Apologue Podcast

Lotsy (LOT-SEE) 1. an extreme state of euphoria, when having animmense amount of fun. Lotsy talks about the new single “‘No Obedience’ is about how fear can make us complacent. It can keep us obedient to systems, expectations and even our own limiting beliefs, stopping us from making choices that may feel risky but could lead to greater personal, creative or financial freedom. The song encourages people to question what is holding them back and to choose possibility over fear. I believe that when people feel empowered to live more fully and authentically, their individual lives improve and that creates a ripple effect that can make the world a better place”. Lotsy is a genre-bending rock project built for people who want more than background noise. It’s fun, strange, loud and loaded with meaning. Welcome to Lotsyland. Find your Lotsy. Socials Lotsyland WebsiteInstagramTikTokYouTubeFacebookSpotifyApple Music Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Oakland, California power pop outfit The Goods return August 19 with “Minor Key,” the second advance single from their upcoming LP Goodbye Summertime, due September 16 on Dandy Boy Records. Following the shimmering optimism of first single “Summer’s Almost Gone,” songwriter Rob Good reveals the more vulnerable side of the forthcoming record with a bittersweet meditation on heartbreak, memory, and letting go. For fans of The Lemon Twigs, Teenage Fanclub, Matthew Sweet, Young Guv, The Apples In Stereo, The Raspberries, and Sharp Pins, “Minor Key” peels back another layer of an album that stretches far beyond the jangling power pop foundations of The Goods’ earlier work. Some records take years to write. Goodbye Summertime seemed to write itself. “My whole life turned upside down one summer,” recalls Good. “The long-term relationship I was in collapsed, and in the wake of that, I found new love. I was sorting through the grief and failure of my previous relationship and the bliss and anxiety of my new one all at once, all while basically living at my recording studio, and I found myself in an intensely creative state.” The songs came fast. “I’d be experiencing some crazy high or crushing low, and I’d write a song about it and immediately record it. Many of these songs are real-time accounts of what I was going through in those moments.” That urgency finds its emotional center on “Minor Key,” a wistful farewell to someone left behind. While “Summer’s Almost Gone” urged listeners to embrace the present before it disappeared, “Minor Key” lingers in the quiet after the moment has already passed. It’s a song for the drive home after last call, watching the Bay Bridge disappear into the fog in the rearview mirror, replaying conversations you wish had ended differently. As Good puts it, it’s simply “a bittersweet goodbye to someone left behind.” Across Goodbye Summertime’s fourteen tracks, Good follows those emotional threads wherever they lead. The Revolver-inspired haze of “Lazy,” the Mellotron-soaked melancholy of “Punchbowl,” the vulnerability of “Wing,” and the slow-building Wurlitzer crescendo of album closer “Sleepytime” reveal a songwriter widening his palette without sacrificing the hooks that first put The Goods on the map. Produced by Good in his Oakland studio, with contributions from Cherron Arens, Yea-Ming Chen, and Ian McBrayer, then mixed and mastered by Bart Thurber, the record feels expansive without losing the intimacy of its origins. Picture Credit: Corey PolukThe Goods OnlineINSTAGRAM | SPOTIFY | BANDCAMP | APPLE The Goods LiveRecord Release show – Sept 2026 @ Little Hill, El CerritoEuropean Tour September 23 – October 18 Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Ontario punk trio Among Legends come out swinging on Lose My Grip. The band’s second full-length album, out July 10, 2026, moves fast, hits hard, and rarely lets up, pulling from the melodic urgency of Bad Religion, the road-tested punch of The Flatliners, and the hook-heavy energy that defined southern Ontario punk through the 2000s. Produced, engineered, mixed, and mastered by Matt Gauthier at ARC Recording Studio and This Place Needs A Name, the record leans further into speed, tension, and sharper edges without losing the melodies that got the band here in the first place. That balance shows up immediately across the album’s twelve tracks. Lead single “H/A/C/K” came out swinging with tight guitars, biting rhythms, and a heavier sense of frustration running underneath the hooks, while “Floating Here For Years” pulled things inward, trading pure momentum for something more restless and reflective. Together, they pointed toward a record that sounds bigger, louder, and more confident in itself than anything Among Legends have released before. Formed in 2016, Among Legends built their foundation the long way. Self-released EPs, DIY spaces, weekenders, festivals, basement shows, and years spent hauling gear through clubs and bars across Canada and the United States. Their 2022 debut full-length Take Good Care, produced by Siegfried Meier, earned praise from BrooklynVegan, Exclaim!, PunkNews, New Noise Magazine, and Idobi Radio, with BrooklynVegan describing the record as “one ripper after another.” But even then, the band was already heading somewhere else. Recorded in 2019 and delayed until 2022, Take Good Care captured a lineup and sound that no longer fully reflected where Among Legends were going. In the years that followed, lineup changes stripped the band back to its core, with Mitchell Buchanan and Sara Fellin carrying things forward and rebuilding the group into the trio it is today. Rather than slow them down, the change sharpened the focus.  Lose My Grip feels less interested in fitting neatly into modern pop punk and more committed to the kind of melodic punk that sounds raw, immediate, and human. “Our last record came out four years ago, but it was recorded seven years ago. We’re not the same band anymore and I think that’s evident in the way this record sounds,” says vocalist/bassist Mitchell Buchanan. “Stability has been a hard feeling to find in recent years, and this record covers some of the different experiences that come with instability. It’s a lot of looking around and asking ‘how did we get here,’ whether that’s about the state of our countries, our communities, our relationships, or ourselves.” You can hear that especially on “Go On,” one of the album’s strongest tracks and emotional centerpieces. Built around a push-and-pull between vulnerability and avoidance, the song cuts through with lines like “I say I’ll come but we both know I won’t,” capturing the tension between wanting connection and keeping yourself at arm’s length from it. Across the album, relationships drift, routines calcify, and uncertainty hangs overhead, but the songs never stay still long enough to drown in it. Among Legends Online INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK | WEBSITE | YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Last Second Dropout (Canadian led band, formed at Berklee and based in Brooklyn) returns with a reimagined version of their song “Aspartame,” available on all streaming platforms June 12. Last Second Dropout – “Aspartame” – Digital Assets Originally released earlier in the band’s career, the new version, produced by Garth Richardson, captures both the evolution of the band’s sound and the perspective that comes with revisiting a song years later. Blending pop-punk, alternative rock, emo, and hip-hop influences, “Aspartame” pairs explosive guitars and emotionally charged vocals with modern production and a sharper sense of urgency. Canadian lead singer Mark MacDonald explains: “’Aspartame’ is about the difference between the truth of what power people and corporations try to tell you is the truth. It’s also about Diet Coke unless you’re Coca-Cola and you’re gonna sue us then it’s about Diet Pepsi.” Last Second Dropout is a NYC/Toronto-based alternative band that is a little pop-punk, a touch emo, a tad alternative rock and with some hip-hop influences, that create emotionally driven songs built for both catharsis and connection. Known for high-energy performances and emotionally honest songwriting, the band continues to grow through touring, independent releases, and a dedicated online fanbase. Social LinksWebsiteSpotifyApple MusicInstagramFacebookTikTokYouTube Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Born out of a long-distance correspondence, Sweden/New York-based transatlantic duo Fuses craft songs that feel like signals sent across oceans. Their debut album ,Sawdust in the Transmission out June 26 via Having Fun Records, the rock imprint of Toronto’s We Are Busy Bodies, bridges geography and emotion with a sound steeped in 60s folk rock and classic country. Echoing the timeless jangle of The Byrds, the pastoral storytelling of Fairport Convention, and the bittersweet warmth of artists like Gram Parsons and Jason Molina, the record connects the Swedish urskog with the Canadian muskeg. Lush vocal harmonies and reverb-soaked steel guitar create a sound that is both melancholic and hopeful, timeless yet uncommon.Drummer and bassist Moa-Linn Rosenlöf (Orkan, Spela Död) first met guitarist Craig Fahner when his Toronto-based group Motorists played Gothenburg in 2024. What began as a chance meeting quickly evolved into a daily creative exchange. Plans to reunite in New York City were ultimately derailed by visa complications, but the setback became the catalyst for the album. Instead, the pair spent a week sending Ableton sessions back and forth across the Atlantic, planting the seeds for a collection of songs that would later be brought to life during a dedicated recording session at Gothenburg’s legendary Nacksving Studios, a site deeply connected to Sweden’s 1970s political progg movement. The week proved especially momentous: the day after completing the recordings, the duo traveled to a courthouse in Borås and were married, sealing both their creative and personal partnership.