Josh Korody’s had a busy year. When he wasn’t producing and recording releases by artists like Dilly Dally and Fresh Snow at Candle Recording, gigging in support of WISH’s 2014 self-titled debut, or subbing in on drums with Vallens and Moon King, he and Jesse Crowe unveiled the sophomore follow-up to their 2013 debut as Beliefs in November, and he still found time to pump out Format, his first electronic record working under the solo moniker Nailbiter on Hand Drawn Dracula. Grab a copy of our December seven-inch this Saturday (Dec. 12) for an as-of-yet unreleased Nailbiter track and another from New Chance, and check out our seven-inch survey with Nailbiter himself to get caught up to speed.

Electric guitars. A drum kit. A punk band with a swearword name. Depending on who’s being asked, these are not the makings of a grandiose opera production. But for three nights in November, Toronto opera company Tapestry Opera is challenging that received wisdom by partnering with Fucked Up for a production of a new opera called Metallurgy.

Even though they’re set to release their Never Come Down 12-inch March 31 via One Big Silence, Elsa didn’t mind reaching into the archives to commit “In Waves” – a song from the same sessions as their 2013 I Do EP – to wax on the March instalment (LW-005) of Long Winter’s split 7-inch series, available free to the first 250 guests through the doors at the Great Hall on March 13. In this questionnaire, singer/guitarist Jonathan Rogers explains the origins of the song and tells us about a near-fatal winter experience.

Together with vocalist Alice Hansen, Charles Blazevic makes ruminative, nocturnal pop music in You’ll Never Get To Heaven. But on March 13, Blazevic brings his solo instrumental project Dreamsploitation to the final Long Winter of the season. In this questionnaire, Blazevic explains how “Accent Blue“ – available on our March split 7-inch with Elsa, free to the first 250 guests through the doors at the Great Hall – was inspired by solo piano music.