About Harbour:
Since their formation in 2014, HARBOUR has gone from packing rooms in their native Cincinnati to selling out venues across the United States. After the successful release of their 2023 album ⏤ To Chase My Dreams, Or To Just Lie Down? ⏤ the band is looking to follow it up with their fifth studio album in 2025. After A couple trips around the country supporting bands such as Bilmuri and Wilderado, they are poised for their first full US headlining tour. With more music & shows in the works, the band has no plans of lying down anytime soon.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
About TOPS:
Musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed “evil TOPS,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
