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Song of the Day: Sunflowers – Workworkwork

Posted on
9 Oct 2025
by
Paul

“Workworkwork” is the latest single from Porto’s Sunflowers – a bracing bit of in-your-face noise-punk taken from the trio’s upcoming new album You Have Fallen…Congratulations, out Nov 7th via Fuzz Club.

Check out the video below for “Workworkwork.”

Song of the Day: Hatchie – Only One Laughing

Posted on
8 Oct 2025
by
Paul

Brisbane dream pop artist Harriette Pilbeam – aka Hatchie – is back with her latest single “Only One Laughing,” taken off her upcoming third album Liquorice, out Nov 7 via Secretly Canadian. Check it out.

Song of the Day: Austra – Siren Song 

Posted on
7 Oct 2025
by
Paul

“Siren Song” is the latest single from Toronto’s Austra, taken off their upcoming album Chin Up Buttercup, out November 14 via Domino Recording Co. Check it out.

Project Nowhere Review: Luge, Truck Violence, Lice, October 4

Posted on
7 Oct 2025
by
Paul

From its beginnings in 2023, Project Nowhere has always been dedicated to programming adventurous lineups where some of the best acts are often ones you’ve never heard of before. And in that spirit, the final day of the festival found me taking in sets from bands that were mostly unknown to me, with Luge, Truck Violence and Lice all putting on impressive shows.

Opening up the night at St. Anne’s Parish Hall, Toronto’s quartet Luge put on an impressive display of musicianship. The band’s sound – at times heavy and proggy yet also funky and danceable – brought to mind what King Crimson might have sounded like if they’d gone no wave … and also had a singer/synth player who sometimes sings in Latvian. I’d missed out on the band when they opened for kindred spirits Deerhoof back in June but had heard good things. They most definitely lived up to the hype.

Immediately before Luge’s set, I took in an early evening show around the corner at the previously unknown-to-me bar Hank’s Liquor. As I crossed the street to head to the venue, I could already hear the sounds of local hardcore outfit Lice blasting out onto the street. As I descended the stairs to enter the venue, I was immediately face to face with both the band and a small group of moshing fans. And though I only took in the tail end of Lice’s set, it was an intense yet enjoyable welcome.

Shortly after Lice, Montreal’s Truck Violence took to the stage. Billing themselves as a mix of hardcore and folk, the folk element mostly only came to the forefront in their live show via the one banjo-led track that they played. Otherwise, their sound veered closer to hardcore meets moody post-punk, with a heavy and at times unsettling edge. Truck Violence certainly made a strong impression as they ran through a set of tunes off their debut album Violence, packing a lot into their brief half hour slot.

Project Nowhere Review: The Armed, October 3, Nineteen Seventy Eight

Posted on
6 Oct 2025
by
Paul

As the sweaty masses exited Nineteen Seventy Eight on Friday following The Armed‘s headlining set on the second night of Project Nowhere, I overheard one concertgoer say that this was the best show he’s seen all year. And though I’m not sure I could commit to making such a bold statement myself, I can certainly admit that this was a definite contender. Simply put, the energy at this show was insane. 

“It’s a little … It’s real fuckin’ hot,” said vocalist Tony Wolski early on in their set, adding, “We’re not a talk-between-songs kinda band but tonight we’re a talk-between-songs kinda band.” 

And yeah, with the crowd packed into the venue, things were getting a little sauna-like, so it’s entirely understandable that the band wasn’t going full throttle all night. They did still go pretty hard though, and it made for a fantastic show, with the band’s other vocalist Cara Drolshagen going particularly hard throughout the whole show. Seriously – it seemed like she was crowd surfing while simultaneously singing for about half the set.

Touring behind their latest album The Future Is Here and Everything Needs to Be Destroyed, the Detroit-based collective put on an absolutely thrilling performance that really encapsulated their anything-goes approach and brought to mind the same kind of adventurousness that brought about albums like Refused’s The Shape of Punk to Come. The crowd was loving it and despite some sound issues (I believe they blew out a bass amp), The Armed seemed to be relishing the opportunity to not only play before a hyped-up crowd, but also to play a show in a decidedly non-corporate venue like Nineteen Seventy Eight, where their stage was a literal halfpipe.  

“Fuck Live Nation, fuck all that shit,” exclaimed Wolski before adding, “50% less bass but 100% more good times.”

Good times indeed. 

Project Nowhere Review: Gus Englehorn, Ribbon Skirt, October 2, Nineteen Seventy Eight

Posted on
6 Oct 2025
by
Paul

Project Nowhere – the Little Portugal-based festival with a focus on underground music in its many forms – is now in its third year. And just like in previous years, the festival offered up a very well-curated lineup, with such notable names as No Joy, Water From Your Eyes, Johnny Jewel, and Warmduscher performing at venues along the Dundas West strip. For the festival’s first night, I started off at Nineteen Seventy Eight (aka Expo Vintage Clothing during daylight hours) for a pair of memorable sets from Gus Englehorn and Ribbon Skirt

Starting things off with a song that opens with the line “I awoke in a pit with a man staring down at me,” Gus Englehorn had my attention from the get go. From that moment on, the audience was treated to a truly unique performance. It quickly became clear that the Alaska-born, Montreal-based singer is a quirky performer – quirky, but charming. With a sound reminiscent of Jad Fair and Daniel Johnston, Englehorn and drummer Estée Preda delivered a fun, engaging set that kicked off Project Nowhere on a high note for me.

And while he may have initially grabbed my attention with his opening number (“The Gate”), Englehorn kept my attention with the songs that followed as well as his entertaining and amusing stage banter. At one point, he referred to a stream of spilled water threatening his pedalboard as being “like a St. Lawrence,” and when introducing “Metal Detector”—a song inspired by his brother, a detectorist who was apparently featured in The New York Times—he quite plainly stated, “I don’t know if I remember how to play it though.” But the real gem came when he reflected on the fact that was his first-ever Toronto show, following a sparsely attended gig in Hamilton the night before.

“I’ve never been to Toronto in the summer. And it’s pretty nice.” When Preda correctly pointed out that it was, in fact, Fall, Englehorn quickly came back with, “I’ve still never been to Toronto in the summer.” Touché.

Following Englehorn, Montreal’s Ribbon Skirt took to the stage to play a bracing set in support of their debut album, the Polaris-shortlisted Bite Down. Singer/guitarist Tashiina Buswa made the most of the space, even with part of the venue fenced off, moving amongst her bandmates and really belting it out as they tore through a set of tunes off the album as well as one newer track off their PENSACOLA EP, set to be released the following day.

With tunes like “Earth Eater” and “Off Rez” standing out as highlights, Ribbon Skirt put on an impressive performance, thus helping to start Project Nowhere off on a strong note.

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