the partae

Frank Mighty is back—and he’s not here to dwell on the past. The Syrian-Canadian indie rocker, known for his shimmering psych-pop textures and sly lyrical wit, returns this August with Been Done, the infectious first single from his forthcoming debut album.

“I was sick of so many songs singing about the same thing,” Frank says. “Every song for a while had the word ‘nostalgia’ in the title—I just wanted to make a fun, upbeat tune that gripes about how nothing feels original anymore. It’s all been done.”  And that’s exactly what Been Done delivers: a punchy, hook-laced track that calls out the copy-paste cycles of culture—both in music and beyond. It’s sonically sunny, but underneath the groove is a sharp edge. The second verse was born after Frank was abruptly let go from his job. “The cold, corporate way they handled it—it was so cut-copy-paste. That inspired a lot of the lyricism.”

Musically, it’s a confident leap forward from his earlier work. His debut EP Whispersongs (2021) turned heads with production from Grammy winner Jacquire King and earned placements on Netflix’s Ginny & Georgia. His 2023 EP Never Homesick channeled life on the road and sold-out shows into indie anthems like “Unattainable.” Then came Nexterday in 2024, landing him playlist love and a spot opening for Quinn XCII. But with Been Done, Frank is setting the tone for a whole new chapter. “It’s lyrically the song I’m most proud of—I even mention the Rockies, which is a nod to my Alberta roots.”

The single will be accompanied by a full visual rollout including a music video directed by Kyle Berger (MorMor, Geese, Casey Neistat), plus 60 days’ worth of compelling short-form content: DIY iPhone edits, behind-the-scenes from the shoot, GRWM clips, live performance footage, and more. It’s a layered, self-aware campaign that builds a world around the song while staying authentically Frank.

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At just 19, Ginevra Ramos is already proving herself as one of the most electrifying names in the new wave of European electronic artists. Her latest single, “Energy”, released August 1 via fan-powered label Fankee, is a confident and infectious track that reflects her evolution from child performer to a fully-fledged artist with a sound and vision all her own.

Born in Milan and raised in Ibiza, Ramos channels the island’s kinetic spirit into her music, blending slick production with dynamic vocal work and DJ instincts. “Energy” lives up to its name—it’s high-octane, polished, and unmistakably club-ready. It’s not just a song, but a statement: bold, modern, and bursting with youthful urgency.

The release also underscores Ramos’s partnership with Fankee, a community-driven label that redefines what it means to be a fan. Here, listeners aren’t passive consumers—they’re collaborators, promoters, and stakeholders. It’s a fresh approach to music distribution that mirrors Ginevra’s boundary-pushing ethos.

While “Energy” is rooted in Ramos’s love for electronic music, it’s her hybrid identity—as both a powerhouse vocalist and genre-fluid producer—that gives the track its edge. It’s a track designed not only for dancefloors, but also for driving change in how artists connect with their audiences.

With performances already under her belt at major festivals like the Ibiza Global Festival and the International Music Summit, Ginevra Ramos is clearly not here to play it safe. “Energy” is her most confident release yet—and a promise of even bigger things to come.

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New York’s John Beckmann isn’t one to play it safe, and on French Summer, his latest as The Mortal Prophets, he doesn’t just bend genre—he melts it. Spanning eighteen tracks, this LP is less an album and more a lucid dream built from analog whispers, vintage European cinema, and slow-burning electronica.

The presence of Anais de Nerval is key to the album’s allure. Her voice drifts in and out like memory—sensual, ghostlike, and just out of reach. It’s less about lyrics and more about atmosphere. Every phrase she utters feels like it’s been lifted from a Godard film and filtered through cigarette smoke and static. She doesn’t anchor these tracks—she haunts them.

Beckmann, meanwhile, shows a rare kind of restraint. Known for his boundary-pushing sound collages, he’s pared things back here. Gone is the chaotic density of some of his earlier work. In its place: minimal yet lush arrangements, delicate strings, and synths that shimmer like sunlight on a wine glass. There’s a tactile quality to it all—beats that thump like a distant nightclub, textures that wrap around you like silk sheets in a coastal hotel room.

There’s a cinematic flow to French Summer, and it’s easy to imagine it as a film in itself. One without a plot, but heavy on mood—think long drives through Provence, empty streets at dawn, and lovers speaking in hushed tones. There are nods to Gainsbourg, whispers of disco noir, and even ambient soundscapes that feel ripped from some alternate universe. But despite the references, French Summer never dips into imitation. It’s evocative rather than referential.

Still, this is not a record for passive listening. It doesn’t beg for your attention—it seduces it. The pacing is deliberate, the textures subtle, and the emotional payoff requires patience. But for those willing to sit still and let it wash over them, there’s something genuinely transportive here.

French Summer feels like it was made for twilight hours and private moments. It’s luxurious but not loud, nostalgic but not kitsch, romantic but never obvious. In an era of instant gratification, The Mortal Prophets ask you to slow down, and for that alone, Beckmann and de Nerval deserve your time.

If you’re after something intimate, immersive, and just a little strange—French Summer might be your next obsession.

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Steph Clifford’s new single Cocoon is a slow-burning, soul-baring introduction to her debut album of the same name—an intimate, emotionally charged track that captures the ache of letting go and the quiet resilience it takes to start again. With lyrics that feel like pages torn from a journal, Cocoon explores the liminal space between endings and rebirth—where grief, hope, and clarity all coexist.

Produced by Leon Power (City and Colour, Frazey Ford) and recorded at Vancouver’s Afterlife Studios with John Raham, Cocoon is sonically rich yet spacious, layering warm guitar tones, ambient textures, and Clifford’s luminous vocals into a song that lingers long after it ends. It’s the kind of track that doesn’t demand attention—it gently holds it, drawing the listener in with quiet intensity and emotional precision.

Both deeply personal and universally felt, Cocoon sets the stage for Clifford’s forthcoming album, out summer 2025—a collection shaped by solitude, transformation, and the power of staying soft in a hard world. With this single, she isn’t just introducing a record—she’s opening the door to an honest, vulnerable, and beautifully human listening experience.

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Trevor Kidd, the genre-blending artist from Victoria, BC, is back with a powerful new single called “Sunshine.” Known for his work as a singer, songwriter, producer, and musician, Kidd has built a career marked by high-profile collaborations and national acclaim. From recording with members of Billy Talent and Sum 41 to performing live with Canadian legends Randy Bachman and Tal Bachman, his resume is stacked. He’s opened for April Wine, appeared on CBC’s Dragons’ Den, and even caught the attention of Hollywood actor Eric Roberts and Runaways frontwoman Cherie Currie. With six songs spun on commercial radio—including CBC—and a growing fanbase, Kidd’s ability to make big, bold rock music that resonates is undeniable.

“Sunshine” marks a thrilling new chapter in Kidd’s musical journey. This time, he’s teamed up with Garry Beers of INXS and Jeff Martin from Canadian rock heavyweights The Tea Party, bringing together a powerhouse trio of rock sensibilities. The single follows the success of “Salvation,” a 2022 hard rock banger co-created with Josh Jones that went on to win 13 international film festival awards and earned a spot on IMDB as an award-winning music video. With “Sunshine,” Kidd leans into soaring melodies and gritty guitars, delivering a track that feels both fresh and timeless—an anthemic reminder that his creative spark is burning brighter than ever.

The Out Seer is what happens when a bunch of music-school misfits turn late-night jam sessions into something bigger than they ever expected. The band first found their groove at Selkirk College in the Kootenays, then planted roots in Vancouver’s indie scene—where their blend of alt-rock grit and emotional depth really started to bloom.

They’ve always had that rare combo of serious chops and raw chemistry, but with the release of their new album Changes, it feels like everything has clicked into place. The record is a bold, expansive leap forward—moody, melodic, and full of the tension and release they’ve become known for. Gritty guitars, brooding synths, and soaring harmonies weave together into a sound that’s unmistakably theirs. Adding keys opened up a whole new sonic world, and Changes makes it clear: there’s no going back.

Based out of Apricot Music Studios in the Greater Vancouver Area, The Out Seer is constantly in motion—tracking in the studio, hitting the stage, and winning over crowds across BC, from Okanagan road trips to festival sets. With Changes, they’re not just making noise—they’re making a mark.

Icelandic artist Brynja Rán makes a statement with Seven—a dreamy, brass-soaked, genre-fluid EP that boldly steps beyond the bounds of typical pop. Across four standout tracks, Brynja flexes her artistic muscles with a fearless fusion of sound, shimmering vocals, and a distinct sonic identity that’s entirely her own.

Opening with “None of You”, Brynja sets the tone with a lush and cinematic pop moment. Think a little Björk, a little Garbage, and flashes of Pulp, but with a horn-laced twist that nods sweetly to the ’60s—à la Nancy Sinatra. Her voice floats, soars, and punches through the arrangement at all the right moments, while layers of instrumentation offer new discoveries with every spin.

Next up is “Fool For A Lie,” a track dripping in brass and cheek. The energy is infectious, with hints of Lily Allen’s wit and Corinne Bailey Rae’s breezy soul. It’s undeniably radio-ready, but it doesn’t pander—it celebrates pop with purpose. The groove builds and blooms into something joyous, polished, and effortless.

Then comes the wild card—“Bastard.” Funky, fierce, and deliciously left-of-centre, this track captures Brynja at her most unfiltered. If you love the raw lyricism of Fiona Apple or the emotional theatricality of Tori Amos, this one’s for you. It’s a vibe shift in the best way—unexpected, unapologetic, and full of character.

Closing out the project is “Lullaby,” the official single and a clear standout. There’s a sultry, jazz-tinged undercurrent paired with Sade-esque smoothness, but it’s the Santana-inspired guitar licks that truly elevate it. It’s soulful, chilled, and utterly intoxicating—a final flourish that ties the EP together with a bow.

With Seven, Brynja Rán doesn’t just show range—she builds an entire world. It’s dreamy pop at its most imaginative, packed with emotional texture and a voice that refuses to be boxed in. Each track pulls from different corners of her influence, but the result is uniquely hers—fresh, fearless, and worth every second.  We’ll be keeping a close eye on what Brynja does next.

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