PIERRE KWENDERS RELEASES NEW EP, SHARES VIDEO FOR “WE LIKE”

PIERRE KWENDERS’ TEARS ON THE DANCEFLOOR EP OUT TODAY ON MOONSHINE

WATCH / SHARE “WE LIKE” FT. POTÉ (MUSIC VIDEO)

BUY / STREAM TEARS ON THE DANCEFLOOR HERE

“Kinshasa-born, Canadian-based artist Pierre Kwenders has made a career of fusing Congolese rumba with R&B and a medley of pop and dance styles from both sides of the equator and prime meridian” The Fader

“The singer, whose beats call upon both Congolese sounds and electro-pop” The New Yorker

“It’s a fluid, immersive work, vast but cohesive, elusive of genre, border, or trend. And it makes a case for the potential for anyone — and possibly everyone — to embody a more open, enlightened way to live.” Rolling Stone

"In turbulent times like this, Kwenders reminds us that we mustn't succumb to the darkness. … an important act of joyful resistance” CBC Music on “We Like” (feat Poté)

“An infectious house groove.” — Brooklyn Vegan on “We Like” (feat. Poté)

Photo Credit : Saffron Da'van // DOWNLOAD HIGH-RES

Today, Pierre Kwenders, the Congolese-born, Montreal-based musician, songwriter, and DJ releases his new EP, Tears On The Dancefloor via Moonshine, and unveils the video for its lead single, “We Like”, featuring St. Lucia-born, Paris-based electronic artist Poté. Directed by Stephen Trivieri with cinematography by Bryan Beltránd, the “We Like” video captures a vivacious scene in Barrio Pablo Escobar in Medellín, Colombia. In keeping with the song’s rallying cry for unity, connection, and celebration, the video features dancers Anny Atehortúa, Kathe Villa P, Santiago Murillo Lopez dancing in the streets and restaurants throughout the neighborhood.

WATCH / SHARE “WE LIKE” FT. POTÉ (MUSIC VIDEO)

On Tears On The Dancefloor, Kwenders’ first new project since his widely praised Polaris Music Prize-winning album José Louis And The Paradox Of Love, Kwenders delivers a heartfelt ode to the club, intimately exploring themes of love, vulnerability, and self-discovery. The tracks across the EP are a reflection of the personal and collective experiences we all share as we navigate love, joy, fear, and growth, inviting listeners to immerse themselves in the emotions that arise when we connect with others and with ourselves, creating a space where emotional depth and freedom collide. 

With mixing and mastering by Pascal Shefteshy (Moonshine, Kroy, Vanyfox, Sébastien Tellier), Tears On The Dancefloor features collaborations with heavyweights of the Afro-electronic music scene, including Gafacci, Poté, Vanyfox, NegoO, and Dogzout. “I’m honored to have collaborated with some of my favorite DJs and producers who have graced countless dance floors,” Kwenders says. “Additionally, the incredible vocals of Pierre Lapointe, Lady Donli, Mopao Mumu, and Pony bring life and depth to this project. Together, we embark on a journey through the dance floor, exploring our innermost selves and emotions until we ultimately reach a place of freedom.” 

LISTEN / SHARE “EVERYDAY" (FT. LADY DONLI, GAFACCI) HERE

Born José Louis Modabi in Kinshasa, Democratic Republic of Congo, Kwenders borrows his stage name from his late grandfather, a widely respected businessman and community figure. Following his mother’s footsteps, Kwenders immigrated from Congo to Montreal in 2001. His debut album, Le Dernier Empereur Bantou, was released in 2014, followed by MAKANDA at the End of Space, the Beginning of Time in 2017. Both albums garnered acclaim and earned Kwenders nominations for the coveted Polaris Music Prize. In 2022, Kwenders returned with José Louis and the Paradox of Love, a culmination of the personal growth and musical dexterity he’d honed over the years, converging his strong songwriting capabilities with the bravado he possesses as a DJ. The album was met with widespread praise from the likes of The New York Times, New Yorker, NPR’s All Things Considered, Rolling Stone, The FADER, MOJO, The Guardian, Bandcamp, and beyond.

BUY / STREAM TEARS ON THE DANCEFLOOR HERE

TOUR DATES
Sat. Mar. 1 – Montreal, QC  @ MTELUS
Fri. Apr. 11 – Amsterdam, NL *
Sat. Apr. 12 – Brussels, BE @ Les Halles de Schaerbeek
Fri. Apr. 18 – London, UK *
Fri. Apr. 25 – Athens, GR *
Fri. May 2 – Lisbon, PT *
Sat. May 3 – Barcelona, ES *
Sun. June 8– Réunion, FR @ Sakifo Musik Festival
* secret location shows

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TEARS ON THE DANCEFLOOR TRACKLIST
01 Everyday ft. Donli, Gafacci
02 Clair de Lune ft. Pierre Lapointe, NegoO
03 It’s Pony! ft. Pony
04 Tears on the Dancefloor ft. Dogzout
05 Merci, Beaucoup!
06 Ambriance (Ndombolo) ft. NegoO
07 We Like ft. Poté
08 Endless Night ft. Mopao Mumu, Vanyfox

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TWO HOURS TRAFFIC RETURN WITH NEW EP, SHARE NEW VIDEO

TWO HOURS TRAFFIC RETURN WITH THEIR FIRST NEW SET OF SONGS IN A DECADE

I NEVER SEE YOU ANYMORE EP SET FOR RELEASE MAY 23, 2025

WATCH / SHARE “ON THE SPOT” HERE
BUY / STREAM “ON THE SPOT” HERE

PRE-SAVE I NEVER SEE YOU ANYMORE HERE

Photo Credit : Robert Georgeoff // DOWNLOAD HIGH-RES

After more than a decade spent carving out their place in the Canadian indie rock landscape, Two Hours Traffic took their final bow in 2013. Their hook-laden melodies and sharp lyricism had earned them a dedicated following, a Polaris Music Prize shortlist nomination for 2007’s Little Jabs, and inclusion on the soundtracks of iconic TV shows of the era (The Office and The O.C.), but as priorities shifted and the live music landscape grew increasingly challenging, they decided to step back and shift their attention elsewhere. 

But bands seem to have a way of calling you back. After a quiet reunion in 2018, the Charlottetown group, comprised of Liam Corcoran, Andy MacDonald, Nick Doneff, and Derek Ellis, soon found themselves playing together again, first occasionally, then more often, until new songs began to emerge naturally. Now, twelve years since their last release, Two Hours Traffic make an unexpected but welcome return with their new EP, I Never See You Anymore. 

The six-song EP blends the experiences and influences of their early years with the maturity and clarity of a band shaped by another decade of life. The title, I Never See You Anymore, is reflective of encountering the bittersweet realities of no longer being a touring band, as bassist and producer Andy MacDonald explains. “Every time we made our way across Canada, and even on our trips to Europe, Australia, and the US, we’d run into friends and musicians we couldn’t wait to see,” he recalls. “Once we split up, it slowly dawned on us that we wouldn’t be seeing most of these people regularly again.” 

Today, they share another single from the EP, “On The Spot”, which “was one of the first songs we started to work on once we decided that we'd write some new material,” says Corcoran. “I wanted to go back to basics and write a high-energy song that would have fit into our sets back in the early 2000s. The acoustic guitar off the top, the driving rhythm section, lots of electric guitar hooks...as the song started to come together, it reminded us of the old days in an exciting way."

MacDonald adds, "Liam and I routinely exchange demos of songs we are working on, and when I first heard his demo for 'On The Spot' it reminded me, in a great way, of something that could have fit on the first Two Hours Traffic (self-titled) album. Once the full band started playing around with the song and Nick added the main guitar riff, it came together really quickly, which is often the sign of something special."

WATCH / SHARE “ON THE SPOT” HERE
BUY / STREAM “ON THE SPOT” HERE

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MORE ABOUT TWO HOURS TRAFFIC + I NEVER SEE YOU ANYMORE
Recording the EP was a collaborative and organic process that unfolded naturally throughout 2024. Sessions took place at various friends’ studios on PEI, as well as at Fang Recording, Joel Plaskett’s studio, in Dartmouth, Nova Scotia. “Writing and recording this EP was such a pleasure because we weren’t beholden to any timelines,” MacDonald reflects. “We were able to slowly pick away at the songs and refine them.” 

“It takes a village to make a Two Hours Traffic record,” says Corcoran, referring to a village seemingly populated by some of Eastern Canada’s most acclaimed musicians. The process began with sessions at Greg Alsop’s (Tokyo Police Club) studio in Charlottetown. From there, bass and guitar were tracked at Plaskett’s studio in Dartmouth, followed by vocal recording in Hope River, PEI, at Mark Geddes’ studio, The Hold. Outside of these sessions, longtime collaborator Dan Griffin contributed synths and keys that subtly tied the songs together. 

The newest member of the band, Nick Doneff, played a key role in the process, adding layers, working on rough mixes, and keeping things organized. “When we decided to record the sixth song, ‘Andy Magoffin’, Nick was in the engineer’s chair,” Corcoran notes. Reflecting on the band’s democratic approach, Corcoran praises MacDonald for stepping up to produce the project and guide them through the long and winding process. “Andy took on the task of making the executive decisions, ensuring that we retained our identity while also creating something fresh,” Corcoran says. 

WATCH / SHARE “KEEP IT COMING” HERE
BUY / STREAM “KEEP IT COMING” HERE

The new songs seem to embrace the ethos that first brought them together: direct, melody-driven songwriting with an emotional core, but now with a refined maturity. While I Never

See You Anymore carries echoes of Little Jabs’ infectious hooks and Foolish Blood’s polished confidence, it also leans into a warmer, more dynamic sound shaped by the band’s years apart. There’s a looseness in the arrangements, a sense of ease that comes from playing without expectation. Lead single, “Keep It Coming”, reflects this spirit. Written during a challenging year, the song became a mantra about staying present and trusting in resilience. “A reminder not to worry about every little thing in the future,” says MacDonald. 

For Two Hours Traffic, “the old days” seemed to be a time of constant evolution, navigating lineup changes and shifting priorities, both creatively and personally. Their 2009 album Territory saw them stepping into a more expansive, textured sound, pushing beyond the bright immediacy of Little Jabs. By 2013’s Foolish Blood, they had refined their songwriting even further, balancing their knack for hooks with a newfound confidence. Those years that followed were full of all the growing pains, joys, and struggles that come naturally to a young band under a spotlight. Reflecting on that time, Corcoran says, “I get the feeling that we were still trying to prove ourselves.” 

Now, with I Never See You Anymore, Two Hours Traffic are less focused on proving themselves and more on staying connected to the music they love. As MacDonald puts it, “Everyone in the band is ultimately in love with the process of writing and recording music. It’s been a part of our lives since we were teenagers, and we’re all still at it. Whether it’s Two Hours Traffic, Liam and Nick’s solo work, or Golden Cinema, we’re all still picking away. I don’t see it stopping anytime soon. We’re hooked.” 

PRE-SAVE I NEVER SEE YOU ANYMORE HERE

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I NEVER SEE YOU ANYMORE TRACKLIST
01 Keep It Coming
02 Leave Tonight
03 On The Spot
04 Moon Baby
05 Not A Day Goes By
06 Andy Magoffin

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MAYA COOK SHARES NEW SINGLE FROM UPCOMING LP

LISTEN / SHARE “SILARJUAQ” HERE
BUY / STREAM “SILARJUAQ” HERE

MAYA COOK’S DEBUT ALBUM, SALT, DUE OUT MARCH 21 VIA AAKULUK MUSIC

PRE-SAVE SALT HERE

Photo Credit : Andrew Morrison // DOWNLOAD HIGH-RES

Recently, multidisciplinary artist Maya Cook announced her debut album salt, set for release March 21 via Aakuluk Music. Today she shares the album’s second single, “Silarjuaq”, a song Maya wrote “for a friend in Igloolik who was going through a hard time,” she says. “It’s a song about how despite all the bad things that happen, and the harmful things we do to others and ourselves, the world is an incredibly beautiful place-because we are alive and get to exist in it together. Silarjuaq, meaning ‘the universe’ or ‘the world’ in Inuktitut, is a declaration of that, an ode to the heartbreaking beauty of being in this world."

LISTEN / SHARE “SILARJUAQ” HERE
BUY / STREAM “SILARJUAQ” HERE

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MORE ABOUT MAYA COOK + salt
Maya Cook’s journey into music was paved by her path as a multidisciplinary artist. As a circus performer with Artcirq, the renowned performing arts collective in Igloolik, Nunavut, Maya has spent years expressing herself with dynamic acrobatics and sharply crafted storytelling. Her debut album salt, recorded at Aakuluk Music Studios in Iqaluit, Nunavut, is a testament to her artistry in a different medium—one that swings between the soulful melodies of soft jazz and the infectious energy of folk rock.

Raised in the Gulf Islands of the Salish Sea, Maya hails from Mennonite-Anglo-Celtic ancestry and lives in both Vancouver, BC and Igloolik, Nunavut. Maya’s artist identity is shaped by these worlds, their influence in her music both spontaneous and transformative. “It sometimes feels like I’m two separate people” she says. “I have these strong ties to the Salish Sea where I grew up, and my family and friends who hold me there, as well as to the land and community in Igloolik. Sometimes that feels like it’s splitting me in half, but really, it’s through living in Igloolik that I came to recognize and appreciate the strength of connection I have to where I’m from. Creating art, both circus and music, has been a profound way of exploring how all of my pieces are woven together, within myself and in my relationships with the land and people around me”.

LISTEN / SHARE “ANSWERS” HERE
BUY / STREAM “ANSWERS” HERE

salt brings together Maya’s reflective nature and her curious spirit, offering listeners a vivid sonic landscape inspired by a life in coastal BC and steeped in the Arctic’s contrasts—its beauty and challenges, warmth and cold. The album’s eight tracks each reveal a piece of her world and her heart. Themes of healing, introspection, connection, and community, run through the record. Songs like ”Metal In My Bones” channel the quiet contemplation of rainy Vancouver nights, while tracks like ”Silarjuaq” pulse with raw energy and defiance, fueled by the beauty and vibrance of the tundra. Maya’s voice, rich and emotive, soft and silky, guides listeners through her world, blending seamlessly with instrumentation that mirrors the rhythm of life in the North.

For Maya, salt is more than an album; it’s an exploration of the balance in-between: in-between north and south, hurt and healing, strength and softness… it’s the spaces between our bodies and where sky and ocean meet. “salt is an album about that which connects us to our bodies, to the ocean, and to one another. Writing these songs have been my way of sitting with and feeling how hard, but also how incredibly beautiful, this world is.” she reflects. With this debut, Maya proves she is an emerging voice in the Nunavut music scene.

salt was produced by Jace Lasek, the renowned producer behind acclaimed albums by Aasiva, Terry Uyarak, and The Jerry Cans. Lasek’s expertise shines through, seamlessly blending Maya’s unique voice and artistic vision with rich, atmospheric production. His ability to bring out the depth and texture in northern artists’ music makes salt a stunning addition to the legacy of projects he’s helped shape, further amplifying the soundscape of the Arctic.  

Recorded under the crisp fall skies in Iqaluit, salt is a love letter to the North, to the Salish Sea, and to all the water in-between that connects them. It is an invitation to share in Maya’s vision of resilience and beauty, to close your eyes, and to feel the rhythm of the tides under your skin.  

PRE-SAVE SALT HERE

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SALT TRACKLIST
01 Answers
02 Woman
03 Metal in My Bones
04 Silarjuaq
05 Winter Again
06 Cold Coffee
07 Black Ice
08 Please

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