These two Montreal Artists are inviting you to try and deny their greatness with “PSEUDO TONES“

Mosez Jones and Jon Rivera return with Pseudo Tones—a six-track odyssey that tears down expectations and rebuilds them in real time. Instead of chasing the sound their city rewards, they crafted the one it’s been missing: textured, emotionally charged, and unafraid to bend genres until they snap into something new.

Where most artists aim to blend in, Mosez and Jon double down on contrast. Their chemistry is sharp, deliberate, and unpredictable. Pseudo Tones thrives in the space between their differences—the push and pull of silky vocals against distorted edges, the warm soul tones offset by industrial grit. It’s the kind of project that doesn’t ask for permission to be understood; it demands it.

The opening track, “B.Y.T.M.”, sets the tone instantly. It’s bold, atmospheric, and experimental in a way that feels almost cinematic—like Miguel crafting melodies over a Yeezus-era beat palette. Every track that follows deepens that tension, folding in new textures, collaborators, and emotional layers without losing the project’s core identity.

Visually, Pseudo Tones is just as intentional. The cover art plays like a psychological mirror—shifting, abstract, and interpretive. It dares you to decide what you’re looking at, just as the music dares you to rethink what modern R&B-alt fusion can sound like.

To celebrate the release, the duo hosted an immersive listening party at Velours Studio in Montreal. The tattoo-shop-turned-experience became a living gallery of projected visuals, glowing installations, and real-time art moments. Fans didn’t just listen to the music—they stepped into its world, becoming part of the project’s visual ecosystem.

With Pseudo Tones, Mosez Jones and Jon Rivera aren’t quietly entering a new chapter—they’re breaking the door off its hinges. This is the start of a new standard, not just for themselves, but for Montreal’s indie landscape.

Pseudo Tones — Out Now

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