Public Circuit treats the dance floor like a place of worship. Think of a church rebuilt from sweat and distortion: strobe lights as stained glass, the crowd as congregation.
MUSIC
fakemink Concert Review: Dirty Luxury Shakes Toronto’s MOD Club
Toronto has always thrived on contradictions. It’s the type of music city that, in the late 2000s, birthed the distinct nihilistic electro-punk sounds of Crystal Castles and by the mid-2010s, gave rise to Drake who turned Toronto into the global capital of moody rap.
Dancing in dystopia: Annie-Claude Deschênes new single
Annie-Claude Deschenes, a mainstay in Montreal’s independent music scene, has come out with a new single “Main de Fer,” a reflection on urban isolation with an infectious beat.
Inside Winter’s World of Wonder and Realism on Adult Romantix
Summer’s end bears a myriad of emotions. Wistfulness and longing, the anticipation of the changing of the seasons, finding calm in closure, and nostalgia for the months behind us.
FAKE:Mask vs. Persona dares you to consume differently
FAKE, an experimental New York publisher that specialises in multi-sensory media, has released its fourth edition, Mask vs Persona. Each edition of FAKE has consisted of a high-quality vinyl accompanied by a physical printed zine.
God Save Sophie Powers—She’s Out of Her Mind and Into Yours
At just 20 years old, Toronto-born, Los Angeles-based provocateur Sophie Powers is reengineering the blueprint for today’s avant-pop princess. With anthems that hit like a panic attack and read like a diary entry mid–crash out, Sophie’s world is brutal, unapologetic, and hopelessly relatable.
The Cult of bbno$
“I’m a weirdo. I’m a nerd.” bbno$ says this without a trace of irony, just a subtle certainty. At this point in his career, that self-definition is a bit of a flex int itself.
Maryze’s Versed is a Sleazy, Slinky, Queer Club Banger
After years of cultural stagnation, hedonism one could argue, is back: brat summer ignited a fire, The Dare ruled 2024, and indie sleaze—once the grimy, unbothered predecessor to the hyper-curated Instagram era—is resurging with a vengeance.
Oklou’s “blade bird” and Sylvia Plath’s “The Shrike”
Imagine the one whom we love consumed, savoured, and slowly eaten through the act of our love. After listening to French avant-pop darling Oklou’s recently released song, “blade bird,” this year’s Valentine’s Day found me reflecting on how romantic love so easily turns into cannibalism and possession.
The Indie Sleaze Revival Has A Canadian Accent
In 2020, amid the uncertainty of a world paused by a global pandemic, Olivia, a Toronto-based creative, began piecing together a digital archive of a bygone era.