ThxSoMch

In an era where online momentum can turn an artist into a phenomenon almost overnight, ThxSoMch has emerged as one of the more unpredictable voices to come out of Canada’s new underground wave. His music moves between abrasion and vulnerability, pairing distorted textures with melodies that feel exposed enough to fracture. Songs like “Hate.” and “Spit In My Face!” spread rapidly online, but the attention surrounding them has also forced him to navigate the tension between instinctive creativity and the expectations that come with virality.

What makes ThxSoMch compelling is the resistance built into his approach. Even as his audience expands, he remains skeptical of polish, algorithmic thinking, and the pressure to endlessly recreate past success. In conversation, he speaks candidly about protecting the rawness in his work, preserving imperfect vocal takes, and finding ways to separate artistic expression from the business demands surrounding it.

The result is music that often feels immediate and chaotic, but grounded in emotions that linger long after the initial impact.

You had a breakout moment online that connected quickly and intensely. How did that experience shape the way you approach making and releasing music?

I try not to let it affect the way I make music. “Intense” is the best way to describe it, because at first the rush of attention and pressure was overwhelming, and it would influence the creative. It still does sometimes, but I try to block it out and create as myself.

Releasing music is different, because then you have to think about marketing and everything around it. I learned a lot early on in that sense. But my favourite part of releasing has always been the fans.

Some of your songs feel very immediate, like they capture a moment as it’s happening. How do you balance that urgency with refinement?

Most of what I write about is from past stories. There isn’t always immediacy in telling them, because they’re about a feeling, and you don’t forget feelings.

Some songs are about things I’m going through in the moment, almost like I’m venting them out. Those come naturally too. In my experience, both can make equally good songs.

When a certain energy resonates with people, there can be pressure to recreate it. How do you avoid falling into repetition?

You do or you don’t, and you let it drive you mad. I remember my A&R once texting me, “You need to constantly emulate ‘Hate’ and ‘Spit,’” which are my two biggest songs. No surprise there.

But I think it comes down to finding time to create for yourself, not just for your business.

Your work exists in a space that’s both highly digital and very visceral. How do you think about the relationship between online momentum and real-world impact?

Touring is definitely important for that. But it’s hard to draw the line sometimes. I know artists with real fanbases who have never toured or even shown their face. Maybe it just comes down to the music and the message.

As your audience grows, there’s often a push toward a more polished sound. What are you most intentional about preserving in your music?

Polished sound is for AI music. Preserving mistakes and raw moments is important. It makes the music more real. I’ve lost my voice recording songs to the point where I couldn’t even hit the notes, and some of those takes are still in my songs.

When someone hears your music for the first time, what do you want them to feel?

Scared. Or at peace.

A lot of music now is designed for instant impact. Do you see your work as something that hits right away, or something that reveals more over time?

It depends on the song. With my album, I feel like it’ll slowly reach people over time. With singles, it can be a bit of both.

I don’t really think about that while I’m creating, and once it’s out, I try not to think about it. You can only hope at the end of the day.

What are your thoughts on the future of music in Canada?

There seems to be a nice scene coming up in Toronto right now, especially in underground music. It feels like the strongest it’s been in that sense. Every year I see more and more Canadian artists winning, and that feels good.