Established in 2000 in Toronto, Six Shooter Records is a full-service music company with a diverse roster that includes artists in the genres of Americana, country, rock, and avant-garde. In addition to being a label and a publisher, the company also provides artist management services. Since its inception, Six Shooter has released over 140 albums. Our artists have been consistently recognized in national award programs, including the JUNO Awards, Polaris Music Prize, SOCAN Awards, Canadian Folk Music Awards, and others.

Ours is a fast-paced, friendly environment with an enterprising culture. We seek a new member of our marketing team, who will be key in performing day-to-day social media duties. Responsibilities will be as follows:

– Execute and help plan social media content across platforms that are consistent with the company’s brand and artists’ identity
– Coordinate the creation of consistent, meaningful content on all social media platforms, including writing and editing social media posts. Work closely with Artist in Residence and Creative Content Manager to curate content (videos, graphics, etc), improving customer engagement, and promoting social media campaigns
– Manage a high volume of daily social media posts across label + artist socials
– Assist in scraping and gathering of social media analytics for reporting purposes
– Execute community management, which includes communicating with social media followers via direct messages, responding to comments/retweets in a timely manner
– Manage social influencer programs and attend social influencer events
– Curate Apple and Spotify playlists, refreshing Spotify Six Shooter Essentials playlist and sharing links
– Assist in the community engagement on Artist and Label socials (YouTube, Facebook, Instagram, Twitter)
– Updating the Six Shooter Records website news section when needed
– Manage / create GIPHY links and content in collaboration with Artist in Residence/Graphic Designer
– Suggest recommendations to adjust the social media marketing strategy for optimal results
– Staying up to date on best practices and emerging trends in social media
– Format existing graphic and video creative into various formats for digital and print campaigns
– Assist in brainstorming and implementing exciting new online content
– Collaborate on the strategy and development of marketing plans for priority label projects
– Assist the Management Team with the communication of artist Socials (sharing links, press, important events and information)
– Assist with development and execution of contesting and promotions
– Assisting with grant applications and completions for both the label and management clients as requested. Including but not limited to: proofing copy, gathering marketing material examples, collaborating on marketing development plans
– Other duties as required.


– Experience in the Canadian music industry for 2+ years
– Proficiency with top social media platforms (e.g, Facebook, Instagram, TikTok, YouTube, Twitter, etc.)
– Exceptional attention to detail, solid time management skills and the ability to multi-task and prioritize, while staying ahead of deadlines in a fast-moving environment
– Ability to work independently and in a team environment, a self-starter
– Excellent creative copywriting skills
– Excellent interpersonal and verbal communication skills
– Proficiency in MS Office, Google Suite, Dropbox, Slack, Social Sprout, Facebook Business Manager and YouTube Studio.

Nice to Haves & Attributes:

– Education related to the music business or digital marketing
Basic knowledge of Adobe Suite of products and Notion
– Optimistic with positive energy and outlook
– Passionate about music and social media
– Thrive in a fast-paced and dynamic environment; a team player, willing to pitch in whenever needed

Job Specs:

Position: Social Media Coordinator
Reporting to: Director of Digital Strategy & Marketing
Hours: Monday-Friday 10:00AM – 6:00PM
Location: Temporarily remote, due to COVID-19 (EST time zone hours). Toronto, ON post-COVID.
Compensation: Salary range from 40K-50K to be determined commensurate with experience, and health benefits.
Application Deadline: April 30, 2021

Please apply via the “Apply Now” link here.

No phone calls please.

We invite applications from all qualified candidates, especially from people who identify as racialized, Indigenous, differently abled, and persons of any sexual orientation or gender identity. Upon request, suitable accommodations are available under the Accessibility for Ontarians with Disabilities Act for applicants invited to an interview.



Learn and Burn: Boy Golden hosts “Roll With Tokyo Smoke” Virtual Workshop on 4/20. Join here.

Six Shooter Records is thrilled to welcome Boy Golden, a new artist from Winnipeg, MB, to the label. A chrysalis in a 1940s lemon lounge suit, Boy Golden is poised to emerge fully formed from the pandopolis deep freeze with his charismatic vision of good vibes, even in hard times. A charming dealer of laid-back devil on your shoulder advice for life, Boy Golden’s worldview is located somewhere between ‘work hard everyday’ and ‘quit that job!’ With a soundcloud link and a 1995 Toyota Previa-sized personality, Boy Golden has signed a multi-album deal at one of Canada’s most singular and discerning record labels.

“Our love affair with Winnipeg is long and rich, and we are beguiled with our latest discovery from this Great City,” says Six Shooter Records President, Shauna de Cartier. The company’s connection to Winnipeg’s music scene runs deep, from the early days of Luke Doucet’s solo career to Interstellar Rodeo (Beck!), to William Prince and the handful of Six Shooter staffers who call Winnipeg their home. “From the first song I heard by Boy Golden, I was instantly swooning.  It was love at first listen.”

Boy Golden will release new music in the coming months, starting with the title track from his forthcoming debut album, The Church of Better Daze, arriving – naturally – on 4/20. Celebrate and educate alike on this day by joining Boy Golden for a live virtual rolling workshop in partnership with Tokyo Smoke. Sign up here. Get ready with Boy Golden’s inaugural artist-curated playlist, SPLIFFSZN.

Everyone is welcome at The Church of Better Daze. “The partnership with Six Shooter Records has been absolutely crispy so far,” says Boy Golden. “They are even helping me repair the church’s leaky roof.”

Restrictions on cannabis messaging prevents us from detailing exactly how much fun you’ll have with Boy Golden’s debut album, The Church of Better Daze.



Boy Golden has a purpose: enjoy each day and make good music. Founder and minister of The Church of Better Daze, he wants to help people seeking to improve on yesterday’s themes. His songs, like hymns, are hopeful, fresh and upbeat. Redefining jam band and stoner cultures by turning dead heads into lively brains, Boy Golden wants to unite us all in a hazy dream under one roof. If you’re open to learn, and can speak your truth, you can blaze and still get paid in Boy Golden’s Church of Better Daze.


Written by David Morrison

Being useless at everything else and because music is on my mind as many hours per day as koalas are asleep, I’ve spent the majority of my working life cheerily toiling away in record stores. Thirteen years into my employ at the fabled Fascinating Rhythm in Nanaimo, BC, that situation – and, essentially, my music retail career – ground to an unceremonious halt upon the declaration of this godforsaken pandemic.     

Oh, how I miss my regular customers and yakking day in, day out with them about the artform that is fundamental to my role on this beleaguered pale blue dot. I also miss the buzz of random visits from artists I admire, such as Ryan Boldt, a scholarly roots music fanatic and the beating heart of recherché folk dreamers, The Deep Dark Woods.

Like myself, Ryan is a melomaniac: for he and I music is far above even a passion – it’s an intrinsic need. We now reside on opposite coasts, but when living on Vancouver Island he’d sporadically swing by between tours and recording to spend goodly time flipping through racks, rifling through boxes, and poking about the store’s dusty corners in search of rustic melodious treasures. Satisfied with the day’s findings, flashing a scratchcard winner’s grin he’d present me with a stack of arcane folk, bluegrass, old-timey, country-blues and gospel vinyl for purchase, then off at it we’d go…yak, yak, yak, music, music, music. He knows his stuff and I know mine, so our mutually enthusiastic exchanges flowed like whitewater. 

I dearly miss such simple, yet now inestimably valued interactions with Ryan and so many like him during the course of those working days, so how apt it is in this challenging time that the exquisite first single from The Deep Dark Woods’ forthcoming album, Changing Faces, is a pining contemplation on separation from a loved one, and the deep yearning for reconnection. In the same hankering spirit of his legendary compatriot Gordon Lightfoot’s classic “Early Morning Rain”, Ryan’s “Everything Reminds Me” is a stark chamber-folk song of haunting beauty, enhanced by melancholy strings arranged and performed by Maria Grigoryeva. Directed by the award-winning Craig Range, the intimate accompanying video shows the family of a friend of Ryan’s, rugged prairie folks going about their day in the isolated Saskatchewan hamlet of Cardross. Underscoring our innate need for closeness and community at a time when we’re so deprived of it, with dignity and quiet defiance the poignant short film also emphasizes that even the most mundane moments of any given day all add up to something far greater in life’s considerably grander scheme, should we care to look for them. Every moment, every second is precious, people; use them well.

Watch the video for “Everything Reminds Me” here.



New video for “Everything Reminds Me” adds small daily rituals up to something big and beautiful. Watch here.

Photo credit: Rima Sater

It wasn’t easy when I think about it
Living in the house of changing faces
David Blue 

“The air in the house is different now,” says Ryan Boldt, the creative force behind The Deep Dark Woods. Boldt’s house is now full of pets and plants, and happiness. It’s a house by the ocean, far from the rural prairie landscapes of his childhood and a defining feature of The Deep Dark Woods’ sound and lyrics. The house is also an emotional dwelling, an inner place for processing upheaval, finding new direction and making peace with the past. On Changing Faces, The Deep Dark Woods’ sixth album, Boldt works through the complications, unique to him and recognizable to many, of leaving one place for the next.

The bittersweet melancholy of new song “Everything Reminds Me,” is brought into focus with its accompanying video, out today. Directed by Craig Range, the video reminds us, in fact, that all of life’s small daily rituals add up to something profound and beautiful. The addition of strings, arranged and performed by Russian composer and violinist Maria Grigoryeva, carve the song’s deep longing with graceful swells and swirls. 

On Changing Faces, you will be surprised by how gradual yet complete a turn The Deep Dark Woods have made from cabin cozy jam band to pan-Atlantic folk revivalist collective. Boldt’s delicate melodies and metallic-stringed bite rattle centuries-old folkloric ghosts and personal demons alike. The Deep Dark Woods, a band with few fixed members, is a vessel for Boldt, keyboard wonder Geoff Hilhorst and frequent collaborators, Kacy & Clayton and Evan Cheadle, among others, to find their own vocabulary for translating traditional folk forms – Irish waltzes, Broadside Ballads, ominous lullabies – to contemporary electric terms. 

Throughout Changing Faces, there is a push and pull between place and placelessness. In the modulated Farfisa churn-up of 50s doo wop on album opener, “Treacherous Waters,”  and the dizzying experimental pastoral voyage of “In The Meadow,” arrangements layer the familiar with the disorienting. Lyrically, the homesick headspin of “When I Get Home Tonight” explores the feeling of not knowing where you belong. With Changing Faces, Boldt arrives in a new place, the culmination of a project both historical and personal. 

Changing Faces arrives May 14, 2021 on Six Shooter Records.

1. Treacherous Waters
2. How Could I Ever Be Single Again
3. My Love For You Is Gone
4. Anathea
5. When I Get Home Tonight
6. Everything Reminds Me
7. In The Meadow
8. Yarrow

Originally from Saskatchewan and now based on the east coast of Canada, The Deep Dark Woods take up a deep tradition of forlorn storytelling, drawing lines from Celtic folksongs to country blues, John Fahey to Shirley Collins. Lush and devastating, Boldt’s gothic surrealism is stark in detail and full of emotion, a murder balladeer for our time. 
Following their JUNO nominated album Yarrow (2017), Changing Faces is The Deep Dark Woods reimagined. Produced by Boldt, the new album also features touring companions Kacy & Clayton and the guitar stylings of Evan Cheadle. 


“A trippy Harold Edgerton moment for the 21st Century.”

Watch Whitehorse perform Modern Love at Toronto’s Horseshoe Tavern Friday, March 26.
Live stream tickets here.

Whitehorse’s “I Wanna Make Promises (That I Can’t Keep),” is a loping, laidback wishful think, travelling from aisle 9 to cloud 9 and back again. Today, the song gets an absurdist, mad scientist video treatment, shot in ultra slo-mo, that makes art out of all of the awkward milliseconds, reflexes and micro cringes that go unseen in reality’s standard frame rate.

Directed by Six Shooter’s Artist in Residence Lyle Bell (currently a JUNO Award Album Artwork of the Year nominee for July Talk’s Pray For It), “Promises” video is the evolution and culmination of Bell’s vision for Modern Love’s visual aesthetic, not to mention the product of Six Shooter’s highly creative in-house Art Squad. “The band had done street photos with a massive balloon, the balloon being my idea of a metaphor for “modern love,” says Bell. “It’s beautiful but delicate. Once it pops it’s gone for good!”

“I thought about extreme slow motion videos on YouTube and how it would be cool to capture the definitive ‘pop’ moment with a Phantom camera,” shares Bell. “I was highly inspired by Harold Edgerton’s mid century bullet-time photography (Three Balloons) and I wanted an album cover to be a modern and dynamic version of this. The Promises video, shot at the same time as the album art, is this concept taken two steps further with balloon explosions, 40 pounds of glitter and samurai swords. There is no narrative, it’s again a colourful metaphor for how love can be beautiful and messy at the same time. A trippy Harold Edgerton moment for the 21 century.”

“I Wanna Make Promises (That I Can’t Keep)” is found on Whitehorse’s new full-length album, Modern Love, released last week. The first collection co-produced by the duo, Modern Love looks unflinchingly at the fantasies and realities of romance; how easy it is to get our wires crossed in the wireless age. Impressionistic, ambient and diffusive in sound, Modern Love’s sound taffy pull strings, surf-in-a-seashell guitar tones, and gauzy, hushed vocals.



Written by Tabassum Siddiqui

Do you feel like a relic in a new age? Caught between an appreciation for the innovation of the digital era and a nostalgia for the tangible nature of something maybe a little more analogue?

For me, Whitehorse has always nailed that feeling with their music, which nods to the past while still feeling fully in the present. Not an easy balance to pull off, mind you. But balance is key to what they do – two halves coming together as one, the tough and the tender, the quiet and the loud.

So perhaps it’s apt that Luke Doucet and Melissa McClelland are bringing us their new album during a strange new age that’s knocked us all a bit off balance – not to mention one that’s dragged us firmly into living our lives online… whether we like it or not.

“But somehow I prevailed/It’s evolutionary,” Melissa sings on “Relic in the New Age,” which tempers its cynicism with a glimmer of hope – and Whitehorse’s signature silken him/her harmonies.

While other couples might be getting sick of each other while stuck at home, and many of us have felt anything but creative when facing yet another Zoom call, Doucet and McClelland used this time to evolve their sound – and their musical partnership – yet again, maintaining their Western noir vibe while updating it with razor-sharp production and sweeping strings (fans who were blown away at their 2019 concert with the Toronto Symphony Orchestra in the Beforetimes will find plenty to appreciate here).

We turned to music for solace long before lockdowns and personal connections gone virtual, but hearing a song like “Radio Silence” resonates with our current state of longing in a way that at once aches yet reassures:

So who do I turn to
Where do I go
When I need some contact
Someone to hold

If there’s anything living through this time has taught us, it’s that what matters most is those we love – in whatever form that lives in your heart – whether that’s your partner, your family, your community or beyond.

The cover of Modern Love features Whitehorse hidden behind a bullseye – in offering up their musical tales of all-too-human encounters amidst an algorithmic age at a time when we really need them, they’ve more than hit the mark.


Listen to their first single, “I Wanna Make Promises (That I Can’t Keep)”.

Get tickets for Whitehorse’s album release show at The Horseshoe Hootenanny (live stream) on Friday, March 26, here

Introducing Modern Love, the latest edition from dual-booted songwriting CPU Whitehorse. Designed for life at 25,000 frames per second, Modern Love offers premium processing and emotion-capture capabilities. Optimized for low-light conditions, Modern Love’s intuitive UX creates a fully immersive experience of interpersonal harmonics in ultra rich waveshape sonics. Each Modern Love OS comes complete with experiential FAQ database, ex.: Do you smell trouble? Do you want some?  

With life’s burst bubbles and crossed wires detailed in hi-def, Modern Love launches with “Prototype,” an atmospheric tribute to DNA one-of-a-kindness, strung with Lonely Hearts Club swells. Coded with themes of human glitches and emotional reboots, the beach tones of “Relic In The New Age” and ballad-type “Radio Silence,” interface between machine-enabled and machine-resistant human relationships. Modern Love is Whitehorse’s blueprint for love in the Digital Age.

“I Wanna Make Promises (That I Can’t Keep”), a loping, laidback fantasy 404, buzzes with electrostatic escapism for jolted, jilted ideas. “Promises” exposes all of the micro aches and urges that usually go unseen. Rare duet “Best Bet,” and all songs after that, further expose the collections’ emotional motherboard, a nest of circuitry carrying the curses and cruxes that muddle our signals to one another. Album closer “Pollyanna,” channels Greek mythology to modulate a chorus of unheeded disaster warnings.

Assembled at Taurus Recordings, a professional facility in Toronto, ON, Modern Love was hardwired by Luke Doucet and Melissa McClelland, with additional component parts by Thom D’Arcy (string arrangements), Fred Eltringham (drums), Gus Van Go (bass on “Promises”), Robin Hatch (wurlitzer, mellotron) and Drew Jurecka (string performances).

With Modern Love, Whitehorse continues to tell their love story, if not the one they expected. Modern Love will be available on Friday, March 19. 


1. Prototype
2. I Wanna Make Promises (That I Can’t Keep)
3. Relic in the New Age
4. Radio Silence
5. Middle Earth
6. Liar Liar
7. Best Bet
8. Interlude
9. Run Run Run
10. I Can Only Imagine
11. Polyanna
12. Outro


Since their debut, Whitehorse has traveled from magnetic folk duo to full-blown rock band and beyond. In truth Whitehorse is never fully either one or the other, but an ever-evolving creative partnership that challenges both artists, Melissa McClelland and Luke Doucet, to explore new instrumental and lyrical terrain with each record. Steamy, swampy and squalling in equal measure, Whitehorse’s signature sound is guitar-heavy, harmony-abundant and lyrically deft. 

Now, the JUNO Award winners return with Modern Love, their first co-produced full-length album since the pink pop kink of Panther In The Dollhouse (2017). Most recently, Whitehorse expanded the intergalactic blues library with a second instalment of The Northern South project, performed with the Toronto Symphony Orchestra, gave Massey Hall a birthday to remember, and stayed at home in 2020.



In a previous edition of The Horizon Line, Anupa Mistry perceptively wrote that through Zaki Ibrahim’s music “it’s possible to access the version of Toronto that, perhaps, only exists as a feeling. Zaki’s music is an atmosphere unto itself.”

It’s a sentiment with which I wholeheartedly agree and it transports me back to the night of my initial unwitting encounter with Ibrahim’s The Secret Life Of Planets.

In a beforetimes environment that now almost seems fantastical given the paucity of live in-person shows over the last year, it was a night that among reflection of my countless live experiences stands out in all its admittedly fuzzy glory.

A lot of that had to do with the crowd that was in attendance. The November 4, 2015 show took place at the now-defunct Tattoo on Queen St. W. and Ibrahim was headlining a show with longtime Toronto experimental electronic duo LAL heralding a ‘live preview of unheard and unreleased music!’

Presented by The Main Ingredient, which at that time was a monthly night at Toronto’s Revival, conceived by the irrepressible Jesse Ohtake, the people in attendance were intuitively curated longtime adherents of Zaki Ibrahim’s visually sumptuous live shows and performances. But, there was something particularly special about the atmosphere in the room that night. The lip service that can often apply to words like diversity and multiculturalism in Toronto was jettisoned in favour of unapologetically and organically centring a genuine safe space, a version of the city as a ‘feeling’ that Mistry describes. I actually remember saying to one of my countless acquaintances/’weak ties’ [view article via The Atlantic] I ran into that night, something to the effect of “This really feels like Toronto.”

Amongst all of this, the show could have felt like an afterthought, but Ibrahim has always upped the performance and sartorial ante, with co-conspirators like Alister Johnson and Casey MQ wearing sharp white suits and visors. But for me the highlight was a new song that halfway through, broke down into a refrain that almost sounded like a children’s choir.

The purity of the vocal arrangement was transfixing and ethereal and lasted for what felt like an eternity. After the concert, that moment from that then-unnamed song stuck with me and would occasionally float back into my head. It wasn’t until January of 2018  — over two years after that show —  when The Secret Life of Planets was first released that I could identify the song as “Cut Loose.” 

From my perspective as The Secret Life of Planets is being re-released this week, “Cut Loose” is fittingly the new video that brings the sonic journey of the album to a close. As I wrote in an article about the album at the time of its release,  the hypnotic coda of “Cut Loose” sounded futuristic and retro at the same time (note the sly, fleeting allusion to Dennis Edwards’ 1984 R&B hit “Don’t Look Any Further” and every time I hear the song, it brings me to a past moment in time that I hope will be our future.





“A vintage soul and R&B feel to it, with sprinkles of both nostalgia and future by way of synthesizers and 808s.” – okayafrica

“Despite its title, Planets is less liturgical science fiction and more soulful and sublime, focusing on the cosmos of human experience.” – Pitchfork

Photo by Josh Rille

The journey through Zaki Ibrahim’s expansive catalogue concludes with 2018’s The Secret Life of Planets, available worldwide on Friday, March 12. From the stomach-flipping dives of “Dangerous” to the night sky echoes of “Galileo,” The Secret Life of Planets is essential Zaki Ibrahim listening. 

Ibrahim’s masterful, boundless album arrives with a never-before-seen video for “Cut Loose,” filmed in Ellis Park Stadium’s Tennis Club, in Johannesburg. The clip, edited by Ramon Charles, intercuts footage from 80s and 90s apartheid-era South Africa alongside portraits of ‘‘test subjects” who represent a multitude of possibilities. The video delivers a message of the mind’s power to shift perspectives, movements and outcomes to break down oppressive societal constructs. Let go of assumptions and expectations to ‘find the star that you are.

The Secret Life of Planets, a synthesis of worlds ending and beginning, was produced with frequent collaborators Alister Johnson and Casey MQ. The album showcases Ibrahim’s many-layered vision of sound and story. At the time of its original release in 2018, Planets may have seemed, to critics and to Ibrahim herself, a statement on closure, the two halves of the mourning and joyful self made whole. From this vantage in 2021, Ibrahim has reassessed the healing process and now considers The Secret Life of Planets as only the start of this journey.

There’s a standard narrative that an artist releases an album, but for Zaki Ibrahim it seems the reverse is true. For an artist who is known for her multiplicity of influences and identities, absence from one scene is in fact presence in another. The difference between departure and arrival is simply a matter of perspective.
Throughout her career, from Vancouver to South Africa to Toronto and many points in between, Ibrahim has worked against the encroaching systems and machinery that would limit or dilute her vision. Ibrahim’s work pushes back against binaries, against reductiveness, against the clenching muscles of expectation. “Planets isn’t just a product of black American or South African music styles; its multiple identities make it distinctly Canadian,” writes critic Anupa Mistry for Pitchfork. “It’s the work of an optimist whose voice wasn’t silenced by the confines of an unimaginative industry; it’s expansive in effort, and by sheer existence.”
Ibrahim’s music brings elements of spoken word, hip hop, soul, house and 70s pop together, filtered through the prismatic and often contradictory lenses of personal, historical and scientific relativities. On stage, Ibrahim delivers theatrical, intricate configurations of bodies and ideas built on a contrast of sharp precision and untethered joy. Ibrahim aims to find space for spontaneity within the parameters of structure; in the same way that her music explores non-linear models of time and space, Ibrahim’s performances are designed with fluidity and recombination in mind.


Don’t be fooled, folks! The image below is of a fake Instagram account created by someone claiming to be our VP of Marketing + Publicity, Emily Smart, and we’re sharing it to spread the word that it is a scam.

Some friendly reminders to artists: we don’t offer record deals via DM, nor will we ever ask you for money or for sensitive personal information, like your passport, banking info or ID.

The only official ways to contact us are via our verified social accounts (look for the blue checkmark) and through the contact info listed on our website. Any other email addresses or social media accounts claiming to be someone who works for us, or claiming to be one of our artists, should be reported for impersonation and spam.

Stay safe out there!


High Priestess Publishing Expands Roster With New Signings Lana Winterhalt And Jesse Northey.

High Priestess Publishing and Six Shooter Records are pleased to welcome Temi Argyropoulos to the team as Publishing and Sync Manager, a role that will see industry veteran Argyropoulos working with a wide scope of repertoire including the label’s extensive 20-year catalogue, Six Shooter’s own publishing company Girl On A Horse, which represents Tanya Tagaq, Amelia Curran, Zaki Ibrahim and more, and new venture High Priestess Publishing, run by Kim Temple. “Music licensing has always been my passion,” says Argyropoulos. “From film and TV placements to big advertisements and video game trailers, it’s always been a thrill to see creative efforts come to fruition.”  

Temi Argyropoulous

2020 sync highlights included blockbuster placements for The Dead South’s “In Hell I’ll Be In Good Company,” which hit the Global Shazam Top 50 after it appeared in Netflix’s Umbrella Academy Season 2. The song also recently appeared in American Gods (Starz). As the size and scope of the rosters grow, Six Shooter’s publishing reach continues to expand in new directions. “Temi will be instrumental in helping us grow our publishing and sync divisions,” says Temple, Director of Licensing & Publishing. “With her background and experience, along with the relationships she’s fostered over the years, she’s an incredible addition to our team.”

On the subject of growth, High Priestess builds on its first year successes with two new signings to start 2021. Winnipeg songwriter Lana Winterhalt, whose work includes the recently released EP Still, is making her name with a mix of contemplative instrumental songs, unabashed pop jams and cinematic anthems. High Priestess also welcomes the multitalented, many-hatted Jesse Northey (formerly of Jesse and the Dandelions), who will set his sights on composing/scoring for film and television under Temple’s direction.

In High Priestess’ first year of operations, Temple signed Witch Prophet, James Baley, DJ/Producer SUN SUN, and Zaki Ibrahim for outside writing and scoring. Witch Prophet’s DNA Activation was shortlisted for the Polaris Music Prize in 2020 and her short film “Tesfay,” will be featured at the SXSW Film Festival in March. James Baley’s collaborations with U.S.Girls, July Talk and Badge Epoque Ensemble put him in the spotlight in 2020. His much-anticipated solo project “A Story” will be released in Spring 2021.

Listen to the official High Priestess playlist here

Jesse Northey
Lana Winterhalt


Temi Argyropoulos is a familiar name in the Canadian music industry and music supervision community.  It all started in the mid 90s at MCA Records where Temi began her licensing career in mechanical licensing and found her knack for licensing in all forms, including compilations, and eventually synchronization. For the past 20 years, she’s worked with many talented artists and songwriters at Warner Music Canada, Sony Music Entertainment Canada and most recently, Anthem Entertainment. 


Multi-instrumentalist, producer, composer and artist Lana Winterhalt delivers enigmatic and layered compositions inspired by breakups, insomnia, and true love. She sings with warm restraint over piano ballads like Diamonds and Right, and mines playful pop melodies on her debut full-length album If & When (2018). Winterhalt’s production is at once experimental, warm and bold (Maybe I’m Just Tired – remix).

On her EPs Still and Hold On To Me, written during the pandemic, she experiments with minimalist lyrics leading the listener on an existential journey while offering up reassurance through beauty, art and religion. Her repertoire also includes neo-classical instrumentals like “It Was Pouring Rain Then Just Like That The Sun Was Shining,” reminiscent of fellow Canadians Alexandra Stréliski and Jean-Michel Blais. Her latest EP Still offers a soothing backdrop for uplifting meditation, reflection, and decompression. File next to: Lucy Dacus, Enya and Feist.


There is neither smoke nor mirror when it comes to Jesse Northey’s music. Rather, the goal is to explode the artificed facade: of masculinity, of names, of ambition itself.

But he has done much: he’s a recording engineer, producer, composer and, of course, musician in his own right. Once a frontman for Jesse and the Dandelions, Onion Knight is Northey’s first album under his own name, unfettered. Produced by Thomas D’Arcy (The Sheepdogs, NOBRO, Yukon Blonde), the album is a shirking off of the combative way we have with our emotions, the effort we put into obfuscating (or hewing away) our intuitive meaning, especially when it comes to the intersect of gender and feeling. “It’s okay to be sensitive and sincere, that’s a strong quality and not something that is a weakness,” he says.

Newly signed to Toronto’s freshest publishing company, High Priestess, Jesse has recently started composing and producing bespoke songs and scores for film and television.



The Dead South announce Served Live Venue Bingo, a creative fundraiser that shines the light on venues around the world to promote and support the work being done to stabilize the live music industry during the pandemic – and beyond – by three organizations: NIVA (#SaveOurStages, USA), Music Venue Trust (#SaveOurVenues, UK) and CIVC (#SupportCanadianVenues, Canada). 

For a band that has made its name on the road, show after show, Served Live Venue Bingo aims to give back to those whose livelihoods are connected to touring, and those who have been instrumental in helping The Dead South at every step along their way. Served Live Venue Bingo will take place online, worldwide, on February 20, 2021. For details and to play, click here.  

Served Live, The Dead South’s new live album, is out Friday, January 29. The album, recorded in iconic venues in the USA, Canada and UK on a tour that has now been postponed to 2021-2022, is a complete set list experience. The liner notes thank the band’s tireless road crew, from tour manager to sound tech, merch team, drivers and more. With Served Live, the band offers fans a snapshot of their lauded show, with all of the energy, spontaneity and musicianship of a band built for the road, on the road. 

Click here to listen to Served Live.