KERUB’s sophomore album, APHANTASIA, was released on July 24, 2025. Self-recorded, produced and mixed, their second full-length is a sonic exploration of love, loss, and youth using the framework of Nietzschean reincarnation. Their first collaboration with Montreal and Tehran-based label KOPI Records, ‘APHANTASIA’, shows KERUB branching out into a more accessible, but still intriguing sonic aesthetic. Having started their musical journey with their debut EP, ‘GUARD’ (2028), KERUB quickly began a rapid-fire release schedule of EPs until 2023, when they independently released their debut album, ‘MIN’. A techno-organic take on Jewish mysticism by way of instrumental transgender allegories.

Name:

KERUB

Genre:

Electronic

Founded:

2020

# of Albums:

2 (also 4 EPs)

Latest Album:

APHANTASIA

Latest Single:

Calm

Latest Video: 

Favourite musician growing up:

It may be surprising to people who know my sound, but Shania Twain…I wore the CD of ‘UP’ (2002) OUT.

Favourite musician now:

AG Cook – the continued evolution of his sound really is just amazing. If I could steal anyone’s career, it would be his.

Guilty pleasure song:

I worry about sounding pretentious, but I don’t think I believe in feeling guilty about pleasure, but I have been listening to a lot of the anime openings I grew up listening to. Specifically ‘Days’ by FLOW.

Live show ritual:

Go through line-by-line the song ‘Goodbye Horses’ by Q-Lazarus in my head, then have a minor dissociative moment where I channel the spirit of KERUB.

Favourite local musician:

R. Flex – you better check the flex.

EP or LP?

LP. I love an EP, but I want to hear you say something.

Early bird or night owl?

Yes. But don’t book me for a set that starts at 2:00 AM, please.

Road or studio?

Studio. But I love being driven around.

Any shows or albums coming up?

My sophomore album APHANTASIA is out now on KOPI Records, working on some more releases, so stay tuned

Where can we follow you?

Bandcamp | Instagram | TikTok | Bluesky

***

Rapid Fire Local Questions:

What is your favourite local restaurant?

Koh Lipe

What is your favourite street in your city and why?

Jewish Folk Choir Lane. I’ve never walked it, I’ve never spent any time intimately inside of it, but I love the name.

What is your favourite park in your city and why?

Dufferin Grove Park – it’s cute.

What is your favourite music venue in your city?

I’ve enjoyed my time at the Danforth Music Hall, and also Handlebar

What is your favourite music store in your city?

Dead Dog Records – I love a place where I can buy weird sound design records as well as C-Disco.

The post Five Minutes With: Toronto-based Electronic Musician Kerub appeared first on Toronto Guardian.

Fans can expect performances from international acts such as Dom Dolla, Eli Brown, Green Velvet back-to-back with Layton Giordani, Dab The Sky (Dabin B2B Said the Sky), Blanke, Nostalgic and others, plus sets from Canadian artists including Addy, Alkemy, DirtyHappy, and CPark.

Organisers have upgraded production on both the Sirkus and Bass stages. The Sirkus Stage includes 30 percent more LED screens, a redesigned layout, and new overhead shaded trusses for weather protection. The Bass Stage features 33 percent more LED screens, additional subwoofers, and a new laser show.

The festival will operate as a cashless event. Attendees must use credit or debit cards with tap enabled, or pre-paid cards. All wristbands must be registered in advance to access the site. Locker rentals with charging stations will be available, and Downsview Park remains accessible by TTC and GO Transit.

A lead-up event, Road to VELD presented by Urban Planet, is scheduled for July 27. VIP tickets are sold out, but limited on-site VIP upgrades will be available on a first-come, first-served basis. Wristbands will be mailed for orders placed by July 22; those purchased after that can be picked up at the box office from 1 pm daily.

The festival grounds open each day at 2 pm and close at 11 pm. There is no re-entry allowed and attendees must be 19 or older.

Additional features of the festival include interactive art installations, a wide selection of food vendors, a mobile app with set times and site maps, official merchandise, and curated after-parties.

Tickets, daily schedules, and additional information are available at the official website: veldmusicfestival.com.

The post VELD Music Festival 2025: Massive Lineup and Next-Level Production appeared first on Toronto Guardian.

There was quite a mix of outfits at the station—Coca-Cola Coliseum was hosting alternative rock/indie band The Driver Era, while over at Budweiser Stage, electronic duo Justice was taking over. Justice is a French duo known for their distorted sound, blending genres like dance, disco, rock, and funk. They rose to prominence in 2007 with their debut album † (Cross).

Many of their fans hail from the blog era—2000s to early 2010s—a little before streaming really took off. So the Toronto crowd that showed up wasn’t the typical age range you’d usually see at electronic festivals like VELD. It’s worth noting that Justice hadn’t headlined a Toronto concert in over 13 years, since 2012. For them to pack one of the city’s largest venues is a huge feat—and a clear sign of their lasting relevance after more than two decades in the game.

Despite being away from Toronto for so long, they’ve recently built a strong connection with the city, thanks to The Weeknd’s 2025 album Hurry Up Tomorrow, where Justice appears on the opening track. It makes total sense—Justice’s signature production is dramatic, synth-heavy, dark yet anthemic, gritty yet polished. With The Weeknd’s final album in his trilogy carrying a nostalgic, moody, haunted tone, the collaboration was a perfect match.

Justice offered Toronto-specific tour merch and had various DJs spinning sets around the venue— the DJs were playing artists like Daft Punk, among them. Justice and Daft Punk share a lot of fans, as both come from France and explore similar sonic territory, with iconic live performances at the core of their identity. While Daft Punk was mainly active in the ’90s through 2010s, Justice has become a go-to fix for fans of French house in the modern era.

The sun slowly dipped behind the skyline, and although rain was forecasted, the skies stayed clear.

When Justice finally took the stage, it felt like being pulled into a robotic, gritty underworld—opening with their signature cheering-laced intro, a track they typically begin with. That seamlessly led into Genesis from their debut album. The song feels like a war cry, setting the tone as if you’re being led into a Roman colosseum—massive, ominous, and thrilling.

As the stage lights began to drop in perfect synchronisation, it hit me: people come to see this duo not just for the music, but for the show. The light production was on another level. Towering Marshall amp-style light walls, strobes pulsing with every beat—it was easily the most sophisticated and breathtaking light show I’ve ever witnessed.

A few tracks in, they dropped One Night/All Night, their massive collab with Tame Impala from last year, and seamlessly blended it with D.A.N.C.E., arguably their most iconic track.

This led into a powerful mix of Neverender/Safe and Sound, with Neverender being another Tame Impala collaboration. At this point, the lights transformed into a semi-circle of suspended rigs, tilted dramatically, casting beams of amber and white into the smoke-filled air. The entire stage looked like a glowing shrine to rhythm and light. Justice themselves barely moved on stage, letting the visual and sonic elements take centre stage over their own presence.

They spent the rest of the set bouncing between their debut album—with classics like Stress and Waters of Nazareth—and newer tracks from Hyperdrama, including Incognito and Afterimage.
The crowd exploded as the set ended, only for Justice to return for an encore—a megamix of highlights from the show. Naturally, they closed with a bang.

Justice proved not just the staying power of house music in 2025, but also their own undeniable relevance—absolutely rocking Toronto after a 13-year absence. From being featured on The Weeknd’s new album to their collaborations with Tame Impala, it’s exciting to think about where they’ll go next. As the night came to a close and the crowd trickled out, it felt like summer had officially begun at Budweiser Stage—and I can’t wait to see what other outdoor concerts the season brings.

The post Justice Lights Up the Budweiser Stage appeared first on Toronto Guardian.

1950s: Jazz, Swing, and Early Rock ’n’ Roll

Vibe: Sophisticated, live-band heavy, cocktail culture

Before the age of DJs and turntables, nightlife revolved around live music. Supper clubs and ballrooms featured big bands, swing, and jazz ensembles, with crooners like Frank Sinatra and Ella Fitzgerald filling the air. In working-class dance halls, early rock ’n’ roll and rhythm & blues started creeping in—setting the stage for the youth-oriented culture to come.

Typical Artists: Louis Prima, Ray Charles, Elvis Presley, Fats Domino
Venues: Ballrooms, supper clubs, lounges

1960s: Soul, Motown, and the Birth of Psychedelia

Vibe: Electric, danceable, socially charged

In the ‘60s, nightclubs became more integrated and expressive. Soul and Motown dominated Black and mainstream clubs alike, with grooves that got people dancing and lyrics that reflected social change. Toward the end of the decade, psychedelic rock and funk crept into late-night sets, driven by the counterculture.

Typical Artists: The Supremes, James Brown, The Beatles (later years), Otis Redding
Venues: Soul clubs, mod hangouts, psychedelic discos

1970s: Disco Fever and Funk Power

Vibe: Glamorous, inclusive, euphoric

The ’70s were the disco decade. As DJs rose to prominence and vinyl records replaced live bands in many clubs, disco turned nightlife into a collective, hedonistic experience. The music was lush, rhythmic, and emotionally charged—perfect for the dancefloor. Meanwhile, funk kept things gritty and groove-heavy, often overlapping with disco in style and crowd.

Typical Artists: Donna Summer, Chic, Bee Gees, Parliament-Funkadelic
Venues: Studio 54 (NYC), The Loft, Paradise Garage

1980s: Synthpop, Freestyle, and the Birth of House

Vibe: Flashy, experimental, global

The ‘80s saw the explosion of electronic instruments into pop and club music. Synthpop and new wave became club staples, while freestyle (Latin-infused dance-pop) emerged in NYC and Miami. Most importantly, this decade gave birth to house music in Chicago and techno in Detroit—genres that would soon reshape global club culture.

Typical Artists: Depeche Mode, Madonna, Shannon, Frankie Knuckles
Venues: The Hacienda (UK), The Warehouse (Chicago), Danceteria

1990s: Rave Culture, Hip-Hop, and Eurodance

Vibe: Wild, tribal, diverse

The ‘90s were a golden era for club diversity. In Europe, rave culture exploded with trance, hardcore, and Eurodance, while in the U.S., hip-hop and R&B took over urban clubs. House and techno grew more refined and global, while garage and drum & bass emerged in the UK. This was the era of glowsticks, oversized pants, and warehouse parties.

Typical Artists: The Prodigy, 2Pac, Snap!, Daft Punk, Armand Van Helden
Venues: Ministry of Sound (London), Limelight (NYC), Club USA

2000s: Commercial Dance, Crunk, and Electroclash

Vibe: Flashy, genre-blending, heavily produced

The 2000s club scene was defined by two major forces: hip-hop dominance and the rise of commercial electronic dance music. Artists like Usher and Lil Jon ruled the clubs with high-energy crunk and R&B hits, while DJs began mixing electro, pop, and house into massive dancefloor anthems. Subcultures like electroclash brought irony and edge, while mainstream clubs leaned into bottle service and radio-ready hits.

Typical Artists: Usher, David Guetta, Missy Elliott, Benny Benassi
Venues: Mega-clubs in Miami, Vegas, Dubai

2010s: EDM Takeover and the Global Club Scene

Vibe: Maximalist, festival-driven, global fusion

By the 2010s, EDM (Electronic Dance Music) became a global phenomenon, driven by superstar DJs and massive festivals. Big room house, dubstep, and trap EDM ruled main stages and mainstream clubs. Meanwhile, Afrobeats, Latin trap, and K-pop began to sneak into sets, especially in multicultural cities. Hip-hop remained dominant in many clubs, often woven into genre-mixed nights.

Typical Artists: Calvin Harris, Diplo, Rihanna, Drake, Major Lazer
Venues: Hakkasan (Vegas), Berghain (Berlin), Output (Brooklyn)

2020s: Genre Fluidity and Underground Revival

Vibe: Experimental, inclusive, nostalgic, post-pandemic rebirth

The early 2020s saw a shift toward genre fluidity and the revival of more intimate, DIY club scenes. Post-pandemic nightlife is defined by techno’s resurgence, the global domination of Amapiano, Afrobeats, and reggaeton, and a strong nostalgia for ’90s/2000s pop and Y2K club hits. TikTok trends often dictate what gets played, and diversity is now central to club programming.

Typical Artists: Peggy Gou, Bad Bunny, Burna Boy, Fred again.., Charli XCX
Venues: Pop-up parties, hybrid art spaces, queer-led raves, immersive warehouse scenes

A Never-Ending Remix

The evolution of club music reflects our changing cultures, technologies, and values. From ballroom jazz to Berlin techno, from Motown to Amapiano, clubs have always adapted and redefined what it means to dance together. As genres continue to blend and borders dissolve, the soundtrack of the night becomes more inclusive, dynamic, and unpredictable than ever.

Whatever the decade, one thing remains constant: people crave connection, rhythm, and release. And the club? That’s where it all comes alive.

The post The Evolution of Club Music: What the Dancefloor Sounded Like Through the Decades appeared first on Toronto Guardian.

The most recent full-length album, POLLY (2023) features guest performances from Toronto’s Julia Little on guitar, Bruce MacKinnon (The Silver Hearts) on saxophone, trumpet player Rudy Ray (Wu-Tang Clan) and trombonist Tom Reader (The Silver Hearts). It was recorded at Dining Room Sound in Toronto in March of 2021. Also available are THIS LONG ROAD (LP, 2022), DESTABILIZER (LP, 2021), and PANDEMIC EP (EP, 2020). The new album “SHE” is scheduled for release in early 2025.

Polly Jean Vernon (she/her) is an experienced Canadian musician based in Toronto. A queer woman of transgender experience with diverse musical influences, she has played with many different live and recorded projects as a drummer and percussionist since 1991, first in the Toronto handcore scene before moving to Peterborough and then Halifax. In Halifax (1997-2001), she played gigs backing up local folk hero Al Tuck and treasured MC/turntablist Buck 65. This led to a two-year rehearsal space experiment with friends Dale Hussey (Rebecca West), Andy Miller (Rome Plows), and Philip Clark (A/V) including two drumkits, two synths, and a drum machine; the many lessons learned during this time would later form the basis for the 8know8 project and the birth of Polly’s love affair with the Juno series of synthesizers.

The early 2000s saw Polly-Jean moving back to Toronto to play with ex-bandmate Chad Ross, who at the time was playing with the Deadly Snakes and working on some solo material on the side. Polly worked with Chad and other artists to create three albums over the next six years, as Ghost Story and Nordic Nomadic. Her Kawartha roots led to being asked to perform with Peterborough’s legendary “beerhall orchestra” The Silver Hearts from 2003 to 2007, with whom she played as the backing band for Ron Sexsmith, Maestro Fresh Wes, Sarah Slean, Serena Ryder, Rick Fines, and Andre Ethier, among many other stellar musicians.

In 2013, Polly-Jean formed Brother Accord with Silver Heart bandmate Charles Glasspool, a piano/drums duo that played gigs around Ontario opening for artists as diverse as Wilderness of Manitoba and BA Johnston. The recording from this era, a 2015 album engineered and mixed by Kingston audio legend Matt Rogalsky, is self-titled.

Polly-Jean moved back to Toronto again in 2016, and in the fall of 2017, the 8KNOW8 project was born with the purchase of a Roland Juno-DS keyboard. She continues to work on other projects, including “post-fox”, a collaboration with Beachfox’s Zack Thomson, and an evolving riot grrl project. She will be back in the studio with 8know8 in spring of 2025.

Name:

Polly-Jean Vernon (she/her)

Genre:

Electronic/experimental/instrumental/punk

Founded:

2019

# of Albums:

4 studio albums plus an EP

Latest Album:

“She” (2023) on No Dogma Records

Latest Single:

“Make It Work” from the album “She”

Favourite musician growing up:

Neil Peart

Favourite musician now:

Kathleen Hanna

Guilty pleasure song:

“Strive” A$AP Ferg feat. Missy Elliott (actually, that whole album is so good)

Live show ritual:

A quiet moment alone outside

Favourite local musician:

Rick White

EP or LP?

LP, I love the experience of a whole record.

Early bird or night owl?

Early bird, nap, then night owl.

Road or studio?

Love them both like apples and oranges, but Studio!

Any shows or albums coming up? 

Warkworth Pride Festival on June 7, working on a southern Ontario tour for the fall!

Where can we follow you?

Spotify | Apple Music | Bandcamp | Instagram

***

Rapid Fire Local Questions:

What is your favourite local restaurant?

The Federal on Dundas! This is THE brunch for me

What is your favourite street in your city and why?

Roncesvalles! It’s a cute land vibrant little neighbourhood, good for errands and hangouts, and it’s close to my apartment!

What is your favourite park in your city and why?

High Park. So much forest!! And our dogs can run.

What is your favourite music venue in your city?

Lee’s Palace. Big beautiful room, lots of history, sounds great, and on the subway line

What is your favourite music store in your city?

She Said Boom! on Roncesvalles, new and used records and books. And lovely people 🙂

The post Five Minutes With: Toronto Electronic Artist Polly-Jean Vernon appeared first on Toronto Guardian.