How do you sum up a year? How do you measure it properly and give all of those hours the weight they deserve? These are questions that I grapple with each and every year when I sit down to write the intro to this list. It’s unfair to focus on just the high points or just the low points of a year because everything is constantly in a state of flux. When I think of things that define 2024 a lot of heavy topics come to mind including (but in no way limited to) the worsening of the ongoing genocide of the Palestinian people, the detrimental impact of the far-right, the implementation of fascist policies, the targeting of bodily autonomy from horrific bills that attack gender-affirming care to the repeal of abortion rights, renewed attacks on the LGTBQ community particularly aimed at trans people, and rampant environmental destruction. Not to mention the re-election of a bigot, convicted felon, and sexual predator to the presidency of the United States as well as the concerning rise in support (especially among young people) for the regressive ideas of the Conservative Party of Canada. It’s easy to feel hopeless when faced with issues like these but as we all know, hopelessness and apathy stop us from helping each other, helping ourselves, and working towards a better world. If this year has shown me anything, it is the strength and power of community. This year thousands and thousands of people banded together to raise awareness about the situations in Palestine, Congo, and Sudan (to name but a few), support organizations like the Palestine Children's Relief Fund, Trans Lifeline, Black Trans Liberation, and the National Network of Abortion Funds, help those in need, and stand up for one another.. Boycott movements applied pressure to both international and national companies, resulting in victories like Barclays suspending sponsorship of Live Nation events and SXSW ending its partnership with the US Army. It is more important than ever before that we channel our energy into strengthening our communities and getting involved with issues we care about because if we don’t fight for our rights, they will be taken away no matter how safe we feel they are. Never let anyone tell you that a better world isn’t possible and never give up hope.



There were so many high points to my year. I covered Pouzza Fest for Punknews and had an absolute blast. There were so many stellar performances and it was awesome to finally meet so many awesome people in real life! I skanked for the first time! I also had a Montreal smoked meat sandwich and it changed my life. All other sandwiches pale in comparison. You can read my daily reviews here and listen to my podcast special with Roost right here. I saw my first real play, Rosencrantz and Guildenstern Are Dead (with Merry and Pippin from Lord of the Rings!!!!), with my best friend and ate really good garlic bread beforehand. I befriended a large zucchini (named, appropriately Zucchini) and went on some great walks. I saw one of my favourite bands Bikini Kill (!!!) live and finally met the incomparable Marty Young at the show. This was one of the most cathartic and emotionally intense (in the best way possible) shows I have ever been to and you can read more about it in my live review right here. I went to the Punk Rock Night of Frank Turner’s ‘Lost Evenings’ Festival in Toronto and had so much fun. I went to a great panel discussion on women in music and media and saw incredible sets from SVDP, The OBGMS, Guilhem, The Dirty Nil, Thunder Queens, and Frank Turner and the Sleeping Souls. There was so much energy and I wish I could’ve gone for all of the days! You can listen to the recap of the show with Paul of Canmore right here. I also got on an airplane for the first time, experienced 40-minute turbulence, and saw Marianas Trench in Thunder Bay with my best friend. I also wrote my first book review - for Kathleen Hanna’s memoir Rebel Girl: My Life as a Feminist Punk - and wrote my first blurb (about Skunk Motel out of Nova Scotia - go listen to their debut single “Pretty Good 4 A Girl”!) for Exclaim!’s December Emerging Canadian Artists feature.



Speaking of firsts, I also had the great honour of serving on the jury of the Polaris Music Prize this year. I listened to so many amazing albums by Canadian artists, had so many eye-opening discussions about music, and met so many incredible people. I was also selected to be part of the Grand Jury and that is an experience that I will never forget. I represented NOBRO’s excellent album Set Your Pussy Free and learned how to listen to music in a whole new way. I am so grateful to have been part of so many in-depth dialogues and talk to so many people who are extremely passionate about music. I also went to the Gala and had a blast! It was a lot of fun dressing up, seeing so many stellar performances, and meeting some awesome people in person - including former Punknews editor, current Some Party creator, and all around wonderful human being Adam White! The anticipation of hearing who was going to win was electric and Debbie Friday was a great host. Huge thanks to everyone who puts on the Gala and works tirelessly on Polaris year-round.



This year I was also a part of the DOMINIONATED admin team along with the amazing writers and artists Tia Julien and Alyssa Gelata and with help from site co-founder Jim Di Gioia (who is also an amazing writer). I am so grateful to be part of DOMINIONATED and to work with such an incredible team. Thank you all for everything that you do!! I learned how to use Wordpress and after several battles with technology, I think I finally know what I’m doing. I wrote about 28 different bands and artists for our monthly newsletter (subscribe here) including two Favourite Five lists - one best of 2023 and one counting down my favourite standalone singles of 2024. I also did 11 episodes of my internet radio show The Reservoir. I’m looking forward to writing more for DOMINIONATED next year.



Being an editor at Punknews is always a highlight of my year. I get to discover so many new bands, write news posts, and do so many things that I never thought would be possible for me. I did over 1000 news stories, countless episodes of the Punknews Podcast, and monthly Em Tells You What to Listen to music roundups (plus some special episodes). It means a lot to hear from people who have discovered music through these episodes and I want to say a huge thank you for listening! I am extremely grateful to be a part of Punknews and work with people who care so deeply about music. I am lucky to count them as my friends. This year I did 36 (!!) interviews for Punknews. I am beyond grateful that I have been able to speak to so many bands and artists who I have a great deal of respect for. More than ever before, it felt like these discussions came into my life at a time when I needed them the most. A huge thank you to everyone who sat down with me to have these conversations and to the people who worked behind the scenes to make these interviews a reality. Thank you for answering my questions and thank you for trusting me with your stories. Thank you for putting up with Zoom (and all sorts of technical difficulties) and allowing me to send you another link when the time limit ran out. Thank you for your insightful answers, laughs, and great vibes. It means the world that people want to talk to me about their art and there are few things better than hearing someone speak about something they are passionate about. Here is a complete list (in chronological order) of my interviews from this year: Eevie Echoes of Eevie Echoes and the Locations, Nathan Spainhower of meth., Hannah Richardson and Alannagh Doherty of CHERYM, Cory Swope of ZOMBIESHARK!; Mel, Jon, and Drew of Heavenly Blue, David Mitchell of Gulfer; Lexi Reyngoudt, Dan McCormick, and John Vaughan of Spaced, Liz Selfish and Brenner Mate of BRAT, Justin Fornof of Wristmeetrazor, Tara Hahn of Half Past Two, Andy Mc and CD Grind of The Slime, Nicolas Couture of Basque, Pamela Connolly of Pillow Queens, Emily Bones and Valerie Knox of The Anti-Queens, Cora Kunda and Nat Breeden of Arcadia Grey; Tracy, Mark, and Mikey of Cross Dog, Aki McCullough and James Goldmann of Nu House Studios and A Constant Knowledge of Death, Anthony Green, Casey Crawford of Virginity, M.C. Cunningham and Zach Anderson of The Dreaded Laramie, Ray Yao of The Noname, Jarod and Dale Semple of The Readys (thank you for being able to reschedule when the power went out!), Adam Davis of Omnigone; Hayley Elizabeth, Les Beaux Plastiques, and Melody Jane of Thotcrime, Bonnie Fraser of Stand Atlantic, KW Campol of Prepare the Ground and Vile Creature, Frank Turner; Kayla Renelle, Thomas Narveson, and Ryan Heisinger of Voluntary Hazing; Raylin Joy, Adam Porris, and Clarence “Pocket” Kidd III of The Calamatix, Matt “Food” Ellis of Kill Lincoln, Desmond Zantua of Career Day, Meredith Haines of Latter; Krista, Chase, Al, and Felis of Abraxas Reflux (thank you for pivoting to an email interview following a family emergency!), David Combs and Katie Park of Bad Moves; Praveen, Pramuk, Nicky, and Eric of Goddess, and Chris Reeves AKA Cool Chris of Ska Punk International. You can read all of these interviews right here!



Throughout the year I keep a list of albums and EPs that I love and when it comes time to start working on my year-end list, I am overwhelmed by the sheer amount of music that I need to sift through. This list numbers well into the hundreds and paring it down is always a challenge because every single release on this list holds a special place in my heart. Along with the records that have blurbs on my list, make sure to listen to all of my Honourable Mentions too! They all rock and deserve lots of love and attention. If there’s anything on here that you’ve already listened to then listen to it again, I guarantee you’ll notice something new. In no particular order, here are my Honourable Mentions for 2024:

Albums: No Normal by Kill Lincoln, Feral by Omnigone, Degeneration by Wristmeetrazor, It’s Sorted by Cheekface, For A Better World by S.H.I.T., Humble As The Sun by Bob Vylan, She Reaches Out To She Reaches Out To She by Chelsea Wolfe, I Got Heaven by Mannequin Pussy, Redd Kross by Redd Kross, Crucible by Schedule 1, $HIT MACHINE by Night Court, Cool World by Chat Pile, We Really Felt Something by Tiny Stills, Undefeated by Frank Turner, Doom. Spun. by Anthony Green, Another Day and Someday by Fucked Up, burnout by Vial, Garden Home LP by Garden Home, death of a rabbit by your arms are my cocoon, KOCHTOPUS’S GARDEN - NOW THAT’S WHAT I CALL CAPITALISM - THE MUSICAL by Danburt Nobacon and the Axis of Dissent, I Don’t Know I’m High Let’s Just Hit Record and Hope for the Best by The Readys, Bad Jazz by Virginity, Dangerous by Dog Party, Deep Sage by Gouge Away, PINKNDARK by Goddess (I wrote about this album for DOMINIONATED’s Favourite Fifty!), The Light by Wampums, Comatose by Candy Apple, Lipstick On A Pig by Cowboy Boy, WAS HERE by Stand Atlantic, A Chaos of Flowers by BIG|BRAVE, Hole In My Head by Laura Jane Grace, Girl With No Face by Allie X, birdwatching by Cliffdiver, Oxblood by The Good Depression, Wearing Out The Refrain by Bad Moves, The 8th Cumming by Cumgirl8, Casually Crashing by Arcadia Grey, Children of the Moon by State Faults, An Exit Exists by Blind Girls, Umbilical by Thou, Up On Gravity Hill by METZ (I wrote about this album for DOMINIONATED’s Favourite Fifty!), Love and Rage by Shooting Daggers, ”NO TITLE AS OF 13 FEBRUARY 2024 28, 340 DEAD” by Godspeed You! Black Emperor, Everything You Know Is Wrong by The Abruptors, Double Bind by Excuse Me, Who Are You?, Lower Feeling by Rarity, Hot Singles In Your Area by Scene Queen, Living in a Shadow by Psychbike, Negative Spaces by Poppy, En conversation avec by Victime (I wrote about this album for DOMINIONATED’s Favourite Fifty!), PUBLIC HUMILIATION by SISSY XO, The Calamatix by The Calamatix, pink balloons by Ekko Astral, Social Grace by BRAT (I don’t know about you but this was the soundtrack for my BRAT summer, and fall, and winter), Ministerial Cafeteria by Thirdface, Mirror Starts Moving Without Me by Pom Pom Squad, Artificial Bouquet by Frail Body, Glitter and Spit by NØ MAN, There Goes The Neighbourhood by Kid Kapichi, Name Your Sorrow by Pillow Queens, how could i not be your girl? by Space Camp, Capitale de l’arsenic by Guhn Twei (I wrote about this album for DOMINIONATED’s Favourite Fifty!), You Could Do It Tonight by Couch Slut, and Salt Sermon by Missouri Executive Order 44.

EPs and splits: The T4T Olympics by Tonsil Hockey, EP 02 by Outerloop, Diva Moment by Buio Omega, Pastel Southwestern by Desert Mambas, Steadfast by Indisposed, Century Egg by Bad Egg, Nothing Grows Out of Dried Flowers by Mulch, LIFE BEYOND OPPRESSOR’S BRUTALITY by Ethereal Tomb, Headlights EP by Kid, Feral, Body // Socket by Dry Socket and Body Farm, Attentàter by SlutBomb, Dread’s Comforting Embrace by Splitjaw, New Fixation by Crush Fund, Spit by Fight on Sight, Catholic Guilt by Cell Deth, DEM0 by B00B, The Mega Bad Disaster Party by Mega Infinity and Bad Mary, Revenge Fantasy by Uncaught (in Promise), Split by The Holy Ghost Tabernacle Choir and Rotting In Dirt, Living Is Easy by Agriculture, the ruthless criticism of all that exists by boxcutter, The P.P. EP by Passenger Princess, Persona by Gel, Everything is Longing by Sonagi, beacuse our days are numbered... by Treehouse of Horror, I WILL COMMIT A HOLY CRIME by Gylt, All In My Head by Tetchy, and Oaktails Split by Crowning and Oaktails.

As always, my list is not the definitive list of music that was released this year, it is a collection of records that I really enjoyed over the past 12 months (Honourable Mentions included). EPs and splits had to be over two songs to make it onto the list. All of the albums were very close this year and to avoid a bunch of ties, I have decided to keep my list unranked. The titles have been randomized and aren’t in any sort of order in any category. What are you waiting for? Dive into my list below!

You’d be hard-pressed to find a more energetic band than Thunder Queens. They put every atom of their beings into the music they make and nowhere is this more apparent than on their debut full-length album Strike One. Each of the eleven tracks burst with life from the extremely high-energy album opener “Breakout” to the punchy punk of “Fighter” to the wonderful fuzz and crunch of “Lo-Vi” to the heavy doomy grunge of album closer “Blood Moon”. It is impossible not to sing along with the trio’s excellent multi-layered vocal harmonies (especially on “All These Problems” and “Roadtrip”) and there is no way that you can resist moving to the music with those propulsive drums and killer riffs. “Walking Away” is one of my favourite tracks on the album and has some of my favourite lyrics including “I’m running away from the day I become someone I don’t wanna be”. The song showcases the soaring power of Violet, Lola, and Clara’s vocals both individually and all together. Listening to Strike One feels like being struck by lightning in the best way possible. It never fails to fill me with energy and gets me “Jumpin’ Around” in no time at all. Thunder Queens are breathing new life into punk and I can’t wait to see what they do next.

I saw Heavenly Blue live for the first time last year at New Friends Fest and was blown away by the energy and overall heaviness of their set. At that time they only had one recorded song out in the world, “Certain Distance” off Secret Voice’s excellent Balladeers, Redefined comp (it is now track 5 on the album), and I couldn’t wait to hear more from them. We Have The Answer was probably my most anticipated album of the year and once again, Heavenly Blue knocked my socks off. Their wonderfully chaotic energy is captured like lightning in a bottle as they kick out eleven tracks showcasing their unique blend of punk, emo, hardcore, noise, post-hardcore, and screamo. Every element is on point from the stellar interplay of dual vocalists Mel and Juno to the next-level instrumentation that captures every member’s voice and spirit to the sharp, imagery-laden lyrics. We Have The Answer has been on constant rotation and I can’t wait until I can see them live again now that I can properly scream along.

If you want to talk about transportive albums look no further than Yagrum Bagarn’s debut album In The Corprusarium. When you are listening to this album, you are firmly ensconced in the fantasy world of Morrowind where adventure, mythology, and dreams reign. You navigate through the Corprusarium, lament the disappearance of the Dwarves, search for eternal life, dream of liberation, and peer through the gaze of the false dreamer throughout six tracks full of atmospheric and enchanting instrumentation, guttural vocals, and ethereal orchestral and choral moments. This is hands down one of the most visual albums I’ve listened to this year. The more I listen to it the more I notice and everything about In The Corprusarium makes me immensely happy.

What’s Mine was one of my most anticipated albums of 2024 and Teens In Trouble knocked my socks off. The ten songs find the band sharpening their sound with arrangements that effortlessly blend punk, garage rock, and indie together to create a sound that makes you want to get on your feet and rock along. Album opener “You Don’t Want To Mess With Me” kicks the album off in style with some wonderfully fuzzy riffs and strong vocals that showcase Lizzie’s range. There is no better way to feel like an absolute badass than singing along with “You don’t wanna mess with me” at the top of your lungs. “Brave” and “Sick” are two of my favourite tracks on the album and never fail to hit home whether that’s the driving, affirming nature of “Brave” (“In due time / I’ll take back what’s mine”) or the upbeat, crunchy edge of “Sick”. Every minute of What’s Mine kicks ass.

There have been many great album openings in recent years but I think Cross Dog beginning All Hard Feelings with lead vocalist Tracy snarling, “It’s not a thank you / It’s fuck you” on “Hard Feelings” takes the cake. Not only is the rage embodied in that song extremely cleansing, it also sets the tone for the rest of the album perfectly; showcasing the band’s hard-hitting lyrics, wonderfully heavy bass riffs, superb vocals, and fierce drumming. Their indomitable energy is on full display whether they are taking aim at systemic oppression on “Inside Job”, battling against apathy on “Enemy”, talking openly about mental health on “Dead Battery”, confronting a broken justice system on “Collateral Damage”, or fighting for bodily autonomy on the unfortunately always timely “Jane Roe” (which features guest vocals from the Anti-Queens). One of my favourite tracks on the album is “Chokehold” and whenever I listen to it, I can’t resist screaming along to “Break the chains / Free the rage” at the top of my lungs. All Hard Feelings is catharsis incarnate and listening to it always makes me feel like an anvil has been lifted off my chest.

Die Laughing. by ZOMBIESHARK! is hands down the most intense album I listened to this year. Every time I listen to this album I feel like I am being sucked into a vortex of raw emotion. The instrumentation mixes elements from deathcore, nintendocore, industrial, metal, and together to form a gloriously dark crybergrind tornado that is steeped in the evil that lurks in rural areas, especially Eastern Pennsylvania. Cory Swope confronts trauma, depression, and isolation with deeply personal lyrics that are extremely visceral and visual (especially on “Bastard Spelled Backwards”, “Procedurally Generated Bear Traps”, and “Blue Mountain”). One of my favourite tracks off the album is “As Beautiful And As Terrible As The Dawn” which references Galadriel’s speech from The Fellowship of the Ring and the transition from it into “Does Barcode Man Believe in God?” Is superb. Every part of Die Laughing. was meticulously crafted from the pop culture references to the samples to the seamless flow of the tracks. It is an album that is impossible to look away from and forces you to get comfortable with being uncomfortable. It is an incredible piece of work that has stuck with me since I heard it for the first time in February. I think about it at least once per week and I have a feeling that will continue long into the future.

In September Latter (made up of Meredith Haines and Jon Alvarado) released their debut album My Body is My Sickness and blew my socks clean off. The instruments are incredibly heavy, the noise is expertly crafted, the vocal delivery is marvelously emotional, the lyrics are poetic and visceral, and the experimental nature of the band is on full display as they create intricate, texture-filled soundscapes. The power of telling your story on your own terms is at the forefront of these seven tracks as Meredith confronts a past relationship, talks about living with chronic illness, and moves toward healing with restorative rage. My Body is My Sickness is more than just one of the best debut albums of the year, it is a testament to never giving up. Meredith has said that before Latter came into being she was ready to quit being in bands entirely and I think I speak for everyone when I say, I am so glad that she kept going. Whenever I felt doubt gnawing at me in the past few months, I’ve put on this album and been able to find the strength to banish the fear. My Body is My Sickness is 16.5 minutes of pure catharsis and I can’t wait to see what the future has in store for Latter.

The first time I listened to Burial Etiquette’s debut album Mise-en-scène I was blown away by not only the beauty of the music but also the level of detail the band infused every element with. Everything has meaning behind it including their expert use of dynamics which finds them oscillating between loud and quiet, clean and harsh, and heavy and delicate with ease, especially on tracks like “The Guilt You Hold”, “Mirrors For Eyes” (that haunting dreamlike intro lives rent-free in my head), “Ivy Staircase in Ruin”, and the epic almost 12-minute closer “Crestfallen / Valor”. The intricacy extends to the lyrics as the band explores love, loss, buried trauma, identity, the concept of free will, and the existential nature of life with poetic, imagery-filled lines that challenge the linear structure of storytelling. Mise-en-scène is a wonderfully crafted album and I’m still noticing something new every time I listen to it.

When I think about therapeutic albums, SORRY, IT’S OVER jumps to the top of the list. The opening track “WATCHER” sets the scene with a voicemail directed at lead vocalist Denz by a friend asking him to make his mental health a priority by pointing out that he’s always there for everyone and never talks about himself, posing the questions, “How are you?” and “Who watches the watcher?” After the voicemail finishes, the band explodes into their signature frenetic punk rock with “GET UP”, a song about incapacitating depression. The band continues to open an honest dialogue about mental health throughout the album as they detail the end of a bad relationship on “BUFFALO”, talk about fear of change on “CHANGES” (which features guest vocals from SATE and showcase the band’s skill for creating soaring harmonies), dive into feeling inadequate and feeling the need to bury emotions on “I’LL BE OKAY” (which features a guest spot from Just John), and wrestle with vulnerability on “HOW ARE YOU?” (which features guest vocals from Faiza and strings by Mike Tompa). The catharsis is pushed even further by the instrumentation that urges you to release some of your pent-up emotion through movement. It is impossible to be still while listening to SORRY, IT’S OVER. Mental health is something that a lot of people don’t talk about honestly and when we do so, we’re all better for it. Take a cue from SORRY, IT’S OVER and check up on yourself, your family, and your friends. You’ll be glad you did.

When everything feels overwhelming and hopelessness is sinking in, I can count on Thotcrime’s Connection Anxiety to be a beacon of light in a sea of darkness. Everything about this album shines brightly from start to finish from their excellent instrumentation that incorporates elements of rave into their signature blend of cybergrind to create some of their heaviest and most danceable arrangements to date (Melody’s riffs and Dot’s drumming on “Behind The Cracks” are next level and everything about “We Hope Some Good May Come of This (which features Bottom Surgery) is an absolute masterpiece) to the vocals which showcase Hayley’s incredible range as she effortlessly moves between melodic singing and guttural screams to the production that captures the dynamic energy of the band perfectly. So much catharsis is contained in these ten tracks whether the band is reminding us never to give up hope on “A Better World Is Possible”, paying tribute to lost loved ones on “This Podcast Could’ve Lasted Four Seasons”, dealing with anxiety on the title track, celebrating self-acceptance on “The Wrong Way”, or embracing the unknown on “Beyond Journey’s End”. Beau’s rap on “Existent” deserves a special shoutout because every time I Iisten to it, I am blown away by the speed of her delivery. With everything that has happened so far this year, the lines, “It doesn’t have to be this way / I believe that we can change this / A better world is possible” ring truer now than ever before. Never give up hope.

Sacred Fawn forever.

I’ve called Indian Giver’s debut album Dark Legacy III hardcore punk perfection before (on DOMINIONATED’s Favourite Fifty list) and I will reiterate that statement here. Indian Giver’s debut album Dark Legacy III is nothing short of hardcore punk perfection. The metal-infused instrumentation is gloriously heavy and will have you banging your head and opening up a pit in no time at all. Their lyrics pull no punches as they put a spotlight on both past and present use of colonial tactics (“I’ve pissed in toilets older than this country / Colonization is not an event / It’s ongoing incomplete and unfinished” - “Today Is A Good Day”), predatory policing practices, the damage inflicted on Indigenous communities by the residential school system along with the Catholic Church, the violence of ignorance (“Blind”), the racism and hypocrisy of the government, the impact technology has had on our lives, and the never-ending search for balance. Each of the eight tracks is imbued with blistering urgency and vigorous energy, leaving no doubt of the vial power of Indian Giver.

I started off this year unfamiliar with San Jose-based Voluntary Hazing and am I ever glad that changed. I’ve been playing their debut album Addictive Little Sounds almost non-stop since I was introduced to it during the summer. The band are experts in creating bright, interesting arrangements whether they are infusing their upbeat ska sound with elements of country on “Neurotic”, blending ska, emo, and disco together to create a new genre on “Skemsco”, paying tribute to Prince Buster’s “One Step Beyond” on the multifaceted instrumental track “You May Be Entitled To Compensation", showing off their pop punk chops on “Disappointment”, or incorporating quotes from classical pieces like Stravinsky’s Rite of Spring, “Jupiter” from Holst’s Planets, and Glazunov’s Saxophone Concerto into their songs. Their lyrics and vocal delivery are top-notch as they explore the world of online dating with humour and frustration on “Disappointment” and “Pretty Boys”, dealing with passive-aggressive jerks with plenty of Greek mythology references on “Reciprocate Some”, putting themselves in the shoes of a disgruntled tech insider with furious tongue in cheek lines on “Professionally Offended”, delivering one of my favourite lyrics of 2024 on “Phone Tag” with “I wish that you were a landline so that I could cut you off”, and paying tribute to Kayla’s mother on the incredibly moving “Literal Rock Star”. “Sing You to Sleep” ingeniously closes out the album as the band weaves together lyrics from each of the previous tracks to create a tapestry of Addictive Little Sounds. I have laughed, cried, danced, sang, and reevaluated my relationship with my phone while listening to this album and that will continue long into the future. I can’t wait to see what Voluntary Hazing will do next.

To say that PROVISIONAL LIVING by Terry Green is a cathartic album would not be doing it justice. Every time I listen to this album, I feel as if I am a sponge that has been wrung out in the best way possible. The songs rush through my body like a cyclone, grabbing hold of old thoughts and feelings and throwing them out of my being and into the ether. Each of the nine tracks is exquisite, showcasing the band’s excellent use of dynamics (those tempo changes! Those effortless switches between harsh and clean tones!) along with their poetically visceral lyrics which are deeply moving as they explore grief, love, anxiety, the power of dreams, and the state of the world. PROVISIONAL LIVING is a whirlwind of emotion, beauty, and raw power that never fails to feel like a rebirth no matter how many times I listen to it.

Listening to Hiraeth is like stepping into another world for 42 minutes. You are immediately enveloped by gorgeous arrangements full of intricate guitar work, deep basslines, bright horn parts, layered vocals that oscillate between cavernous screams and soaring singing, and haunting piano. The beauty of the heaviness is incomparable as the band strikes that perfect balance between delicate and crushing. The lyrics are some of the most visual of the year as the band explores the many contradictions of modern life, embodies longing, searches for solace, examines coping mechanisms, hunts for identity, discusses the true meaning of freedom, dives into loss, and ultimately holds out hope for a better world. Every time I listen to Hiraeth I am struck by the incalculable amount of emotion and meaning that is contained within its nine tracks. There is no doubt that Respire are experts in delivering true catharsis.

My introduction to CHERYM came in 2021 when they released a song called “Kisses On My Cards” and I couldn’t stop listening to it. From there, I had their EP Hey Tori on repeat and I was keeping my ear to the ground for more CHERYM news. When they announced that they would be releasing their debut album, Take It Or Leave It, I was stoked and instantly marked the release date down in my calendar. This album kicks so much ass. The band roars out of the gate with “Alpha Beta Sigma” which finds them putting women’s rights and abortion rights front and centre as they confront misogynistic institutions (such as the Catholic Church and the alt-right movement) and take back their power with hard-hitting lyrics. This song sets the stage for the rest of the album as the band pushes their pop punk sensibilities to new heights by incorporating elements from grunge and metal. They kick out nine more tracks full of extremely catchy hooks (which are impossible not to sing along with), powerful vocal delivery, amazing melodic group vocals, great riffs, and stellar drumming. There are so many shining moments on this record from “Taking Up Sports” which is one of the best (and most fun) songs about trying to impress a sporty girl you have a crush on to “The Thing About Them” which takes aim at bigots who don’t respect pronouns to the tender, sweet love song “Binary Star” which builds from an acoustic song into a soaring orchestral ballad to the ADHD anthem “Do It Another Day”. “AW TYSM” is easily one of my favourite song titles of the year and “Don’t fix me when I’m not even broke” always hits home no matter how many times I hear it. Take It Or Leave It is an absolute triumph of love, rage, and joy as well as a testament to letting your true self shine.

From start to finish Eevie Echoes and the Locations’ debut album The Cons of Being A Wallflower is a tapestry of emotion. The band mixes together punk rock, ska punk, garage rock, emo, and chiptune (done by Crystal Cartridge on “Braindead”) to create the perfect backdrop for their heartfelt lyrics as they explore all of the tumultuous feelings and situations that go along with coming out. The band brings you into their inner sanctum as they open honest discussions around parental acceptance, religious trauma, anxiety, trust, mental health, self-discovery, the pressures of living in a capitalist society, the importance of community, and the ongoing journey toward self-love. While the album deals with emotions that can be difficult to face, Eevie Echoes and the Locations prove that we are better for it when we do. Sweeping things under the rug, especially when they are directly related to your own well-being, will only cause more problems and regret in the long run. This album came into my life at a time when I felt like I was shutting down emotionally and helped me put a lot of things in perspective, namely the fact that expressing the full extent of whatever it is that you’re feeling is the key to truly working through it. The band’s message, “Love hard. Fight harder”, is more timely now than ever before. We need to make sure that along with looking after ourselves, we are looking after each other and working to strengthen our communities because that is where our real power lies.

Next Time is a fucking amazing album. It shows Bacchae at the top of their game as they kick out ten tracks that simmer with rage, desperation, regret, and frustration. Their lyrics are some of their sharpest to date whether they are attacking exploitative corporate practices on “Cooler Talk”, ripping into the soul-destroying monotony of work on “Dead Man”, diving into self-doubt and its relationship to being afraid of love on “Feeling The Same”, highlighting the level of anxiety present in day to day life and the self-erosion caused by the internet on the title track, fighting for a scrap of hope on “Evening Drive”, or embodying desperate discontent on “Wicked Fountain”. Bacchae gives voice to all of the things that we go through day in and day out and by doing so, gives us an outlet to express all of that pent-up frustration and anxiety. A couple of months following the release of this album, the band announced that they would be disbanding after eight years together. While I’m sad that we won’t be hearing any more new music from Bacchae, they went out with a bang on Next Time. Their music will live long into the future.

When SHAME came out in February, I listened to it almost every day for about two months. I continued to return to it throughout a rollercoaster of a year that saw my levels of self-loathing skyrocket. No matter what I was feeling when I started listening to the album, by the time the final notes of “Blackmail” faded away, I felt better. The album made me think about the role shame and guilt play (or have played) in my life and the impact that the continued buildup of those feelings has had on my mental health. The album is a masterclass in heaviness with instrumentation that is both crushing and rhythm-driven, all-encompassing noise, intensely introspective lyrics, and visceral vocals that you can feel deep within your bones. A sense of ominousness permeates the album, not letting you rest for one minute as it forces you to not only face but interrogate your discomfort. SHAME finds beauty in the bleakness and offers an untold amount of catharsis.

Cartoon Darkness is one of the most heartfelt and fun albums of the year. Every time I listen to it, a feeling strikes me deep in my gut that everything, somehow, is going to be ok. The band’s songwriting chops are on full display as they deal with jerks with humour on the propulsive album opener “Jerkin’” (“Keep jerkin' on your squirter” is a great line), urge people to never give up on their dreams (or themselves) on the magnificent slow burn of “Big Dreams”, reflect on heartbreak on the vulnerable “Bailing On Me” (which really showcases Amy’s vocal range), celebrate the joy and freedom of love on the high-energy “Motorbike Song”, and shut down sexist assholes on the lively “Tiny Bikini”. There are also several great uses of the word “cunt”. Cartoon Darkness also has one of my favourite lines of the year which is “I'm working on my worth, I'm working on my work, I'm working on who I am / I’m working on what is wrong, what is right, and where I am / I know my worth, I'm not the worst, you told me once I was” from “U Should Not Be Doing That”. This echoes a lot of what has been going on with me for the past year or so and every time those lines come on, I scream them at the top of my lungs and clear those old cobwebs out of my head. Any time I feel doubt creeping in, I turn Cartoon Darkness up loud and banish it by singing and dancing along, strengthening my resolve to live life the way I want one note at a time.

No matter how I’m feeling or what I’m going through, whenever I put on Disenchanted by The Anti-Queens I feel like I can take on the world. The thirteen tracks show the band at the top of their game with complex riffs, deep basslines, strong vocal delivery, and incredibly infectious harmonies that are impossible not to sing along with. Their lyrics are some of their most powerful and vibrant to date whether they are talking about the systemic oppression of Indigenous people in Canada and the false history we are taught about our country on “Crusade” (which features guest vocals from Tracy A of Cross Dog), tearing into people with superiority complexes (*cough mansplainers cough*), examining mental health, exploring relationships, or celebrating badass women. Each song has its own vibe from the triumphant defiance of “Apocalypse She” (which features guest vocals from Brenna Red of The Last Gang) to the joyful existentialism of “Overthinking” to the dark, driving groove of “Dirty Girl”. There’s nothing like blasting “Saviour” (“Go on and be my saviour / I fuckin dare you”) or “Owe U Shit” at the end of a long day, starting a one-person moshpit, and unleashing all of that pent-up rage. While the at-home mosh pits are great, nothing and I mean nothing beats seeing the Anti-Queens live. Their energy is off the charts and being able to sing/scream the lyrics in a crowd of people who connect with them as much as I do is something very dear to my heart that I don’t take for granted.

There have been so many things this year that felt like they came into my life when I needed it the most and Princess Feedback is definitely one of them. The album finds The Dreaded Laramie not only sharpening their sound (those guitarmonies are fucking incredible!) but also diving deep into their emotions. They explore the non-linear nature of healing with lyrics that are both vulnerable and humourous as they embrace the sometimes messy nature of accepting and expressing their feelings. Personally, I find it very challenging to allow myself to fully express my emotions and no matter how hard I try, I always seem to find myself going back to the old method of bottling them up and burying them. These ten tracks put back into perspective how important it is to face those emotions in order to move on. There are so many moments that shine on this album like the simmering rage of “Mess” (“I kneel beside my bed and pray / Your head will get sliced off by a hi-hat or something like that” is a great line), the deep longing and lush instrumentation of “Easy”, the incredibly catchy and On Cinema On The Cinema referencing “Fishnets”, and the pure emotional power of “Birmingham Bulls Win!”. Princess Feedback is an outstanding album and I can’t wait to see what The Dreaded Laramie do next.

This Is All We Ever Get finds Spaced perfecting their signature far out hardcore with plenty of psychedelic-inspired moments, killer riffs, ferocious vocals, groovy bass, and frenetic drumming. It is impossible to sit or stand still when listening to this album whether you are banging your head, two-stepping, or bouncing around like a human Beyblade. There are so many shining moments on this album from the sick breakdown on “Downfall” to the lush instrumental track “AIATB” to the powerful group vocals sprinkled all throughout the album to “Cosmic Groove” and “Running Man” which showcase lead vocalist Lexi’s range as she goes from incredible harsh vocals to soaring clean singing in the blink of an eye, adding to the kaleidoscopic feel of the songs. There are so many lyrics from this album that really hit home with me including “I’ll find my way to get through this I found my voice I raise my fist this fire won’t be extinguished fight for what’s right with every breath” from “Downfall” and “If you know who you are you control your destiny” from “Big Picture”. Whenever I listen to This Is All We Ever Get I feel the inexhaustible energy of Spaced coursing through my veins and feel like I can take on anything that the world throws at me.

I have been a fan of Half Past Two for a while now and I feel like they’ve truly found their voice on Talk Is Killing Me. The album is a triumph in all ways; the instrumentation showcases the skill and range of the band with inventive arrangements that incorporate elements of punk, reggae, and pop into their signature ska sound, superb vocal delivery that is full of emotion, and stellar lyrics that are some of their most vulnerable to date as they deal with trauma, talk openly about mental health, and shine a light on ableism in our society. There are so many glowing moments on this album from the stirring spoken word part in “Barrier For Entry” to lead vocalist Tara Hahn’s incredibly catchy vocal runs on “Dominoes” to the surreal, dreamlike quality of “I Don’t Dream Anymore” (the best song of the year to mention both cabbages and penguins) to the explosive energy of “Never Saw Me”. Talk Is Killing Me embodies everything that I love about ska and it never fails to get me dancing and singing along.

When I think about cathartic albums, Basque’s debut release Pain Without Hope of Healing jumps right to the front of my mind. The seven tracks are full of raw emotion as the band confronts grief, mental health, the meaning of power, and hope with viscerally poetic lyrics that are delivered with so much emotion that it feels like their very life depends on unleashing these words into the world. Their arrangements strike a perfect balance between heaviness and lightness, control and chaos; whether they are building up a song like “Nausea”, slipping in moments of expressive noise on songs like “Stillness” and “Worry About Everything”, or channeling their frustrations into a glorious frenzy on songs like “Concrete Thoughts, Soften”. The band closes the album with “Funeral For A Mouse” which hits like a tidal wave of catharsis. I find that whenever I listen to Pain Without Hope of Healing the level of catharsis and feeling of comfort I experience becomes deeper. Basque has created something extremely special and meaningful with this album.

Listening to Third Wind is a bittersweet feeling. It is one of Gulfer’s best albums but it is also their last. The band released this album in February and in May they announced that they would be disbanding after thirteen years together. Third Wind more than lives up to its name because the band sounds rejuvenated and enthusiastic on each track. The songs are vibrant and find them incorporating more elements from indie rock and shoegaze into their hallmark mathy-y emo sound. An ethereal feeling permeates the album which is reinforced by introspective and visual lyrics that explore topics including burnout, environmental issues, love, and existentialism. While I am sad that Gulfer has ended, I’m grateful for all of the years of incredible music and Third Wind is no exception.

Sometimes an album comes along that makes you feel as if the band reached into your head, pulled out your brain, dissected it, and put all of their findings into song form. This is what Sprint’s Letter to Self feels like for me. The songs have made me confront things about myself that I had been running from and gave me space to exorcise those demons.

Sprints continue to push their garagey post-punk to new heights on their debut album as they create soundscapes that envelop you in emotion; from the spiraling claustrophobia of anxiety on songs like “Ticking” and “Heavy” to the weight of guilt and shame on “Cathedral” to the rage of “Adore Adore Adore” and “Up and Comer” to the poignant victory of “Letter To Self” which ends the album with the deeply moving lines, “I don't have to take the path that was carved in front of me / I always had the willing / Now I'll find the way / Any habit can be broken / Any night can become day”.

“Shadow of a Doubt” deserves special mention. It is one of their most emotional songs to date and is one of my favourite tracks on the album. This is a song that you don’t just listen to, you feel at a molecular level. Karla Chubb’s vocal delivery is raw and vulnerable as she imbues every word with the urgent frustrated desperation of someone trying to claw their way out of the darkness only to find that no one can hear their cry for help. The instrumentation matches the intensity of the vocals and lyrics perfectly as the song builds up slowly with insistent guitar, bass, and drums coming in one at a time before exploding into a swirling tempest of sound. At the end, the instruments depart one by one, leaving only the sharp picking of guitar strings as Karla delivers the final refrain with soft vocals, as if the intensity of emotion earlier in the song has left her spent. Every time I listen to this song and sing (or scream) along with Karla, I feel like I’m expelling poison from my body. “Shadow of a Doubt” is by far the most cathartic song I have ever heard.

The blood, sweat, and tears that Sprints have poured into Letter To Self is extremely evident and can be felt in every note. No matter how many times I listen to these songs, lyrics like, “I wear a smile like it's a runner, your despise like a badge of honour” on “Up and Comer” and “If I gave more than I had / Well, I’d be ripping at the seams” on “Shadow of a Doubt” never fail to hit home. Letter To Self has been on repeat since it came out in January and I have a feeling that won’t change anytime soon.

Sometimes something comes into your life right when you need it most and for me that something was Kathleen Hanna’s memoir Rebel Girl: My Life as a Feminist Punk. I cried for the first time during the prologue and I think it’s safe to say that no book has affected me on as deep a level as this one. I laughed, I cried more, I screamed with rage, and I felt myself fill with hope. I fucking love this book and I fucking love Kathleen Hanna.

Bring Me The Horizon holds a special place in my heart. Their music has been there for me seemingly when I needed to hear it most and I’ve spent many an hour singing and screaming along. They have that unlimited cathartic power that few bands hold. No matter how many times I listen to a song or an album, I always feel better by the end of it. POST HUMAN: NeX GEn has so many of those cathartic moments from the soaring chorus of “YOUtopia” (the transition from this song to “Kool-Aid” is awesome to the pure chaotic energy and killer breakdowns (along with the cult storyline) of “Kool-Aid” to the immense and ethereal (thanks to AURORA’s excellent guest vocals) “liMOusIne”. The storyline that runs throughout the album is strengthened by short interludes that really make you feel like you’re inhabiting the world of the album whether you are being welcomed into the record by footsteps and an otherworldly voice on “dreamseeker” or being enveloped by the transcendental (and slightly ominous) nature “(spi)ritual” which is abruptly cut short by a hushed but urgent warning. The transition of the door closing on “(spi)ritual” to the feeling of being in a recovery meeting on “n/A” is seamless. I could go on for days about this album and this band but I’ll just say that POST HUMAN: NeX GEn was one of my highlights of the year. I really hope Bring Me The Horizon comes to Canada sometime soon.

Earlier this year I was invited to be an extra in the Anti-Queens’ video for “Magnolia” and I jumped at the chance. They are one of my favourite bands of all time and as some of you may know, they were one of the first bands I reviewed for the site. They are also incredible people who are extremely kind, funny, and continually lift up those around them. Filming the video was an amazing experience. Everyone who was there was super into it and gave their all in each and every take. The vibes were off the charts and it was so much fun! Singing along with the chorus of the song, “Bad, it’s not all bad”, was very cathartic and there was so much joy in the room The energy of the crowd was captured perfectly in the video and contrasts well with the shots of Emily Bones working through an existential crisis, both of which match the spirit of the song. It definitely helped me recharge my batteries and renewed my faith in humanity. I’m very grateful that I was able to be a part of this and to meet so many awesome people.

Social media can be a really shitty place to be but sometimes it can introduce you to one of your new favourite bands. I came across Wise Guise in February on Instagram and was stoked to discover that they were getting ready to release their debut EP, Kick The Hive, in March. I set a reminder for March 1 and as soon as I was able, I pulled up Kick The Hive on Bandcamp and haven’t looked back since. Wise Guise play an infectiously propulsive mix of skate punk, ska, and pop punk that urges each molecule in your body to respond with movement. This is not music that you put on if you want to be still. The band celebrates breaking through sexist conditioning, takes a deep dive into the deification of social media, uplifts the importance of bodily autonomy, and confronts violent male behaviour with powerful lyrics delivered perfectly by lead vocalist Molly’s raspy voice along with stellar group vocals. Speaking of lyrics, Kick The Hive has some of my favourite lyrics of the year including, “My body's not your human factory” on “No Baby Envy”, “Now I kick this beehive willingly” on “Simon Says”, “Give me death or give me likes” on “Neon God”, and of course the unfortunately always timely, “Call him what he is / Racist sexist white supremacist / Bigoted ignorant misogynistic trash” on “Troubled Young Man. Every time I listen to this EP, I feel the electric energy of Wise Guise flowing through me and I can’t wait until I’m able to see them live.

In August 2023 Massa Nera and Quiet Fear faced off in a battle of the bands at the Lithuanian House in Toronto, Ontario as part of New Friends Fest. The battle saw the bands trading songs, heaping praise on one another, embracing each other, and ending the set by eliminating the lines separating them, combining to form a love-filled force of nature. It came as no surprise (they might’ve mentioned it during the set as well) when later that year, the bands announced that they would be releasing a split in early 2024. Quatro Vientos // Cinco Soles finds the bands alternating for the first six songs before coming together on the final track. Both bands are at the top of their game as they both kick out blistering post-hardcore gems from Massa Nera’s distortion-filled furious post-metal ripper “Bloated” to Quiet Fear’s exquisitely crafted hardcore punk-forward “Presidio”. “Presidio” also has one of my favourite lines from the split, “I am a fortress / You will not siege me / I will not be torn down”. The collaborative track “Nueva Ilama” is pure perfection as the bands blend their unique styles together to create a flawless balance of delicate and heavy. “Nueve Ilama” ends the split with the lines “Somos mas fuerte de lo que pensaban / Somos más grandes de lo que pensaban / No nos daremos por vencidos / No nos daremos no” which loosely translates from Spanish to English as “We are stronger than they thought / We are bigger than they thought / We will not give up”, a statement that is made even stronger when delivered together. On Quatro Vientos // Cinco Soles Massa Nera and Quiet Fear prove that creating something with your friends is one of the greatest joys in life.

I love Death Goals and I love Dreamwell and when the bands surprise-released their split in October I was over the moon. They are a match made in emotionally chaotic hardcore heaven as each band contributes two new tracks that kick so much ass. Dreamwell’s side has the absolute masterpiece “Music to Take Teeth By” which features additional vocals by Nat Lacuna of The Holy Ghost Tabernacle Choir and Rosemary nods upon the grave (who also did the album artwork) and one of the best breakdowns of the year along with with the incredibly heavy “Suicide Commitment Issues”. Death Goal’s side has the dynamic and massive sounding “Fake Smiles and Nervous Laughter” along with the distortion-laden “Music For Cryptids” which has one of my favourite lines of the year, "We won’t be erased / We won’t be written out of history / ‘Cause without us / This world is without beauty”. The songs are incredibly strong on their own but take on a whole new depth when listened to together. Death Goals // Dreamwell highlights the songwriting prowess and relentless energy of both bands and I hope they do more together in the future.

Gulfer had a big 2024. They released their fourth album Third Wind (see blurb above, it rocks!) and announced their decision to disband in May. In July they released their EP LIGHTS OUT which is their final release. The five tracks on the EP burst with creativity and energy as the band makes use of more effects (most notably the amazing otherworldly vocal tone on “Crash”), puts out some of their most imagery-filled lyrics to date, and carries through that rejuvenated spirit that was so present on Third Wind. Gulfer has meant a lot to me throughout the years and I am very glad we existed at the same time.

three demos is the debut recording by Vancouver-based noisy hardcore punks PISS and it is fucking amazing. The songs are both frenetic and brutally heavy, especially the 36-second long ripper “a little girl’s horse craze betrays her”. Lead vocalist Taylor’s voice is powerful and embodies the raw emotion of the tracks (especially on “time loop at hot slit” and “how can you act opposite to this emotion”) as she plays with dynamics alternating effortlessly between screaming, whispering, and clear speaking. PISS is one of the most exciting hardcore punk bands out there today and I can’t wait to hear from them. Stay tuned for PISS world domination.

Few bands record their observations of the world with more feeling and adeptness than Career Day and no more so is this true than on their EP I’ll Always Be This. The four tracks find the band exploring the exploitation of workers and the toxicity of work environments, dealing with mental health, trying to find peace within themselves, and talking about the importance of retaining sensitivity with introspective lyrics that are honest and visceral. The band raises many questions in a matter of minutes including what can we do to protect our energy in a system that prioritizes profits over people?; What does it truly mean to be well?; When is a person not seen as a person and what can be done to combat that dehumanization?; How do we keep ourselves from shutting down in the face of persistent horrors?; How best can we show up for ourselves and our communities during these trying times? Career Day describe themselves as “emo-punk for the end times” and we’ve never needed them more than we do now.

There were so many things that happened in the world this year that saddened and enraged me and whenever that rage needed to be released (which was often), I pressed play on Bootcamp’s EP CONTROLLED BURN. The band’s fury is apparent from the start as they begin the EP with “WILL BE FREE” a 51-second ripper that dives into the genocidal atrocities that have been (and are still being) perpetrated against the people of Palestine. Their anger continues to gather strength on “SIEGE” and peaks on the title track as they reflect on environmental destruction and imagine the woodland creatures freeing animals from a factory farm. The instrumentation is frantic and heavy which blends seamlessly with the urgency of the vocal delivery and wrath of the lyrics. CONTROLLED BURN is four tracks of aggressive, political hardcore punk perfection and with Bootcamp announcing their singing to Convulse Records earlier this month (December) I am very excited to see what their future holds.

Hate Training zips by in a flurry of blistering speed as Punitive Damage kick out six ferocious hardcore punk tracks that fill me with a desire to open a pit and start flinging myself around. Their lyrics are hard-hitting whether they are tackling the malleability of the truth and the indoctrination of hate and prejudice on songs like “Hate Training”, pointing out injustice while fighting for a better world on the uncompromising “Humanity Upon Request” (“It’s either everything for everyone / Or nothing at all”), or refusing to be indifferent to genocidal atrocities on “Blight of Apathy”. Punitive Damage packs a hell of a lot of meaning and significance into just over six minutes.

Salmon Ella are one of my favourite band discoveries of the year. I stumbled across them one day when I was floating around Bandcamp searching for new Canadian bands, heard their debut single “Weed Whacker Vigilante”, and promptly fell in love with their sound. When I found out that the band had an EP out, I was stoked. the fish // the name shows the band’s range as they kick out dreamy tracks like “Digital Kale” (I can’t argue with the line “Let’s face it / We’re all just digital kale”), surreal rockers like “Salmon Ella” (which has the line “Their heavy flow will flood the skies / And raise their bloody battle cries” followed by screams - easily one of my favourite moments), and multi-layered ballads like “Ballad of a Mossberry”.“Uncomfortable” is a burst of creativity and one of my favourite tracks on the EP. The verses are delivered in a spoken word style with groovy instrumentation that gives me a film noir vibe as several very uncomfortable events are mentioned like being catcalled and being hit on in a therapist’s waiting room, the chorus is upbeat and extremely danceable, and then the song morphs into something reminiscent of a 60s girl group. Salmon Ella contains multitudes.

My Love Remains the Same is one of the most goosebump-inducing releases of the year. “Kisses Goodbye” is heart-wrenchingly beautiful as the band explores love and loss with poetic lyrics and lush instrumentation that takes cues from goth, doom, post-punk, and shoegaze. The first time I heard it, the beauty and depth of emotion made me tear up. “What Have You Become” is also gorgeous and showcases the power of lead vocalist Sarafina Bortolon-Vettor’s vocals. The band ends the EP with a cover of Nick Cave and the Bad Seeds’ “Red Right Hand” which in my opinion surpasses the original. They add a layer of ominousness to the track that elevates both the seductive power present in the song and the haunting nature of the lyrics. If you’re not listening to Bonnie Trash, you need to fix that immediately.

Celestial Body is an absolutely incredible record. The songs are gorgeously arranged and perfectly crafted to deliver maximum heaviness. The vocals throughout the album are amazing but the delivery on “Scrap the Waste” deserves a special shoutout. There are deep as hell gutturals and soaring, celestial-sounding shrieks that complement the lyrics perfectly. “Scrap the Waste” also feels like a full circle moment, taking its name from a line in the opening track “Drain the Blood” as well as incorporating lyrics from that song to wrap up Celestial Body perfectly. This EP was my introduction to Senza and I am really looking forward to diving into their back catalogue.

Abraxas Reflux are back after two years and more brutal than ever on their second EP Rotten. Their blend of hardcore punk, doom metal, and crust punk hits even harder as they dive into mental health, identity, heartbreak, isolation, and tear into the rising ride of fascism with visceral lyrics. The dual vocalists Krista and Chase (who are also the drummers) are fierce and fully embody the emotions in the lyrics. The gutturals on “Locust” are next level. The world may be rotten but Abraxas Reflux’s EP is anything but.

I love everything about Look Alive! by St. Catharines-based Days on Parade. The songs are layered, exciting, and a hell of a lot of fun as they showcase the depth of their unique mix of punk, psychedelic rock, garage rock, and new wave as well as the range of lead vocalist Riss Nixon’s voice. Each song has its own vibe from the deliciously heavy climb of “Gumbo” to the sharp tongue-in-cheekness of “Local Celebrity” to the ethereally crunchy slow burn of “Take On The Day” (which features wonderful weaving vocals). The only way I can describe “The Tallest Castle You’ve Ever Seen” is epic. The band plays with volume, dynamics, and tempo to create a masterpiece of storytelling both sonically and lyrically. Look Alive! is one of those records that just shines.

Second Wife kick so much ass and so does their excellent debut EP Second Wife. The band makes expert use of bass, synth, and drums to create an absolutely sensational riot goth sound. The vocals are superb and find all three members - Erika, Lora, and Mip - lending their voices to great lyrics full of bite and humour that take aim at creeps on the aptly named “Beat It Creep” (this song has some of my favourite lyrics including, “Your lecherous advances leave me dryer than the desert” and “I’m going to grab his wrist as quick as a flash / Break it off and stick it up his own fucking ass”), personify a Venus Fly Trap on “Carnivorous Garden”, and embody the electric jolt of desire on (the incredibly catchy) “Lust”. “Boy Needs Therapy” has another one of my favourite lyrics from the EP, “I’m not your manic pixie dream girl / I’m not here to feed your ego / I don’t want your dump of trauma / I’m not gonna be your Mama”. It is impossible not to move and sing along with the songs (especially the “ba-ba-ba”s on “Lust”) and my fingers are crossed that 2025 will be the year that I’m finally able to see Second Wife live.