RANGE

Erratic and erotic, writer-director Gregg Araki’s first film in over a decade, I Want Your Sex, gushes onto the silver screen in a bid to make cinema horny again.

There are artists who reinvent themselves by changing their image, and there are artists who do it by abandoning the need to hide behind one. Ariana Grande’s eighth studio album, petal, belongs to the latter. If 2024’s eternal sunshine treated heartbreak like a puzzle to be solved, its follow-up seems more content leaving the pieces where they fall.

Lemieux was in the kitchen of his Victoria, B.C., home, hanging out with his teenage daughter. It was very rare for one of the band members to actually call him, even though Lemieux had, by then, spent more than two decades working for the Dead as their archivist. Not to mention that, despite the two men knowing each other for years, it was still Bob freakin’ Weir—torchbearer for the Grateful Dead’s music and a rock star unlike any other. So, of course, Lemieux picked up.

At this year’s Calgary Folk Music Festival, RANGE skipped the standard backstage interview. Instead, we asked some of our favourite artists to draw questions from our music-inspired take on the Proust Questionnaire, creating a series of candid conversations that reveal the people behind the performances at CFMF2026. DANIEL ROMANO’S OUTFIT What is your favourite festival memory? One time, I was at a festival in Scotland that I can’t remember its name right now.

The title of the track is classic Baptiste. A deliberately cheeky contradiction that masks a much deeper question. Beneath the hooks lies a sharp critique of our obsession with constant achievement, the idea that happiness always exists somewhere just beyond the next promotion, paycheque, or milestone.

Do you often have a concept before an album? I love concept albums. I’ve always been someone who has been very much into album artists. With my last EP, B.O.Y., it was such a different era, I was about to go on tour, so that whole project is all live arrangements, you feel like you’re on tour with me. With this project, it’s very personal and like a diary entry. I think that that is something I want to continue to do with my career.

The Toronto festival has unveiled the full lineup for its fourth edition, returning to the city’s west end from October 1–3 with its most ambitious program to date. Spanning nine venues and hundreds of left turns, the artist-run festival continues to carve out a lane all its own—one where underground legends, experimental icons, local heroes, and tomorrow’s cult favourites comfortably share the same weekend.

Before Charli xcx’s seventh studio album Music, Fashion, Film had a release date, she had already given the internet its first talking point. Pulled from an interview with British Vogue, “I think the dance floor is dead,” quickly escaped its original context, drawing responses from everyone from John Summit (“Maybe your pop music dance floor is dead, but ours isn’t babe.”) to Madonna (“If your dance floor feels dead, maybe you’re playing the wrong music.”).

By the time the impossibly slick “CHANEL” arrived and the Zara Larsson-assisted “SHE DID IT AGAIN” doubled down on its mirror-ball confidence, Tyla had already outgrown the vocabulary people kept using to describe her. Every breakthrough came with an asterisk, as if global pop needed a footnote whenever it originated somewhere other than London, Los Angeles, or Stockholm. Her sophomore album A*POP doesn’t bother arguing the point; it simply renames the category.

On the 25th anniversary of their classic debut, Is This It, The Strokes are back on the road with their new album, Reality Awaits, their first in six years. The album title feels intentional, signalling a new reality for listeners. And while the record still carries hallmarks of the classic Strokes sound, it’s far more experimental than some hardcore fans might like.