Chris Powell (Brandi Carlile) on drums, Dan Walters on bass and Kai Welch (Kacey Musgraves) on horns. The “gang” backing vocals were supplied by Liza Holbrook (SHEL), Rachael Davis, Matthew Odmark, Bethany Bordeaux, and “Charlie” (with Sommer and Hines joining in to provide even more muscle).

That loosely collaborative approach is typical of the way HuDost works. Sometimes they’re a duo; at other times, they’re a full-on band, with guest musicians of varying sensibilities and backgrounds. Often, they widen their focus even further by incorporating dancers into their onstage presentation. The instrumentation makes room for vocals, harmonium (the Indian pump organ), live looping and beats, NORD Keys, guitars, Dulcinet, percussion and a slew of sonic ambient effects. The result is a unique blend of pop, rock, and more exotic elements, ranging from traditional Sufi music to the folk sounds of Bulgaria, Croatia, Macedonia, and other far-flung locales.

Cultural curiosity has been good for this pair. They met when Sommer was just a teen, on an impulsive trip from her home in Montreal to a Rumi Festival put on by Turkish Sufis in North Carolina. Hines was playing frame drum there, and their meeting ended up blossoming into a partnership in every sense of the term: a band, a marriage, and a life together as activists fighting the good fight. Throughout their personal and professional relationship, they’ve been staunch supporters of initiatives like ONE, a nonprofit that works to end extreme poverty.

Their shared path took a rocky turn in 2008, when Sommer had to undergo a painful process of brain surgery to remove a tumor. In the aftermath, she had to re-learn her language skills, cope with the temporary loss of her proper sight and weather some nasty seizures. But despite the myriad challenges, the couple came out on the other side with two healthy children: son Kaleb, born in 2013, and baby Sylvan, who arrived in 2022.

Meanwhile, they’ve continued to thrive on the artistic front. Their albums have earned critical acclaim—writer Kristi Wooten called HuDost’s music “as sacred as a church service, but without the identifiers which can separate and shame non-believers”—while also making a big splash on the charts. They’ve hit #4 on the Canadian National Folk/Roots/Blues Chart, #9 on the U.S. Folk Radio Charts and #24 in the Billboard Folk/Americana chart. In the process, they’ve won an Independent Music Award for Social Action Song, and in 2020, they were honored to receive two “Best of Nashville” awards.

Now that the new single is out, HuDost has a busy second half of 2024 lined up, with live shows booked all across the United States. Dates are as follows:

July 27-28 – Trails & Vistas, Tahoe, CA
July 31 – Oregon Shakespeare Fest, Ashland, OR
August 1 – New World Concerts, Corvallis, OR
August 3 – Water Sines Studio, Seattle, WA
August 9 – BlueMoon, Vancouver, BC
August 31 – Floyd Yoga Jam, Floyd, VA
September 13 – Allerton Park Concerts, Monticello, IL
September 20-22 – Earthwork Harvest Gathering, Lake City, MI
November 2 – The Pittsburgh Witches Ball, Pittsburgh, PA
November 7 – The Ringling, Sarasota, FL
November 8-9 – Gainesville, FL (location TBA)

After all that activity has subsided, 2025 will bring a new HuDost album, of which “Acting Out the Outrage” is but a tantalizing glimpse. And who knows? Maybe by then, the world will have learned to stop manufacturing drama and just live and let live. Okay, probably not. But spend a little time with this crew and see if you don’t come out feeling anything is possible.

Folk/Roots Artist John Lewitt Hopes You “Grab Yourself A Cold One”

Toronto-based Americana-leaning singer-songwriter John Lewitt has been a busy artist in recent years. And the talented tunesmith keeps riding that momentum wave with “Grab Yourself A Cold One.” It’s the latest single out now from his new self-produced full-length studio effort One More Time out now.

Lewitt says “Grab Yourself A Cold One” was inspired in part by his daughter who makes her own preferential music stamp during car rides. “My daughter is a huge country fan,” he says. “When we go anywhere she takes over the car radio, so modern country music seeps into my mind with little effort. ‘Grab Yourself A Cold One’ is a product of my daughter’s listening habits!”

“Grab Yourself A Cold One,” the follow up to Lewitt’s last single “Building My Own Dreamland,” is free of the brash, overtly slick, almost formulaic Nashville production. Instead Lewitt offers up a tender, roots-based mid-tempo ballad that would fall in line with top-tier quality material by Josh Ritter, Jackson Browne and the late Warren Zevon. “Grab Yourself A Cold One” fondly reflects on past parties without trying to relive them while cherishing the friendships that came from those days and nights. Simply put, it harkens back to anecdotes of happy times and memories without revisiting the hangover the next morning.

Remember when we couldn’t remember that night
Three sheets to the wind, but man what a good time
And how I know well I was there with you
That’s good enough for me I don’t need
Any hard proof

Lewitt is a jack of all trades on “Grab Yourself A Cold One,” writing and producing the song while playing everything on it including piano, acoustic guitar and adding his own backing harmonies. It’s a gentle gem the singer sounds ridiculously comfortable executing.

The performer says the single is one from a batch of songs contained within his upcoming One More Time album. Lewitt says it’s the first time the songs originated from simply the purity of plying his craft, not trying to create material that could be used for possible television or film use. “The songs on this album were written for the pure joy of writing music, with no intentions attached to them,” Lewitt says.

Lewitt is often very busy writing and recording material, some of which has found its way on television and on the big screen. In fact, a song from One More Time has already been used for a forthcoming film set for release this year. Previous material has been heard on television shows such as The Young and the Restless alongside other tunes, including one heard on ESPN “dozens of times.” Although his proficient studio work makes an abundance of touring arduous, Lewitt has performed at the French Quarter Festival in New Orleans, Chicago’s Park West and a host of Toronto locations including the esteemed Roy Thomson Hall and the legendary Horseshoe Tavern.

With a new promising and soothing single in “Grab Yourself A Cold One,” John Lewitt has guaranteed fans old and new alike will have to keep listening to this song one more time.

Toronto-Based Afrobeats Sensation Sojiii Unleashes Highly Anticipated EP ‘Alive’ and Single ‘Ti Le'”

Lagos, Nigeria-born, Toronto, ON-based Afrobeats artist Sojiii is excited to announce the release of his highly anticipated EP, “Alive,” featuring the single “Ti Le.” This debut EP is a must-listen for his fans and all Afrobeats lovers.

His newly released project shows the world exactly why he’s one of the bright lights in the genre. “Alive” is a seven-track EP with no skippable songs. Each song is infused with rhythmic beats and melodic harmonies that pay homage to traditional African music while incorporating R&B and soul music elements.

Sojiii’s latest single,” Ti Le,” is a captivating groove that will pull your body onto the nearest dancefloor as he commands his love interest to move her body over a smooth, seductive beat. The single is picking up steam with fans around the world. In only a few short months, the music video has over 800,000 views on YouTube, with many favorable reviews in the comments. Streaming numbers and radio plays are quickly rising, as well.

With a flair for creating music that invites listeners to dance and unwind, “Alive” epitomizes the vibrant and rhythmic essence of Afrobeats. The EP is a musical masterpiece that is a testament to Sojiii’s dedication to making music that moves the body and soul of all music lovers. Sojiii pours his rich African culture and authenticity throughout the EP into every note. He sings about heartbreak on “Coner,” speaks openly about his journey on the “Journey So Far” interlude, and then makes you dance on the last track, “Danci Ma.” The EP showcases a unique blend of sounds and themes that are both invigorating and easy to listen to, making it a must-add to any music collection and playlist.

Sojiii, the emerging star, was born in Jos, Nigeria, a foundation that has greatly influenced his rapidly growing career. His passion for music ignited at age thirteen, and it has been shaped by artists such as Michael Jackson, Bob Marley, Fela Kuti, Shabba Ranks, and James Brown. His move to Canada provided a platform to expand his fanbase to North America and now globally. And he has dedicated himself to being a master at his craft. In his own words: “You know, they call me the Afrobeats champ in Canada because I stand out on any stage you place me in, any place, anywhere in the world; I’m always ready to take the challenge to give the best performance with the sound I am known for, Afrobeats.”

Sojiii’s EP, ‘Alive,’ featuring the fast-growing single, ‘Ti Le,’ is now available on all major streaming platforms. Whether you’re sipping a cold drink on a beach or whining your waist on the dance floor this summer, ‘Alive’ is the perfect soundtrack for any occasion. Don’t miss out; listen now and experience the vibrant and rhythmic essence of Afrobeats.

Up-and-Coming R&B Star Senny Rolls Unveils New Seductive Single “Midnight Drive”

Hailing from Toronto and enriched by his Chadian roots, emerging artist Senny Rolls presents his next single called “Midnight Drive”. With a sophisticated R&B style and reminiscences of worldwide stars like The Weeknd, the talented act shares a new project that will not leave anyone indifferent. Slow beats and passionate lyrics on top of an irresistible melody make this song a truly captivating experience.

With a smooth flow, “Midnight Drive” embodies the laid-back and creative environment in which it was conceived. The artist explains: “I was humming melodies that led to the start of a new production and collaboration with Kosheii. A melody, a tap to lock in the perfect tempo and a few ideas tossed back and forth and the core of the song “Midnight Drive” was made.”

The song talks about love and seduction, cleverly highlighting in the lyrics both the calmness of having someone by your side as well as the thrill that relationship brings:

“Midnight Drive
It’s body on body (han, han)
Body on body.
Like a piece of art
Driving my imagination,
Be my peace of mind”

Apart from the ingenious wordplay, the elegant and captivating production of the song was something the artist and producers meticulously refined, as Senny relates: “There are six versions of the song and the one to be released is mixed and mastered by Ty Daneley, who engineered for artists like Tory Lanez, Popcaan, Lavi$h and many more.”

Notably, Tory Lanez amasses over 22 million monthly listeners on Spotify, highlighting the exceptional level of expertise involved in the song’s production.

Senny Rolls always had a connection with music. Indeed, his fruitful career started at the age of 10 when he sang in a church choir. From that moment, his aspirations to become the next R&B star have only skyrocketed, propelling him toward a promising future in the music industry.

Vocally, the artist undoubtedly stands out for his ability to hit high notes with precision. Looking ahead, Senny plans to continue developing his voice and vocal range, making it a crucial differentiating factor in his artistic project.

The new single “Midnight Drive” will be featured in the highly anticipated debut EP, “Before I Rose.” This project will follow a waterfall release strategy, where each single will be released consecutively, creating a piling effect on digital music platforms. This approach will build momentum around the music, gradually constructing the EP and generating excitement for the full release. The follow up single to “Midnight Drive” is planned for early October 2024.

With a mix of smooth rap verses along with a unique falsetto that can capture the audience’s attention from the outset, Senny Rolls will surely make an impact in the Canadian and global R&B scene in the near future. His distinctive approach to music sets him apart, carving out a path in the industry that emphasizes authenticity.

Senny Rolls is successfully forging a unique career in the music industry by developing a singular sound and an innovative artistic proposal, ultimately leading to a project characterized by originality, musical quality and a pure melodic soul.

The Lex French Quartet Draws Inspiration from Miles Davis and Paul Klee’s Painting ‘New Harmony’ On “Colour Grid” Single

Inspired by both the painting and Miles Davis’s seminal second quintet in its approach, “Colour Grid” – as well as the band’s upcoming debut album In the World’s First Summer – aims to exemplify communication and improvisation.

“Miles Davis’s quintet was a band that prioritized communication and improvisation, embraced lush and open harmonic soundscapes, and above all, placed the spirit of spontaneity at the center of everything,” muses trumpet leader Lex French.

French has been enthralled by the group ever since adolescence. “When I was about 16 years old, in 1998 or ’99, I bought a copy of Miles Davis’s 1967 album Miles Smiles and was immediately captivated,” he recalls. “Ever since that first listen, I’ve wanted to lead a group that followed in the footsteps of Miles’s second quintet.”

He found that in François Bourassa (piano), Morgan Moore (bass), and Jim Doxas (drums). “They are all improvising musicians of the highest order who can bring their individual and personal approaches to the music but also function as members of the group in order to create a whole that is greater than the sum of its parts,” French asserts.

In the World’s First Summer is a setting of James K. Baxter’s poem On the Death of Her Body. While the first single “Colour Grid” is inspired by Paul Klee’s painting New Harmony, the song “Falling Up” was a tune that floated around in French’s head for approximately five years before he figured out how to write it down and keep the spirit of the song intact.

Several of the other pieces – “Nana,” “Going Home,” and “V’la L’bon Vent” – are arrangements of folk songs from different traditions. “My arrangements of these songs are attempts to make sense of this music that reaches through time and still manages to tell our stories,” says French.

“Bye Bye Blackbird” brings the listener back to Miles Davis and the end of his first quintet with John Coltrane. “Check out the version on Live from the Olympia,” notes French, “and you’ll see the first glimmerings of his second quintet off in the distance, the same glimmering light that reached through time from 1967 to 1999, grabbed hold of me and never let go.”

Hailed by Radio Canada jazz critic Stanley Pean as “an extraordinary trumpeter”, New Zealand-born Lex French is fast becoming a bright star on the Canadian jazz scene and is a highly in-demand composer and arranger.

Lex possesses a unique voice on the trumpet and plays with technical virtuosity and abiding musical inventiveness, often being compared to legendary trumpeters Freddie Hubbard, Woody Shaw, and Kenny Wheeler. He has more than 100 recording credits as a sideman, and over the course of his 20-year career he has collaborated with jazz luminaries such as Diana Krall, Aaron Parks, Patti Austin, and Bennie Maupin.

Lex is also an internationally sought-after composer and arranger and has recently been commissioned to write works for jazz orchestra, jazz quartet, and string quartet. He has released two albums as a leader: Prevent the Future (2017) and The Cut (2014), and his most recent project includes original compositions inspired by visual arts and poetry, arrangements of folk songs from around the world, and standards from the jazz canon, all played by a band of Montreal jazz luminaries.

Les Stroud Brings Rich, Riveting Sound To Haunting Ballad And Latest Single “When It’s Gone”

Between his various vocations as public speaker, television personality and adult contemporary/rock musician, Les Stroud has seen much in his life. Now with his latest single, the alternate mixed and mastered version of “When It’s Gone,” Stroud offers up a fulfilling, richly textured ballad that should strike a nerve or chord with listeners around the world.

“This was, in some ways, a difficult song to bring to fruition and finality,” Stroud says of the track, which as a demo, “was a very Supertramp-ish sounding song.” “That rendition contains a second half, completely missing from the final version, that was big and bombastic and powerful”.

Producer Mike Clink helped him craft the arc and feel of “When It’s Gone” into a moving, evocative track. “All of the piano parts were written by me but then Mike, in his wisdom, brought in Jamie Muhoberac to actually play the piano properly,” he says. “Along with Tim Pierce they crafted that hauntingly beautiful and patient opening. It sets the mood for all that is to come in the sentiments of the tune.”

The introductory piano and strings recalls the latter-day David Gilmour-led Pink Floyd song “Marooned” before Stroud’s passionate voice takes “When It’s Gone” to another level. Some sparse but precious guitar accents give the single a greater gravitas as Stroud speaks to how one should cherish and protect nature and Earth before things get worse.

It’s all gonna change
This world you’re so used to
It won’t be without pain
When all your big plans have fallen through

So I walk on sand
I walk on frozen lands
I walk in forests
Where I feel home
I feel home

Stroud says Clink, who liked “When It’s Gone” “perhaps the best” of all the Mother Earth material, was instrumental in this finished version. Clink even asked Stroud to develop this song essentially from a clean slate after much of the songs were already recorded. “In fact, for this one he asked if we could start from scratch,” Stroud says. “He slowed down the tempo and brought it to a place of reverence.”

Also crucial to Stroud’s vision for “When It’s Gone” was musician Bryan Potvin, a member of Canadian rock group The Northern Pikes who previously collaborated with Stroud on music for his television show Beyond Survival. “I had the verse’s piano section written when I brought it to Bryan Potvin and he loved all of it,” Stroud says. “But he had in his head some kind of melody we could go to that would be more major-keyed in its tone. I love minor keys and Bryan loves major keys which is why I think the songs we wrote together work so well.”

After adjusting the lyrics from “Even when it’s gone” to the phrase that makes up the song title, Stroud says everything fell into place. “It was much later in the studio with Mike Clink that I switched to ‘When it’s gone’ both for the better syncopation of my singing but also because it was a stronger statement albeit a depressing one.

“I actually have a hard time playing this song live as it chokes me up every time.”

Stroud, who splits his time between Huntsville, Ontario and Grants Pass, Oregon, released the alternate mixed and mastered single “Ancients Call” in April and an alternate mixed and mastered version of “One Giant Farm” in June. And he hasn’t lost any fans new or old with his latest single. It’s rare to meld a weighty, grandiose arrangement with such a truthful but sobering and harrowing set of lyrics, but Les Stroud has done just that with “When It’s Gone.”

Rising Star IILLAA’s ‘Boyfriend’ Hits Hard with Irresistible Pop Appeal

Whoever said “Thou shalt not covet” didn’t know much about making hits. Because the reliable old green-eyed monster is the motivating element of IILLAA’s “Boyfriend,” an irresistibly fervent pop plea delivered to a girl who has the perfect guy, from a girl who wishes she had him instead.

Laying out her case with an impassioned vocal and a halftime rhythm that lend the feel of a grand tragedy, our distraught heroine takes her rival aside and makes it clear just how much she’d prefer it if that fella she’s been swanning around lately were on a different arm. Namely, her own.

Looks like the pic was airbrushed
’Cause he’s that much in love
I’ve never seen someone look the way he looks at you
So what’s it like to see it through your eyes
I can’t deny that I …
Wish that your boyfriend would stare at me like
I was the only girl who mattered in the world
I wish that he was here with me
’Cause we would be inseparable
Wish that your boyfriend could open his eyes a little wider and see
Low key, his girlfriend should be me

The record portends great things indeed for the creative partnership between IILLAA (real name: Priscilla Brown) and her producer and co-writer, Adam H. The multiplatinum hitmaker had worked with the likes of Ray J, Ne-Yo, Elise Estrada, Def Leppard and Loverboy before happening upon her showcase at the Vocal Star talent competition in Los Angeles. That pivotal moment set the stage for an alliance between the two that only got more exciting with the addition of Don Wolf—lead singer of ‘80s major-label metalers White Wolf and a past collaborator with acts like Bon Jovi, Poison and Motley Crue—who ended up bringing some of his own compositional suss to “Boyfriend.”

“We were going for a vibe of a hot girl summer while drinking ice coffee with your friends and talking about how you wish he was your boyfriend,” IILLAA says.

As mixed by Orlando Calzada—a five-time Grammy winner whose credits include work with Lady Gaga, One Direction and Destiny’s Child—the song is one of two on ILLAA’s debut EP. It’s a release that defies easy categorization, eschewing the expected teen pop for a more eclectic approach and overall maturity that belie this promising young artist’s years. Her versatility and depth are about to become the talk of the industry as she embraces the full spectrum of pop for its expansive possibilities. Her resonant lyrics will continue to hit home as she indulges in everything from introspective slow jams to more upbeat tracks tailor-made for a night out on the town with friends.

It’s like Avril’s “Girlfriend” as seen in a funhouse mirror, or “Jolene” told from the point of view of the title character (were she a little less cocksure). In reality, “Boyfriend” was inspired by a real situation IILLAA found herself in at the tender age of 13. Now far wiser at (gasp!) 15, the Vancouver-based chanteuse can chuckle a bit at the naked aggression behind the study-hall melodrama. But that doesn’t lessen the genuine emotional heft the track has for listeners who are currently in a similar predicament, or who can at least remember a time when they were.

[The song encapsulates the experience of first love and the emotions associated with it,” IILLAA confirms. “It’s like pouring out all those feelings of wanting someone to notice you. It’s about wishing that the person you like would see you the way you see them.”

“I like to sing pop,” IILLAA says. “I like lyrics that make sense. Slower rhythm songs and faster rhythm songs, I like songs you can play at night to party and to relax to.”

And also, she really likes your boyfriend.

(Just kidding. Maybe.)

Avalon Stone Unleashes “Shaking Me Up” – An Anthem of Emotional Turmoil and Defiance

Avalon Stone, one of Canada’s promising alt-rock talents, has just released her latest single, “Shaking Me Up,” and the track, produced by JUNO Award-winning Kevin Dietz, delves into the depths of a toxic relationship, capturing the complex emotions of being both stuck and defiant.

“Shaking Me Up” features a masterful blend of grungy guitars and impassioned vocals, showcasing Avalon’s raw, authentic sound. Following the global streaming success of her debut single “Forget You,” Avalon continues to push the boundaries of alt-rock with compelling melodies and powerful lyrics. The track is brought to life by Donovan McKinley on bass, Caleb Bourgeois on lead guitar, a guest appearance by Chris Dimas from Bleeker, and Wes Bartram on drums.

The song narrates a journey from emotional turmoil to a fierce, almost rebellious awakening. It reflects the painful reality of two people amplifying each other’s worst traits—his uncontrollable anger and her profound sadness. Yet, Avalon’s delivery is not one of sorrow but a powerful rejection, a bold ‘fuck you’ to the heartache of being in a toxic love.

“It’s about the moments that test us and the strength we find in facing trauma and betrayal,” Avalon explains. “Working with such a talented team helped me channel my experiences into a sound that’s both fierce and reflective. I hope it resonates with those facing similar challenges, providing a voice and a sense of solidarity.”

“Shaking Me Up” promises to connect deeply with fans of powerful alt-rock anthems and those who appreciate a candid exploration of toxic relationships. The release will be accompanied by a symbolic lyric video, illustrating Avalon’s emotional breakdown through a stylized drawing that progressively cracks like porcelain. Following this, a highly anticipated official music video produced by Jeff Nedza will showcase Avalon and the band’s passionate performance skills, including drummer Tyler Shea.

This single introduces the recurring themes of Avalon’s upcoming album, “Chained,” exploring struggle, confusion, emotional paralysis, resilience, and the quest for personal freedom amid life’s constraints.

Alt-Pop Artist Andy Ellis Examines Celluloid Femininity With Synth-Inspired “TV Queen”

Andy Ellis’ new single “TV Queen” is a neon pop confection that pays tribute to the ’80s via a love letter to the glamourous leading ladies of prime-time past.

TV Queen
You’re up on my screen
Now I can pretend that you want me
TV Queen
You cut your new scene
Right into my heart cuz you know me
You don’t care if I was born to lose
You just wanna make sure that it’s you I choose

You’ll want to roller skate to this song like it’s 1984, you’ve perfectly feathered and AquaNetted your hair, and there’s nothing but lasers and a disco ball guiding your glorious glide.

“‘TV Queen’ is a rockin’ retrowave track that takes a sardonic look at our romanticized modern addiction to media, along with a pounding 1984-inspired rhythm section,” says Ellis. “I tend to default musically to my European influences – Tears For Fears, New Order – but for this song I decided to bring a retro American ‘synth rock’ sound to the forefront. That is until the end of the song, when I wondered what Van Halen would have sounded like if Johnny Marr was the guitarist – and I went there!”

Playing with the retro theme, the accompanying music video features clips of TV queens from the ’70s, ’80s, and ’90s in a fun and hypnotic collage – everyone from Wonder Woman to Farrah Fawcett, to Tiffani Amber Thiessen, to the scintillating Sharon Stone.

The lyrics, as well as the video, examine society’s notions of femininity. “I’m trying to express what it feels like to have a relationship with that thing you project behind the image on the screen,” Ellis explains. “In this case, it’s fantasies of what a woman should be and what is feminine. Over the decades, that seems to have been pushed so far – stretched and twisted in so many different directions – that what the screen demands to meet our fancies is such an over-the-top performance that our ideals have been bent beyond any resemblance of reality.”

“TV Queen” is the follow-up to Ellis’ first retrowave single “Flower Punk Girl,” released last February. While “Flower Punk Girl” explored the ability of fantasy to find a transcendent relationship in our “dead-tech world,” “TV Queen” is about fantasy pretending to be human so convincingly that it limits our ability to relate with the actual world.

Andy Ellis is a music producer and all-around creative guy who explains he recently left mega-city life to “hunt for some perspective on my generation and its legacy while I wait for the apocalypse.”

“I did the mid-’90s Chicago music scene as a teenager; I did the late-’90s alternative So-Cal electronic music scene (with a little hip-hop thrown in). I did the A-list LA studio system, the major label band thing (Black Lab), the producer/engineer/mixer thing (Gavin Rossdale, Seether), and the co-songwriting thing. I now have studio capable of things younger me never could have dreamed of.”

Andy also made music for film and TV, including the Spider-Man, Blade, & Twilight franchises. He also helped make some viral YouTube videos. He did the indie electropop duo thing (The Boom Circuits); He made an experimental solo album (Sunshine at the Edge of the Earth); He has gold and platinum records, and now he’s starting a new phase of creativity in Austin, Texas – and, hence, some fabulous new music.

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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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