Throwin’ Bo’s presents:
Calvin Love
Calvin Love is a Canadian singer-songwriter whose music lingers in the shadows of nostalgia and noir. With a signature croon and a sound that merges psych-folk, cinematic longing, and romanticism, he has built a world that feels both vintage and strangely timeless. The press has described his music as “a crestfallen soundtrack of near-escape… like Chris Isaak trapped in a David Lynch film.”
An artist of prolific output and quiet intensity, Love has carved out a singular space within the realm of outsider music—a body of work shaped by introspection, lyrical depth, and restless vision. Influenced by a DIY ethos, the pulse of rock ’n’ roll, and the bruised glamour of 1980s balladeers, he has independently built a sonic world entirely his own.
Known for live shows that blur the line between concert and dream sequence, Love approaches each song like a method actor—dissolving the boundary between persona and performance with slow-burning precision and intimate delivery. Whether standing alone, hovering above a microphone and 12-string guitar, or leading a seven-piece ensemble, his performances carry a magnetic stillness: immersive, nuanced, and emotionally resonant. With a career spanning multiple albums and international tours, Calvin Love has spent over a decade quietly shaping one of the most distinct voices on the outer edges of the indie music world.
Cindy
Cindy released a new six song EP called Swan Lake on 4th October via Tough Love. The title isn’t a nod to the folktale or ballet in any real way, but to the fact that it all has ended up in the collective imagination as an object, vaguely recognizable, a little suggestive, and mostly blank. Karina Gill, Cindy’s songwriter, likes to make use of that kind of resonance to connect sound and experience.
The six songs on this EP continue the stripped-down habits of previous Cindy releases, while adding a few departures and left-turns. Cindy likes to work at the essentials and the elements here say exactly what’s needed. In other ways, these songs present a soft filigree that’s unusual for their recordings. Oli Lipton (Now, Violent Change) on guitar and Will Smith (Now) on bass play counterpoint melodies to Gill’s structures. Staizsh Rodrigues (Children Maybe Later, Almond Joy, Peace Frog) sings vocal harmonies that both offset and deepen Gill’s voice and delivery. There are playful drums by Mike Ramos (Tony Jay, Sad Eyed Beatniks) and coolly elaborate guitar lines from Stanley Martinez (Famous Mammals, Violent Change, Non Plus Temps).
Gill’s songs strike this balance too: almost nonchalant reporting tied up in unexpected knots. A ride in an elevator connects up with questions about peace and/or the nature of things; the title track wonders about associative thinking and associative feeling; The Bell is an account of one of those times when everything makes sense but you can’t explain it; and there’s the scene of a party viewed with admiration for how friends can love each other. As Gill herself says:
"People have told me that they can’t quite identify my influences. Me neither. The foundational layers of music of the past and my past have been metabolized like breakfast and turned into more me, sorry to say. But I experience the music of people I’m connected with and it impacts me in the moment. There’s the music I’m around – April Magazine, Sad Eyed Beatniks, Violent Change, Katsy Pline, collaborating with Mike on Flowertown – that I can feel a direct line from. Then there’s music that is being made far away but feels close, like Lewsberg, specifically, for this EP. “
Marika Christine
Marika Christine is inspired by the power of tenderness. Her music creates a whimsical atmosphere to navigate the highs and lows of life. Sonic influences include Laurel Canyon folk, modern art rock, and the creative hum that can be heard throughout the San Francisco Bay Area.
Marika’s discography includes contributions from Maria Donjacour (Medscool), Adam Wilson and Fabrizio Incerti (Mild Universe), Conner McNesby, and her brother Janis Stuurman.
For a debut album, newcomers to her music will quickly realize her immense capabilities as a songwriter, vocalist, and musician. This record could have been released in the 60’s or 70’s and reached critical acclaim, but it’s being shared in 2023, and we think that same acclaim is within reach. One of the most cohesive and decade-spanning sounding records we’ve experienced all year, Marika Christine has floored us with the fresh release of Soft Like An Apricot —We Write About Music
DOORS at 7:00PM | MUSIC at 8:00 PM