Bash through the trees at canis lupus level with “Here Come The Wolves,” a new video for the title track to Rheostatics’ album, out today. Directed by Jennifer Baichwal and Nick de Pencier, the team behind Anthropocene (TIFF’s Best Canadian film this time last year) and Long Time Running, the video for “Here Come The Wolves” captures the song’s multitudes.

Riit, from majestic Panniqtuq, Nunavut, is a new artist making space for herself in the synth pop world with Inuktitut lyrics and deep rhythmic vocals layered over sticky, staticky electronic textures. Riit’s music emerges from very distinct circumstances of place, language and experience. Throughout ataataga, her debut full-length album, Riit sings about the clarity of forgiveness, the imprint of the past on the present, and personal disconnection.

City of Glass, hall of mirrors: “Vancouver,” a swooping birds-eye view of a city constructed in memory and imagination, is the third cut from Rheostatics’ Here Come The Wolves out in advance of the album’s September 6 release date. The dizzying pacific cynic travelogue builds and flutters around Martin Tielli’s vocals, a hypnotic and delicately jittery opener to the band’s first new record in over a decade.

Get into the southern state of mind with latest song from The Dead South‘s new album, Sugar & Joy. Listen here. And for those of you in NYC, you can catch a FREE performance September 24 at their Rough Trade NYC in-store.

A rock band without a drummer, a bluegrass band without a fiddler. To the gentlemen of The Dead South, a self-styled 4-piece string band from Regina, Saskatchewan, it’s about how, not what, you play. The Dead South’s combination of cello, mandolin, guitar and banjo has all the hallmarks of a group tuned to bygone times, but with their signature sleight of hand, The Dead South find distinctly ­modern bathos in this old time rigging.

Ever bound for ragged glory, Rheostatics occupy a unique place in the Canadian music landscape, pulled together and apart for nearly forty years. Finding grace in the reality of endurance, Rheostatics show us a special type of longevity, through upheaval, personal (and personnel) change, and a basic refusal to play the game in any way, shape or form, stretched over decades. Now, Rheostatics return with Here Come The Wolves, their first new album in 15 years.

Six Shooter Management is ecstatic to welcome July Talk to the roster. “We have been following July Talk for years as both friends and fans,” says Six Shooter’s Shauna de Cartier. “We love their music, we align with their social and political views, and we adore them as people.  We are over the moon to be working with this band.”

A condemnation disguised as a benediction, Ensign Broderick’s BloodMyth speaks out against hate, pernicious nationalism and vainglorious self-destruction through characters that embody these, the very worst, ways of being. The album is an inverse/reverse/perverse excavation of 2018’s BloodCrush, a meditation on frailty and fallibility that edged ever closer to the brink.

anya Tagaq is one of Canada’s most written about, celebrated and original artists. As comfortable on world stages in couture as she is steering a quad over the land in her home of Cambridge Bay, Nunavut, Tagaq’s complexity, originality, strength, gentleness and humour is not easily captured in word or video. With studio albums, collaborations across classical, indie rock and metal worlds, a Giller Prize long listed debut novel and countless other multi-disciplinary projects in the works, Tagaq’s art is a universe unto itself.

The wait for The Dead South’s third full-length album is nearly over. Today, the band announces extensive SERVED COLD tour dates in Canada, Ireland and the UK along with a clip that hints at the direction of the forthcoming album, due this fall via Six Shooter Records.

In advance of Whitehorse Orchestrated with the Toronto Symphony on June 15th, Whitehorse are back with a surprise single from their JUNO nominated album, Panther In The Dollhouse.

Six Shooter Records, Weber Shandwick and West End Phoenix present the second edition of the New Voices Scholarship for young music writers. Any individual 18 and under living in Toronto is encouraged to submit a short personal essay (no more than 400 words) on the question: