Following the September 2025 release of her debut EP I Kill Spiders, Montreal singer-songwriter Libby Ember returns with “To Her,” a tender, nostalgic single that captures the delicate push and pull of trying to reach someone who won’t let you in. Mellow, introspective, and intimate, the track merges indie-folk storytelling with dreamy indie-pop production, offering a vulnerable portrait of self-awareness and emotional release.

Inspired by the frustration of wanting to connect while realizing the need to let go, Libby reflects on what it means to care deeply for someone emotionally unavailable. “This song was inspired by my own emotions and experiences when trying to get through to someone who just wasn’t opening up to me,” she says. “I was overworking myself and putting too much pressure on myself to be seen, so I just needed to let it go.”

Listen to “To Her” HERE: https://open.spotify.com/album/1M9XLvmAovyW7kQsxZXjc1?si=nIPdMUKNTRGBCcMfhXTksw

The title itself positions the track as an open letter. “The title ‘To Her’ is meant to make the song feel like a message or a letter to this person,” Libby explains. “I’m speaking directly to her and opening up about feelings I would never say in person so instead I say them in this written form.”

Distinctive for its organic storytelling and production, “To Her” begins with sparse, raw guitar before gradually building into a textured, emotional climax. “I wanted the song to start off very raw – just me and the guitar – to create a sense of tension that the song itself is about,” she shares. “In the second verse, everything opens up on the word ‘fall’ because everything is now falling into place as the narrative continues.”

The song’s bridge adds an especially personal touch: a collage of real-life voice recordings featuring Libby and her friends. “It really helps drive my story forward and makes this song feel like a recollection of memories,” she says.

Baja, California-based artist Sia Shells invites listeners to dive deep into their strength and surrender with “Riding The Wave” – an ethereal, ocean-inspired pop anthem that captures the power of resilience, transformation, and trust in the tides of life. Blending her signature mermaid pop aesthetic with dreamlike production and soulful vocals, Sia Shells conjures a sonic spell for anyone struggling to stay afloat.

“‘Riding The Wave’ is all about keeping your head above water throughout the current of life, especially when it pulls you down and it’s hard to see the surface,” she explains. “It’s about resilience, change, and finding the strength to overcome it all while evoking the mysterious and beautiful imagery of the ocean.”
Crafted to mirror the ocean’s ebb and flow, the song’s composition moves between whispering vocals – representing the wind – and a swelling, powerful crescendo that embodies the sea itself. Produced with a touch of nostalgic warmth, the track feels like a safe, familiar space for reflection and renewal. “I wanted a nostalgic feel to the song, so it feels like a familiar, safe space for people to hold onto when they’re feeling like they’re drowning or carried away by the tides of their life,” Sia Shells shares.

“Riding The Wave” continues Sia Shells’ exploration of the mystical and the mindful – a reminder that, like the sea, we are vast, deep, and ever-changing. “Open your arms as wide as the horizon meets the sea,” she says. “You are strong enough to ride the wave.”

Listen in here: https://open.spotify.com/album/3uedOLd0GHlMZl8kuVvSx1?si=WizPXJjlRRCpwxjt8Si3fw

Hamilton, Ontario’s The Dirty Nil are following up on their recently released album, The Lash (July 25, 2025), with a new live record Live At The Dine Alone Store. Featuring 13 tracks that span the band’s discography, the LP features The Dirty Nil in their element.

Live At The Dine Alone Store will be available to purchase first for RSD Black Friday (unofficial release) via the Dine Alone Store (864 Eastern Ave, Toronto) on November 28th featuring two variants: DA Exclusive (ltd to 100) / Standard (ltd to 200). Remaining vinyl copies will be available online at dinealonestore.com the following day (November 29th) followed by the digital release on December 5th.

Taken from The Lash, “Fail In Time” is the first cut to be spotlighted from the session. A perfect example of the album’s stripped down, black-and-white approach, “Fail In Time” is raw, loud, and refreshingly bleak.

“We played more shows this year than any other, by far,” The Dirty Nil elaborates. “2025 was a blur, but this show stands out as the day we got to celebrate The Lash with our friends, family and fans. We had some of our favourite local bands play and it nearly brought us to tears seeing all the work that Dine Alone had put into NIL-ifying their headquarters in our honour. The Lash themed cookies were delicious.”

Watch the video here: https://www.youtube.com/watch?v=Tj34gKGJWS0&feature=youtu.be

Toronto songwriter and composer Neil Haverty (frontman of alt-folk ensemble Bruce Peninsula, and composer of the Wildhood soundtrack) returns with “What I Don’t Need,” a contemplative indie single that grapples with the tension between personal autonomy and the responsibilities we carry toward others.

Written and performed by Haverty and produced by long-time collaborator Leon Taheny (Owen Pallett, Weaves), “What I Don’t Need” builds from pensive, isolated verses into a cathartic chorus explosion, echoing the songwriter’s own struggles to balance quiet reflection with outward expression. Dark synths underscore the mood, while dynamic drums and guitar riffs deliver moments of intensity, mirroring the push-and-pull between independence and interdependence.

“The title/refrain are intentionally cagey and avoidant,” Haverty explains. “I’m resistant to being told what to do even if it’s born of love and care for me. When you struggle with decision paralysis, you don’t want to re-litigate the decisions you already managed to make. That said, there’s a lot about oneself that is hard to see personally, but that friends and loved ones can easily spot. This song is about trying to listen to those voices, trying to see yourself as you’re seen and the responsibility to act that sometimes comes with that.”

“What I Don’t Need” arrives with a beautiful accompanying music video from director/animator Luca Tarantini (aka AOK), who is known as a driving force behind cinematic videos for Andy Shauf and Tanya Tagak, and secret weapon of the Nirvanna the Band the Show universe.

Stylistically, Haverty and Taheny adopted a quiet/loud format reminiscent of classic alternative tracks to evoke a topsy-turvy emotional landscape. Minimal, dark synths in the verses represent introspection, while the crashing chorus captures the moment personal opinion bursts forth. “This song travelled with me for many years and took on a few shapes before Leon and I pinned it down,” Haverty shares. “I wanted it to loudly proclaim what I didn’t want even though I’ve been quietly surveying the other side of things, too.”



Watch the video here: https://www.youtube.com/watch?v=l3FlaVqlkLg&feature=youtu.be

American folk artist Dan Pallotta returns with Working Man’s Son, a deeply introspective new album spanning themes of love and loss, childhood experiences that shape us, the dignity of work, and the inner voices that tell us we’re never enough. Anchored by the nostalgic lead single, “24 Kenmore Road,” the record traces the intimate stories of everyday people, reminding listeners of the beauty and heartbreak inherent in ordinary life.

“Working Man’s Son is a collection of songs I’ve recorded over the last 16 months,” Pallotta shares. “Each song is deeply introspective, some directly and some through the lens of characters. It’s about the heartbreaking beauty of the human condition – the inner battles we fight with ourselves that the world doesn’t know about, even though everyone else is struggling with a battle unknown to us.”

“A construction worker who never felt he was enough because he sacrificed career dreams for his family,” Pallotta continues. “The school bus driver who lost her husband just as they were about to retire. The trash man who sees robotic arms taking away his livelihood and is scared to death of that.”

“24 Kenmore Road” draws from Pallotta’s own childhood in Malden, Massachusetts and the two-family house his parents bought to raise four kids. “I wanted to capture a deep appreciation for the innocence and beauty of the neighborhood community that existed in 1960s America. Sometimes the literal is more poetic than any metaphor – everyone remembers the address of the house they grew up in.”

Recorded mostly in his personal studio, Pallotta captured guitar, vocals, harmonica, percussion, and synthesizers with minimal takes, preserving the intimacy and authenticity of the performances. “Pretty much everything is a first take, even if there are some warts. I wanted to keep it that way. It’s very hard not to get self-conscious on your second, third, fourth takes, and then you lose the intimacy.”

Watch the video here: https://www.youtube.com/watch?v=hXZksJ1-3jg&feature=youtu.be

Vancouver-based singer-songwriter Debra-Jean Creelman returns with “Bloom,” a captivating single that captures the ache of self-reflection and the bittersweet beauty of personal growth. Blending soulful vocals with plaintive alt-country textures, “Bloom” is a deeply human exploration of honesty, imperfection, and the quiet courage it takes to face oneself.

Born out of a writing exercise with one of her students, “Bloom” evolved from a simple lyrical prompt into a stirring collaboration with longtime creative partner Sean Cronin. The track was recorded live to tape in a barn in Catskill, NY, with Cronin assembling an all-star ensemble of collaborators, including Noah B. Harley (Spirit Family Reunion), Andy Weaver, Adam Brisbin (Big Thief), and Alex P. Wernquest (recording engineer and owner of Basement Floods Record.)

Creelman later overdubbed her vocals in Vancouver with Dave Genn (54-40, Matthew Good Band) & Kendel Carson (Alan Thomas Doyle; Shania Twain), whose fiddle and harmonies add depth and shimmer to the track.
“The goal was to make something soulful that properly reflected my biggest musical influences and had my vocals front and centre,” Creelman shares. “I wanted it to be something that would translate well live – more of an emotional experience for the listener rather than a cerebral one.”

At once intimate and revelatory, “Bloom” finds Creelman at her most honest – wistful yet grounded, with a delivery that feels timeless and true. It’s the first glimpse into her forthcoming album Little Town (out December 5th), which flows between genres effortlessly – with her distinct vocals, and Cronin’s cinematic storytelling as the thru line throughout.


LISTEN TO “BLOOM” HERE

Electro-pop heavyweight Lights drops the shimmering new track “LEARNING TO LET GO” and its accompanying music video. The electric new single is a soundtrack for the messy middle — that emotionally complex space between heartbreak and healing, where freedom feels like both a victory lap and a blind sprint. 

“‘LEARNING TO LET GO’ is essentially about emotional shapeshifting,” explains Lights. “The way our perception of something can change depending on our headspace or past experiences to the point where it’s hard to see the reality in a situation and extrapolate truth. Sometimes our only way forward is to learn to let go.” 

The new release arrives alongside a dreamy accompanying music video, conceived and edited by Lights herself.

Watch the video HERE: https://www.youtube.com/watch?v=meP_EHV6Ncc

Vancouver-based country-folk duo Duke & Goldie return with their luminous sophomore EP Romance and Ramblin’ – a heartfelt collection exploring love, belonging, and the beauty of being an outsider. Led by the raw and anthemic single “Outsider,” the record bridges classic country storytelling with modern reflections on identity and self-discovery.

Produced by acclaimed sonic craftsman Erik P.H. Nielsen (City and Colour, Blue Moon Marquee), Romance and Ramblin’ finds Eric “The Duke” Duquette and Jena “Goldie” Gogo distilling the soul of country music through their own lived experiences. Drawing inspiration from icons like Loretta Lynn, Gram Parsons, and Lucinda Williams, the pair reimagine the heartland sound for a new generation – one defined by vulnerability, warmth, and truth.

“I’ve always been a big fan of classic 70’s outlaw country music – folks like Waylon, Willie and Kristofferson,” says Eric. “Except I don’t live on a ranch, drive a pickup truck, ride horses or have any of the usual country accoutrement. So I felt like a bit of an outsider. When I went back and listened to those old records that I loved so much, I realized that they were singing about being outsiders too. And ultimately, isn’t being an outsider what country is really about?”

That theme of self-acceptance drives “Outsider,” a song that transforms personal reflection into a rallying cry for authenticity. With its stripped-back arrangement – dobro taking the place of pedal steel, minimal electric guitar, and a warm tape delay captured through an old reel-to-reel machine – the track glows with nostalgic grit. The vocal performance, recorded live in the booth while Nielsen manually adjusted the analog delay, captures the immediacy of classic country storytelling.

“I’m proud that my dad’s wisdom made it into this song,” Eric adds. “He’s always been a huge supporter of my music, and he used to tell me to be a leader, not a follower – advice I still try to live up to every day.”

Listen in here: https://open.spotify.com/album/2C7HaC8hTdm9VHAtksCk5j?referral=labelaffiliate&utm_source=1110lBoamYH&utm_medium=Indie_Distrokid&utm_campaign=labelaffiliate

Ottawa-based singer-songwriter Heliara returns with “I Know That You Love Me,” a refreshingly honest and heartfelt pop track about the beauty and complexity of loving – and being loved by – your opposite. As the newest offering from her upcoming EP Everything’s a Love Song, the single captures the contradictions of real-world relationships, embracing both their joy and imperfection with wit, vulnerability, and irresistible rhythm.

“Falling in love with your polar opposite has its beauties and challenges and this song documents the journey of a very real long-term relationship,” Heliara shares. “It may not be your typical love song, but it is a love song nonetheless, infused with the vulnerability, quirkiness and authenticity that typically characterizes my songwriting.”

Originally written and performed live in 2024, the track took on new life nearly a year later when Heliara revisited and rewrote most of its lyrics, sharpening the focus on authenticity and emotional contrast. Produced by Steve Foley at Audio Valley Recording Studio, the final version brings together lo-fi textures and pop polish – a sonic reflection of the song’s dualities.

“Steve suggested adding this cool lo-fi beat to the verses, which gives them such a neat colour before ascending into the more traditional pop beat of the chorus,” Heliara explains. “There’s also this rhythmic ‘push’ in the chords which gives it an energetic, danceable and interesting flow. The bridge has a more hip-hop style beat under it, which provides a marked contrast to the verses and chorus.”

Balancing vulnerability and confidence, the single continues Heliara’s mission to make music that feels real – songs that mirror the full range of the human experience, from messy to magical. “As a songwriter and creative, I feel that my music gives a voice to those who may see themselves reflected in my own humanity, vulnerabilities and struggles,” Heliara says. “Life can be a wild ride, and we are all in it together!”

Listen in here: https://open.spotify.com/track/06L6toU9eH7GwDufDoLygG?si=f1aa495a2760457f

Hamilton, Ontario punk rock lifers The Penske File share the official video for “Rocking Chair,” a standout track from their new album, Reprieve, released October 3rd. The song captures the trio’s reflective side, exploring themes of mortality, memory, and acceptance with a warmth and honesty that’s become their hallmark.

“‘Rocking Chair’ is a special kind of song to us. One that arrived naturally and inspired, seemingly out of thin air, as we sat around the fireplace with a guitar in a rented house in Germany on an off night on tour in the summer of 2024,” says frontman Travis Miles. “It’s a hopeful, yet bittersweet song about looking back on a full life from the end of the road. I think we all hope that, someday, when death comes for us and our loved ones we'll be at peace. That's what this song is about.”

Watch the official “Rocking Chair” video HERE. Listen to Reprieve in full HERE.

Recorded live in producer Adam Michael’s living room, “Rocking Chair” preserves the raw intimacy and emotional immediacy of the moment it was written. With longtime collaborator Victor Wiercioch capturing the session on film, the video offers an unfiltered look at a band connected by decades of friendship and shared purpose. “Being so emotionally connected to the way the song originated, we decided to try and capture that initial spark of inspiration on the record,” Miles explains. “We set up a few mics and got the whole thing down in one live take.”

As one of Reprieve’s most poignant moments, “Rocking Chair” distills the spirit of the record: confronting change, loss, and the passage of time without losing sight of the light. The Penske File have long made their name on high-energy punk rock anthems, but here, they lean into restraint – offering a moment of quiet beauty amid the chaos.

Wstch the video here: https://www.youtube.com/watch?v=ReQoRlg-4ak&feature=youtu.be