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Cold Weather Captains are a Toronto-based high-energy rock band known for their funky and eclectic sound. The group was originally founded in 2018 as a unique instrumental trio featuring Bradley Scott (lead guitar), Erik Meechem (rhythm guitar), and Kevin Penny (drums). Shortlyafter the release of their 2021 EP, City Limits, CWC quickly morphed from laid-back jam band to a fully rounded pack-a-punch machine with power-house additions to their lineup – magic man and lead vocalist, Justin Di Donato, and high-kicking bassist, Christina Dare."Cold Weather Captains' self-titled album stands as a testament to our collective growth and unity as a band. We hope that our listeners, inspired by the themes of embracing change, navigating transitions, and fearlessly venturing into the unknown, will join us as we cross the threshold into a new era of artistic expression and the limitless possibilities that hopefully await us".







Website: https://www.coldweathercaptains.com







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CLONE is a female-fronted collective of musicians from various eclectic backgrounds who bonded over their shared love of 70’s rock, specifically glam rock. Nods to T-Rex, Suzi Quatro, The Runaways, Sweet, New York Dolls, and Iggy and the Stooges inspire their catalog of rock anthems that fuse punk with glitter and power with pop. CLONE was created by guitarist Kelly Zombor and front woman Juniper Watters with the remainder of the band consisting of refreshingly experienced musicians: Lee Forrester (lead guitar), Gil Forrester (bass) and Jack Guppy (drums). They share a unique ability to connect with their inner alter egos who come out to play on stage. As David Bowie once said, “Freedom is born in the realms of eccentricity” and CLONE illuminates this beautifully. They have been a favorite pick on SiriusXM's Rodney Bingenheimer Show and on Internet radio including Dandy’s Stardust Dive. CLONE has been DIY since the beginning - producing their first EP in 2020 along with four music videos which they wrote, directed, designed, photographed and edited thanks to decades of experience as working technicians in the BC film industry. In March 2023, CLONE recorded their second album, again with Eric Mosher at The Warehouse Studios in Vancouver,  the first single “Queen” and accompanying video are scheduled for release on July 17th, 2023.







D I S C O V E R







Website: http://www.CLONEband.com







Twitter: https://twitter.com/cloneband







Bandcamp: https://CLONEband.bandcamp.com







Instagram: https://www.instagram.com/CLONEband







Facebook: https://www.facebook.com/rocketCLONE







Spotify: https://open.spotify.com/artist/1eminzgmEAlkmQdTaeDS1T 







YouTube: https://www.youtube.com/channel/UCnwYW5fbSliAOGngdlbtxIA







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Oakland California’s The Goods have just announced the release of their debut self-titled EP on Dandy Boy Records with an accompanying video for the song “David Jones Is Dead.” The Goods combine big guitars, huge hooks, and sweet British Invasion-style harmonies into a distinctive power pop tapestry on their debut. Self-produced in the band’s own studio in Oakland, CA, The Goods’ debut EP draws on decades of hooky punk and power pop from the 1960s through the 1990s. The three song 7" (with an exclusive fourth digital track) combines classic influences and timeless sounds with a fresh and playful energy. The lead single and video “David Jones Is Dead” calls to mind the band’s songwriting influences both new and old; Redd Kross, Young Guv, Tom Petty, Matthew Sweet, The Jam, Green Day and Cheap Trick. Reflecting on the process of writing “David Jones Is Dead” singer and guitarist Rob Good had to say, “I set out to write the shortest song I possibly could, all killer no filler, every bit of fat around the edges trimmed off. Lyrically, I was thinking about all these rock and roll icons that are now dying, and how their death brings up so many emotions - not only remorse for the loss of the person, but also nostalgia about the good times you had with their music and the friends you enjoyed it with. Ultimately it’s a celebration of that music and those good times.”







Avoiding retro-revivalism, The Goods' music is earnest and unironic, with just enough grit and muscle to balance its sugary sweetness. Dandy Boy label owner Bobby Martinez describes the connection between himself and singer/guitarist Rob Good, “I’m a big power pop fan and he was writing huge power pop songs. Not in a bleached hair/ leather jacket/ Buzzcocks way or a straight college radio/ 90’s alt way- but somewhere in between. There’s an element of Redd Kross camp over Cheap Trick timelessness that adds this level of fun and cheekiness. It never feels too serious or posturing yet avoids going full on cornball cartoon band. It’s completely self aware and doesn’t fall into some retro revival affectation. Rather than trying to duplicate classic power pop from the late 70’s or 90’s “left-of-the-dial” underground, they manage to sound organic. It’s power pop by guys who grew up learning their instruments by listening to Green Day and the Descendents and playing in punk bands. Guys who spent their formative years with Lemonheads and Jam CDs in their cars.”







Photo credit: Corey Poluk







D I S C O V E R







Twitter: https://twitter.com/the_goods_music







Instagram: http://www.instagram.com/the_goods_music/ 







Apple: http://itunes.apple.com/album/id/1690163263 







Bandcamp: https://dandyboyrecords.bandcamp.com/album/e-p 







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The Vanrays have just released their latest long-player “Put It Out” with an accompanying video for the album’s focus track “Hard Times.” The band carries on with their tradition of belting out undeniably catchy Motown and Soul tunes with big hooks, big melodies and an even bigger brass section. Taking notes from classics and contemporaries like Spencer Davis group, Detroit Cobras, Curtis Harding and the Daptone Records roster, The Vanrays have delivered an album of soulful classic R&B and garage music. 







Their bio reads like a manifesto for their brand of music: It’s a Motown beat down in a sharkskin suit. It's wailing like it’s gospel while they're laying in the boots. It's a curb stomping rhythm on the corner of control. It's a nod in the direction, when all shoes had leather souls. And to when those shoes were twisting, to Otis and to James. And so now do, The Vanrays too, we are here to do the same. 







The video for “Hard Times” was directed by Carleen Kyle and shot at the Wise Hall during the pandemic and in the middle of the heat dome. Piano and organ player Gordon Rempel describes the scenario, “We were happy for the space and air conditioning! The objective was to bring a more intimate “performance” video than a regular live video. Thus, setting the performance on the floor rather than the stage.” 







Overall the album touches on themes of love and heartache which seems to tie the songs together. Bassist Phil Adington laments, “We never intended for this to be a concept album, but for me all of the songs involve love and relationships and the order they appear on the record does seem to map out a passionate, tempestuous affair that ultimately ends in heartbreak." The recording sessions for Put it Out began just before the onset of the pandemic, when the world went into lockdown. Rempel reflected on the time by saying, “It's been a journey. We were forced to adapt. With only bed tracks recorded before the lockdown, we were forced to improvise. We remotely finished a couple songs as demos compete with Zoom-like videos that we released as "The Social Distanced Demos" on Bandcamp. Slowly, we completed recording the album, instrument by instrument together and apart. I recorded many of my organ and piano parts in my garage studio. Others ventured into Brian’s studio to record their parts with masks and social distancing. Scott Fletcher, producer of the Put It Out shared his take on the experience, “My shared vision as producer of this record was to tip our collective hat to the classic 60s and 70s Soul and R&B from stax records, without being a museum piece. Music is an organic, living, growing thing and I truly believe we took this genre to a new place. Recording a 9 piece band is no easy task at the best of times, but we tried to preserve the “live off the floor” feel while staying socially distanced in the studio. The Vanrays, needless to say, became my bubble. If I were to put it in a nutshell, I would say recording Put It Out got us through the tense times of the pandemic.”







Photo credit: Carleen Kyle







D I S C O V E R







Twitter: https://twitter.com/thevanrays







Website: https://www.thevanrays.com







Tiktok: https://tiktok...

Toronto Acoustic-Punk rockers, Public Messdeliver a 5-song EP that defines the genre. 







“Too Many Ghosts”, the debut EP from Toronto’s newest group, Public Mess, features Cactus Vella on Acoustic Guitar and Vocals, Rob Fiasco on Acoustic Bass, and Andrew Heule on Drums. 







Public Mess blends acoustic-punk with hints of alt-country. Their debut EP was recorded at Sandy Pockets Studio. A DIY recording studio located in the garage of Vella’s cottage. Mastered by Jon Drew, and released on Anxiety Attack Recordings, “Too Many Ghosts” clocks in at just under 18-minutes long and leaves you wanting more. The EP also features a cover of “Objector” by the legendary Blundermen. A Toronto-based punk band from the early 1990’s. 







The songs on “Too Many Ghosts” deal with topics such as Life and death, as in the case with the opening track "They Bring Me Woes", as well as "Never Get Sober", a song Vella wrote about an old friend and former bandmate who passed away last year. On "The Tide", Cactus sings about living fast, being left for dead, and just barely surviving. The EP closes with "Leaving Parkdale". A love letter to their favorite neighborhood in Toronto. At one point all 3 band members lived in the south-west Toronto neighborhood. These days, only Robstill remains there.







Cactus Vella has been playing in the Southern Ontario music scene since the mid 90's, both in bands, as well as a solo musician. He's recorded and toured with such bands as Sinkin’ Ships, The Class Assassins, Plan 37, and Whiskey Hearts, to name a few. Cactus, and his label Anxiety Attack Recordings also brought us the acoustic tribute to Rancid from a few couple of years ago. Rob Fiasco, attended high school with Cactus, and the two friends have always wanted to play in a band together. Rob has also been at it for years with bands like Blank Stare, The Donnellys, and currently also playing with indie rockers Centraal. Andrew Huele, who taught himself to play drums as a kid from a VHS tape, also plays in Stillwaves, as well as creates psychedelic electronic music under the moniker Howlin' Heule. 







“Too Many Ghosts” will be available on all streaming services on Monday July 31st. As well, a limited run of cassette tapes will be available. 







Instagramhttps://www.instagram.com/public_mess







YouTube







https://www.youtube.com/@PublicMess







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Vancouver record label Nerve Wracking Collections has just released their latest EP Coulrophobia, a collaborative concept project that includes Vancouver synthpunk bands, Phuture Memoriez and Jibbernaut. The concept involved choosing a theme and releasing a 4 song split EP with another band. This was an opportunity for NWC to expand and have many artists join their collective. Coulrophobia is the first split EP release derived from this project which revolves around the fear of clowns. The guidelines were kept simple so that each band could make their songs their own. They involved creating two new songs that followed the lyrical theme and a desire to release the EP along with a co-headline live show. Phuture Memoriez is a dark synth-pop-punk band from Vancouver BC and is composed of Marc Blaquiere and Jessica Blaquiere, while Jibbernaut consists of local punks “Gears” and “Hammer”. The songs on the EP are short, fast, visceral blasts that are rooted in early punk and hardcore and have elements of Kraut rock and foundational industrial music. Each track is an explosion, an expression of internal turmoil and angst against discordant hooks and symphonic feedback.







“Gears”, singer of Jibbernaut, reflected on the inception of the EP, “When Phuture Memoriez approached us about the Coulrophobia project it appealed instantly. There’s something inherently terrifying about clowns. The clown archetype has inhabited the cultural psyche for centuries and the idea of someone transformed into a painted/costumed character for the purpose of amusement holds within it the possibility for unfathomable darkness. We performed a week-long ceremony in our Vancouver compound as preparation for writing these two songs. After those seven days of fasting and sacrificial offerings our namesake, the demon Jibbernaut, appeared holding the pale severed head of a clown in its claws. We got to work immediately in a frenzied state of inspiration and 48 hours later we had “Clown School” and “No One’s Laughing Now”. Then we ordered deep fried wontons and tantan noodles and slept for three days.”







D I S C O V E R







TikTok: https://www.tiktok.com/@jibbernautband?lang=ko-KR







Facebook: https://www.facebook.com/phuturememoriez/







Facebook: https://www.facebook.com/people/Jibbernaut/100092412352065/







Instagram:https://www.instagram.com/phuturememoriez/?hl=en







Instagram:https://www.instagram.com/jibber_naut/







Bandcamp: https://phuturememoriez1.bandcamp.com/music







Youtube: https://www.youtube.com/@nervewrackingcollections5277/featured







Spotify: https://open.spotify.com/artist/0xX7HI6zFKn6Y5FDKwN8K9?si=xjSBNimsTteBzSS63qBzWA&nd=1







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