CHARLOTTE CORNFIELD RELEASES NEW LP, HURTS LIKE HELL

CHARLOTTE CORNFIELD’S NEW LP, HURTS LIKE HELL, OUT TODAY VIA NEXT DOOR RECORDS (CANADA) / MERGE RECORDS (WORLDWIDE)

LISTEN / SHARE “KITCHEN” HERE

BUY / STREAM HURTS LIKE HELL HERE

NORTH AMERICAN TOUR DATES BEGIN MARCH 31, PERFORMING IN TORONTO ON APRIL 9 AT LULA LOUNGE

“Cornfield writes tender, disarmingly honest music informed by the metamorphosis of motherhood. Lauded for her lyricism, the singer-songwriter masterfully uses traditional folk storytelling to crystallize moments in time” - Exclaim!

“Her moving fragmentary realism is often heavy but just as often shot through with plenty of humour, both wry and awkward, and inventive phrasing that borrows as much from hip-hop as country.” - The Globe & Mail

“On the stunning ‘Hurts Like Hell,’ the Toronto singer tackles relationships and motherhood. Cornfield’s best work to date.” - The Toronto Star

"As a songwriter, as a singer, in every way possible, Cornfield levels up on Hurts Like Hell." - UNCUT

“Charlotte Cornfield is a songwriter who brings a sense of profundity to the simplest of phrases.” - The FADER

"Charlotte Cornfield is an expert observer, writing songs from inside a feeling or moment as it unravels. On 'Hurts Like Hell', the songwriter embraces collaboration, family, and a different kind of creative rhythm." - RANGE Magazine

“[Charlotte Cornfield] is one of our best living songwriters.” - Paste

“A hushed, awestruck meditation on a consequential conversation”
- Stereogum on “Living With It

Photo Credit: Colin Medley // DOWNLOAD HIGH-RES

Today marks the release of Hurts Like Hell, the highly anticipated new album by Toronto’s Charlotte Cornfield. Her sixth album, Hurts Like Hell is the first she’s recorded since the birth of her daughter in 2023, an inflection point for her as a person and an artist. The album’s recurrent themes of personal growth and renewal, of love’s perseverance through difficulty and shame and awkwardness, are rooted there.

Cornfield’s change in perspective is evident not only in her approach to the lyric, but in how she approached recording, with Hurts Like Hell representing her most collaborative effort to date. Beyond vocal features by Feist, Buck Meek, Christian Lee Hutson, and Maia Friedman, the Philip Weinrobe-produced sessions represented the first time Cornfield recorded with a full backing band, an all-star assemblage featuring Palehound’s El Kempner (guitar/vocals), Lake Street Dive’s Bridget Kearney (bass/vocals), Adam Brisbin (guitar/pedal steel), and Sean Mullins (drums), expanding Cornfield’s sound by further embellishing the intricately detailed universes contained in her songs. 

LISTEN / SHARE “KITCHEN” HERE

Change can certainly be heard on the album track “Kitchen”, which is a “straight up love song,” according to Cornfield. “Meeting my partner Nelson was a major turning point in my life. Everything changed for the better after that. I wanted to try to capture that feeling, and some of the awkwardness and tenderness and real shit that is all part of the big picture of love. 

“When we recorded this Phil had us all switch instruments a few times and then Bridget ended up on piano, and there’s no bass, which gives this song a floaty kind of lift. El and I were playing acoustic guitars really, really quietly, just the high strings. And then Maia Friedman came in and crushed that backing vocal.”

WATCH / SHARE “LIVING WITH IT” FEAT. FEIST HERE

WATCH / SHARE “HURTS LIKE HELL”(MUSIC VIDEO) HERE

Next week, Cornfield will embark on a short tour in celebration of the album’s release. US dates will feature Hurts Like Hell collaborators Kearney and Kempner, as well as Evan Cartwright (Cola) and Nick Levine (Jodi, Great Grandpa). Tickets are on sale now.

TOUR DATES
Mar 31 Brooklyn, NY – Public Records
Apr 02 Chicago, IL – Schubas
Apr 04 Los Angeles, CA – Scribble
Apr 09 Toronto, ON – Lula Lounge [SOLD OUT]
Jul 17 Guelph, ON – Hillside Festival 2026 

BUY / STREAM HURTS LIKE HELL HERE

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HURTS LIKE HELL TRACKLIST
1. Before
2. Hurts Like Hell
3. Lost Leader
4. Lucky
5. Living With It
6. Number
7. Squiddd
8. Kitchen
9. Long Game
10. Bloody and Alive

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WINTERSLEEP’S NEW ALBUM OUT TODAY, SHARE VIDEO FOR “ABYSS”

WINTERSLEEP RETURNS WITH WISHING MOON, OUT TODAY
VIA DINE ALONE RECORDS

WATCH / SHARE “ABYSS” HERE

WISHING MOON VINYL ORDERS HERE

BUY / STREAM WISHING MOON HERE

2026 U.K. & EUROPEAN TOUR DATES COMMENCE APRIL 10, CANADIAN TOUR DATES BEGIN ON MAY 9. TICKETS ON SALE NOW - FULL DATES BELOW

"Without skipping a beat, lead single "I Got a Feeling" sees the band immediately tap back into the type of rollicking, brooding wave of a groove they've always ridden to the crest of anthemic passion. Exclaim!, Most Anticipated Albums of 2026

"Paul Murphy’s voice stretches out defiantly at the midpoint in Stranger Now, Wintersleep’s latest single, exposing a central belief within the Halifax rock band’s upcoming and eighth studio album." CBC Music, 20 Albums We Can't Wait To Hear in 2026

Photo Credit : Justin Rix // DOWNLOAD HIGH-RES

Today, Wintersleep release their new album, Wishing Moon, their eighth full-length album in a span of more than two decades. It’s no easy thing to sustain a band for more than 20 years. To come together and nurture an artistic project across two decades is a statement of belief: in oneself, in one’s bandmates, in the profound connections produced by the creative process, and in the richness of the world around us—since all art is a result of having noticed what it feels like to live here, and the drive to make sense of that feeling. 

Canadian indie-rock veterans Wintersleep belong to this group of artists. At this stage in their career, the celebrated band’s five members— Paul Murphy, guitarist Tim D’Eon, keyboardist Jon Samuel, bassist Chris Bell, and drummer Loel Campbell—are possessed of a deep gratitude and humility that accompany any creatives who get to make a life-long go of making art with the people they love. But there are still wonderful mysteries and shadowy corners of experience that they have yet to uncover.

To help celebrate the release of their new record, the band is sharing the new video for “Abyss”, a song about “surviving the late stage capitalism shit storm — social media feeds, billionaire chaos, and everything sold off beneath our feet — while realizing that love doesn’t disappear when the world does,” explains Murphy. “Knowing we’re at, or past the breaking point, and still choosing tenderness — not as a political response necessarily, but as a way to preserve our own sense of self and sanity through it all.”

On the video, director Griffin O'Toole says that “the lyrics speak to the uncertainty we all feel living through current global issues, climate change being a big one that the guys mentioned thinking a lot about in the songwriting process. For the video, we wanted to make something that related in a literal way to the song’s lyrics — the band finds themselves singing in an ever murkier ‘abyss’ — but it was also important to us to try and capture in the visuals how a song can have more than one face and can speak to something that’s scary for us all while also having an optimistic sound that’s fun to listen to.”

WATCH / SHARE “ABYSS” HERE

MORE ABOUT WISHING MOON
Recorded at producer Nicolas Vernhes’ (The War on Drugs, Spoon) studio in the Mojave Desert near Pioneertown, the collection of 12 songs evidences a renewed vitality and energy: The band’s branches of prog-, indie-, folk-, and alternative-rock are in full bloom, stretching skyward with grateful, open, curious hearts. 

Wishing Moon crackles with the energy of that sort of reinvigoration. The opening title track throbs with a Wurlitzer electric piano before bass and drums set off at a steady clip, setting a dreamy kraut-rock scene that builds, slowly, to a crescendo of hammered keys and soaring guitars while Murphy cries on the chorus: ‘Temperamental, I’m alive, I’m alone/Transcendental, I’m alive, I’m alone’. “Stranger Now” follows, with heavy desert-rock chording and sand-smoothed fuzz leads. (D’Eon attributes the record’s atmosphere and macabre grooves to the Mojave, famously channeled in the ominous, titanic riffing of bands like Kyuss and Queens of the Stone Age.) “The band’s always at its strongest when there’s a fundamental groove that’s rolling along,” remarks Campbell. “I just felt a natural gravitation when we got into the room, like this propulsion and relentlessness. There’s a certain meditation within the grooves.”

WATCH / STREAM “STRANGER NOW” (VISUALIZER) HERE

WATCH / SHARE “I GOT A FEELING” (LIVE PERFORMANCE VIDEO) HERE

“Wait for the Tide” recalls pre-Wintersleep days, even, when Murphy and D’Eon created post-hardcore and prog-rock chaos in their high school band Kary. “My Mind Always” centers on a hypnotic, off-kilter acoustic riff, an unsettling, stoned sway of a love song. “Abyss” is an alt-rock endtimes anthem, feeling like it’s ready to pull apart at the seams at any moment despite its major-key gallop: ‘We’re living in the abyss now/In the life affirming bliss!’ Murphy sings. 

For Murphy, the record demonstrates a band that still takes chances. “We wanted to shake it up and do something more challenging,” he explains. That desire is partly why they chose to work with Vernhes, a producer they’d never created with. “We needed that energy of not knowing,” he continues. “I remember thinking that it should be uncomfortable, because it’s like getting in touch with who you are again, individually and as a group. Songs are really intimate things, and getting a song right on a record is a really intimate process. I think of collaboration with producers as a mirror, and felt especially in this case, it revealed a lot. Most importantly, I think Wishing Moon just has this living, breathing quality.”

WATCH / SHARE “YOU & I” (VISUALIZER) HERE

BUY / STREAM WISHING MOON HERE

WINTERSLEEP ON TOUR
Friday, April 10, 26 Newcastle, UK - Little Buidings
Saturday, April 11, 26 Glasgow, UK - King Tuts
Sunday, April 12, 26 Manchester, UK - Deaf Institute
Monday, April 13, 26 Birmingham, UK - Hare & Hounds
Tuesday, April 14, 26 London, UK - The Lower Third
Thursday, April 16, 26 Paris, FR - Supersonic
Saturday, April 18, 26 Amsterdam, NL - Upstairs @ Paradiso
Sunday, April 19, 26 Cologne, DE - Garagen
Tuesday, April 21, 26 Hamburg, DE - Molotow
Wednesday, April 22 Husum DE - Speicher
Thursday, April 23, 26 Berlin, DE - Mikropol
Saturday, April 25, 26 Zurich, CH - Bogen F
Saturday, May 9, 26 Saint John, NB Imperial Theatre
Sunday, May 10, 26 Moncton, NB Capitol Theatre
Monday, May 11, 26 Fredericton, NB The Playhouse
Thursday, May 14, 26 Windsor, NS Mermaid Theatre of Nova Scotia
Friday, May 15, 26 Halifax, NS Marquee Ballroom
Saturday, May 16, 26 Halifax, NS Marquee Ballroom
Thursday, June 4, 26 Victoria, BC Capitol Ballroom
Saturday, June 6, 26 Vancouver, BC Hollywood Theatre
Sunday, June 7, 26 Kelowna, BC Revelry Food + Music Hub
Wednesday, June 10, 26 Edmonton, AB The Starlite Room
Thursday, June 11, 26 Calgary, AB The Palace Theatre
Friday, June 12, 26 Saskatoon, SK The Capitol Music Club
Saturday, June 13, 26 Winnipeg, MB Park Theatre
Wednesday, June 17, 26 London, ON London Music Hall
Thursday, June 18, 26 Hamilton, ON Bridgeworks
Friday, June 19, 26 Toronto, ON Masonic Temple - The Concert Hall
Saturday, June 20, 26 Ottawa, ON The Bronson

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WISHING MOON TRACKLIST
01 Wishing Moon
02 Stranger Now
03 I Got A Feeling
04 Wait For The Tide
05 My Mind Always
06 Gale
07 After You
08 Abyss
09 Redrawn
10 You & I
11 All Eyes
12 Like A God

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BANDCALLEDMAX ANNOUNCE NEW ALBUM, LIVE AT THE CAMERON HOUSE, SHARE FIRST SINGLE

TORONTO’S WORST KEPT SECRET, BANDCALLEDMAX, ANNOUNCES THEIR NEW RECORD, LIVE AT THE CAMERON HOUSE, OUT APRIL 16, 2026 VIA VICTORY POOL RECORDS

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

PRE-SAVE LIVE AT THE CAMERON HOUSE HERE

PERFORMS LIVE AT THE CAMERON HOUSE ON APRIL 16 FOR THE VICTORY POOL RECORDS SIX YEAR ANNIVERSARY

Photo Credit : Calm Elliott-Armstrong // DOWNLOAD HIGH-RES

bandcalledmax—Toronto’s worst-kept secret—is officially entering their bar band era. The anything-goes rock’n’roll trio of David Monks (Tokyo Police Club), Mike Small (Meligrove Band), and Nick McKinlay (Fast Romantics) embody a reckless energy that can only be fully appreciated live: hence their new record, Live at the Cameron House, due out April 16, 2026 via Victory Pool Records. 

Today, bandcalledmax are sharing “Rocker”, the first single off their new record which encapsulates their live energy. “Here at bandcalledmax we make a simple promise at our live show: we rock and you get to dance,” says Monks. “It’s important to us that our customers, sorry, ‘audience’ knows what they’re in for when they attend a performance. That’s why we say it right on the tin with the first lyric in the first song of the set. And it’s true - myself and my colleagues Mike and Nick are actual rockers - satisfaction guaranteed!”

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

MORE ABOUT BANDCALLEDMAX

Always on the verge of collapse but never missing a beat, bandcalledmax is a group of veterans with enough miles under their belt to let the music fall off the rails in front of a crowd and still rein it back in for a photo finish.

Struck up over a friendship and a shared enthusiasm for reckless playing, bandcalledmax have been performing their “Sock-Hop Rave-Up” (Exclaim!) wherever fate takes them: “The goofier a show sounds, the better.” Known for their legendary Dakota Tavern residencies—packed crowd, special Toronto-famous guests, and antics galore—the band’s approach may be summed up in that one night they did shots of red bull before going on stage at 2:30am. As a classic guitar-bass-drums trio, bandcalledmax is purposefully elastic, designed to entertain virtually any gig, whether in the corner of a bar or a livestreamed, backyard show – which the band did on a whim at McKinlay’s place. The band’s gigs and its sound are similarly fancy-free: “we always wind up somewhere we could never have anticipated.”

At every chance, bandcalledmax turn down the dial of pretension, breaking the ice so that the crowd can enjoy themselves. Between their coordinated blue jumpsuits (“that was some real lead singer energy: coming into practice and saying, ‘are we cool if I order these band outfits’?”), customized guitar straps (bold orange letters reading “MAX”), and commitment to encouraging  people to dance like John Travolta and Uma Therman in Pulp Fiction, ridiculousness is key; you can relax when, as Small puts it, “there’s someone in here who looks stupider than you.”  

This is refreshing for a group of veteran Canadian musicians, whose careers reach across genres and geographies. Whether it’s Monks’ work with CanCon supergroup AnywayGang or nü metal band Klokwise; Small’s bass work with RUMBLEFRENZ, Elliott BROOD and Loviet; or Nick McKinlay’s drumming experience with Motorists, Ivan Rivers, and CJ Wiley, these three have an undercurrent of sonic understanding that makes it effortless for them to come together and let loose. “We spend so much time in other bands chasing a culminating album or sold out tour,” Monks explains, “and I see this band more as an experience or moments that you revel in but can’t hold on to.” Trusting in each other that these moments will arise, bandcalledmax isn’t about picking apart one another’s chord choices or squabbling over song structure: “We believe whatever we’re playing is the best idea we’ve had.” bandcalledmax fulfills what its members—and audiences—crave: a group that will take a big guitar solo, hit the brown notes, and open up a space in which every decision is right, if you do it with style.

PRE-SAVE LIVE AT THE CAMERON HOUSE HERE

The band’s new record, Live at the Cameron House, finally offers a solid document of the band’s energy. It distills bandcalledmax’s ethos into a whirlwind of chaos, and catharsis. Recorded live-to-tape in the Cameron house back room (with a “spaceship of recording gear behind us,” the control room essentially squished into the bathroom), this album captures a “battle happening on stage,” as Monks and McKinlay fight for control of the wheel while Small keeps the car from veering off the road. The band takes you to “Partytown USA” (where Monks hams it up, crooning, ‘It ain’t what you wear, it’s what you keep on’), screams you through the perils of being a “TV Maggot,” and gets your heart racing with “Gun for Hire”, spitting Talking Heads references while ripping chords like The Hives. Known for bringing friends on stage for off-the-cuff experiments, this record features a raging saxophone solo (courtesy of Gordon Hyland) on “Tangerine” and Nichol Robertson on the aforementioned “Partytown USA”, stretching the unpracticed tension of the show even further as collaborators ride the band’s wave.

As the band explains, “There’s this magic of playing a show when you know it’s being recorded,” and you can hear this magic on album highlight “Wild Horses”. Monks—who’s been getting comfy with lead guitar in bandcalledmax after a career as a bassist—caps a two-minute, full-bodied solo by yelping “yeah!” into the mic – a moment of pure joy.

At a time when there’s a lot of pressure to treat music as a product, bandcalledmax makes music for the community, for the pals. They’re the bar band you wish played around the corner every night. bandcalledmax are rock n’ roll in the least ambitious sense: instant feelings, immediate doings, the instantaneous ecstasy of making noise together. As Live at the Cameron House attests, this also means enticing an audience to get down and follow the ruckus wherever it goes. “What’s the weirdest venue we can play next?” Monks asks: “Where’s the party going?”

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LIVE AT THE CAMERON HOUSE TRACKLIST
1 Theme
2 Rocker 
3 Infidelity 
4 Punch Buggy 
5 Partytown, USA 
6 Gun For Hire 
7 Fire
8 Fool
9 Tangerine
10 TV Maggot 
11 I'm Gonna See My Baby Tonight 
12 Turn It Up 
13 Wild Horses 
14 Theme (Reprise) 

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