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October 15, 2025 Q052’s Thunder Child Lands with Unyielding Bars and Beats

Q052’s Thunder Child Lands with Unyielding Bars and Beats

(Q052 / Image Credit: Jean-Philippe Sansfaçon)

On October 10, 2025, Q052 released his fourth studio album, Thunder Child, via Musique Nomade, a set that cements his status as a Mi’gmaq hip-hop force tackling systemic inequities head-on. Quentin Condo, the man behind the name—drawing from his first initial and the 052 code for his Gesgapegiag, Gaspésie roots—now operates out of Sherbrooke, Canada, where he amplifies calls for Indigenous youth empowerment and safeguards for women and girls. With streams topping 140K on Spotify, he’s claimed Best Male Hip-Hop Artist at the 2023 International Indigenous Hip-Hop Awards, alongside noms for Indigenous Artist of the Year at the 2021 ADISQ Gala, Expressive Music Artist/Group and Blues/Rock Artist/Group at the 2022 Teweikan Gala, and Hip-Hop Album at the 2022 GAMIQ. His commanding live shows have drawn coverage from CLASH Magazine, spins on Radio Canada, and support for ‘Loud Sunday‘ from BBC Radio 6‘s Don Letts on Culture Clash Radio. Q052 has rocked major lineups with Cypress Hill at events like FEQ, La Noce, OFF Québec, Innu Nikamu, Festival Kwe!, FME, Festival Bleu Bleu, and Festival en chanson de Petite-Vallée.

The album’s tracks demand close listens, stacking Q052‘s sharp wordplay against instrumentals that nod to classic hip-hop roughness, infused with grunge and alt-rock elements from influences like Ty Segall, Immortal Technique, Cypress Hill, Black Sabbath, Rage Against the Machine, Public Enemy, Run DMC, and King Gizzard and The Lizard Wizard. Leading the charge is ‘Look It Up‘, the focus single that dials back the layers to spotlight his aggressive verses dismantling authority, in the vein of Talib Kweli, Mos Def, Danny Brown, and KRS-One. It embodies the project’s push for awareness and resistance, blending spoken-word intensity with hip-hop’s backbone and rock’s snarl for a sound that’s grounded in urgency.

Q052 had this to say: “Hip Hop artists are considered to be street journalists who share stories from their environment. In this album, I’m taking listeners on a tour in my mind and expressing how I view the world right now. It’s gone to hell!! From world leaders to the environment, from television shows to the news, from law enforcement agencies invading homes to assassinations, from social media platform addictions to a cold beer!! I’m reporting on it…is this mic on?”

Thunder Child Album Tracklist

1. Whap Bam-Boo
2. Wickedness
3. Look it Up
4. Thunder Bows
5. Piece of Man
6. Loud Sunday
7. Post Like Addict
8. Space Invaders
9. Restricted Radio
10. Sláinte

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October 15, 2025 Pinwheel Valley’s ‘Can’t Hear a Sound’ Hits Deep in Wake of Release

Pinwheel Valley’s ‘Can’t Hear a Sound’ Hits Deep in Wake of Release

(Pinwheel Valley / Image Credit: Yazeed Malkaw)

Nearly a week out from its October 10th drop via Hot Soap Records, Pinwheel Valley‘s ‘Can’t Hear a Sound’ continues to pull listeners into its orbit, serving as the opener for the November-bound EP Hello From Afar. At the wheel is Jordanian-Canadian Qais Khoury, whose project morphed from KAIS into a full live outfit—him on vocals, guitar, and keys; Stephanos Marangos handling lead and rhythm guitar; Max Daniels on bass and Ableton; and Stephanos Meletiou or Phrangiskos Petrisis drumming.

The track itself coils tight around Qais Khoury‘s self-produced layers: soulful guitar lines threading through string swells and alt-rock drum sections, with vocals that rasp against the quiet. It has shades of City and Colour‘s worn-in resolve or Alberta Cross‘s road-weary swing, the folktronica hum emphasizing a slow-burning tension that feels authentic.

Qais Khoury shared: “Can’t Hear A Sound’ is a song of bloodlines and soil, of war and the restless pull of home. It is a cry carried on the wind, calling to kin who have wandered astray, drawn into circles that could never hold them. A plea for their return to the ground where their fathers lie sleeping. It is both invocation and vow — a promise to shield them, body and soul, whatever the cost, and to guard the earth that holds their roots”.

With the EP on deck, Pinwheel Valley looks primed for deeper cuts that lean into these uprooted themes, maybe sparking live runs across Europe or North America to road-test the full band’s chemistry. If this single’s traction holds, expect festival slots next summer, building on their video awards and radio push to solidify that genre-blurring spot.

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October 14, 2025 La Clara Sofia Ignites with ‘Abrasa’ LP, A Daring Fusion of Rhythm, Spirit, and Desire

La Clara Sofia Ignites with ‘Abrasa’ LP, A Daring Fusion of Rhythm, Spirit, and Desire

La Clara Sofia released her new 7-track LP, Abrasa, on October 10, 2025, under Madrugada Records. The rising Brazilian multi-instrumentalist, vocalist, and producer has already gained international recognition for her fearless blending of genres and emotionally charged performances. With previous accolades including the Prêmio da Música Brasileira for Best New Artist and collaborations with acts such as Liniker e os Caramelows and Seu Jorge, La Clara Sofia continues to cement her position as one of the most innovative voices in contemporary Latin music.

Born in Recife, Brazil, La Clara Sofia’s sound reflects the rich tapestry of her cultural roots, where rhythm, spirituality, and experimentation coexist. Her musical journey began with classical piano before she turned to jazz, electronic production, and the traditional sounds of Northeastern Brazil. Known for her hypnotic stage presence and dynamic vocal range, she crafts music that traverses genres and emotions, merging Afro-Brazilian percussion with urban grooves, distorted guitars, and ethereal harmonies. Her influences, ranging from Esperanza Spalding and Rita Lee to Akua Naru and Björk, reveal an artist unafraid to transcend borders.

Abrasa is a bold exploration of memory, desire, and resilience, uniting organic percussion, field recordings, and intricate vocal loops into a sonic ritual. Tracks like Lança ignite the dancefloor with samba rock flair, while Subi captures the floating joy of love’s early moments. ILIXILU transforms vulnerability into empowerment through crystalline percussion and haunting vocals, and Reza channels collective transcendence inspired by the Olinda Carnival. From the groovy New York homage Bowery to the forest invocation Oxóssi and the reflective ‘Période Bleue’, La Clara Sofia’s LP stands as both a personal diary and a celebration of Afro-diasporic sound.

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October 8, 2025 Your Music, Your Rules: PLAYY. Music Is Here

Your Music, Your Rules: PLAYY. Music Is Here

Something new has just landed in the world of music, and it has been a long time coming. After over a decade in development, PLAYY. Music has officially launched: a first-of-its-kind social music platform built entirely for independent artists, their communities, and the evolving future of the industry.

Unlike traditional streaming services, PLAYY. Music isn’t just another destination to upload your songs. It’s an all-in-one ecosystem designed to give creators complete control over their work, their careers, and their connection with fans. 

Within a single platform, artists can:

  • Sell and stream their music, podcasts, and mixes directly to fans, with fair payouts
  • License tracks for use in film, TV, or ads—or offer sample packs to other producers
  • Run ticketing and bookings for live shows and tours
  • Find and offer paid opportunities via a music jobs marketplace
  • Raise funds from fans to support new projects
  • Access real-time analytics and engage directly with their community

At the heart of PLAYY. Music is a simple belief: artists deserve ownership of their music, their data, and their relationships with fans. Artists should be able to manage their creative business without relying on the outdated, exploitative systems that have defined the music industry for decades.

The platform was founded by Warren Morris, Director of PLAYY. (formerly The Playground), the company that helped support artists such as Ed Sheeran, FKJ, and Novo Amor early on in their careers. What started as an idea in the early 2000s, during the heyday of MySpace and the rise of digital fandom, has evolved into something both practical and visionary: a digital oasis of creative independence and community.

For fans, PLAYY. Music offers a space that feels refreshingly human. Devoid of intrusive ads and algorithmic noise, there is a notable emphasis on meaningful discovery, direct artist engagement, and access to exclusive performances, projects, and events. It’s a platform built not around consumption, but connection.

In a landscape that often values clicks over creativity, PLAYY. Music is measured in its ambitions: not chasing trends, but creating the infrastructure for long-term creative sustainability. At its core is a belief that musicians should be able to grow without constantly compromising, where music can thrive on its own terms.

Building PLAYY. Music has been a deeply personal and challenging journey,” remarks Morris. “Seeing firsthand the hurdles artists face due to limited resources and industry monopolies fueled this project. It shouldn’t be this difficult for musicians to share their work and make a living from it… this has been the most demanding endeavor I’ve ever undertaken, and now, after nearly two decades, we’re finally ready to launch.”

Join the PLAYY. Music movement – sign up today!

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