B-Side Guys

Mythological figures rarely concern themselves with social media metrics. Yet on “Athena,” the latest single from Canadian indie stalwarts Born Ruffians, the Greek goddess of wisdom and warfare finds herself inexplicably drawn to the battlefield of modern discourse—a realm where victories are measured in likes and defeats manifest as ratio’d responses.

Released as the third preview of their forthcoming album “Beauty’s Pride” (due June 6th), “Athena” represents a fascinating synthesis of the band’s twenty-year evolution. Lead vocalist Luke Lalonde describes the track as “a deviation on Beauty and Pride as it dips into capitalist dystopia for a moment but in a fun, danceable way”—a characterization that perfectly captures the disarming juxtaposition between the song’s critique of digital exhaustion and its irresistible groove.

This musical foundation emerged collaboratively before any lyrics existed, with keyboardist Maddy Wilde’s “descending keyboard line over Mitch’s groovy bass part” propelling the composition into studio sessions with Graham Walsh in 2021. After tracking the vocal melody, Lalonde took the structural skeleton home to flesh out lyrics addressing what he describes as the “never ending search for fulfillment” characteristic of contemporary existence: “Inadequacy is the currency and it is printed in never ending supply.”

What distinguishes “Athena” from similar examinations of technological alienation is its unexpected framing device. By personifying algorithmic judgment as a classical deity, Born Ruffians creates an ingenious conceit—suggesting our relationship with digital platforms resembles ancient supplicants begging divine figures for mercy. Lalonde’s plea to Athena to “take it easy on me” reframes notification anxiety as contemporary prayer, transforming our phones into pocket-sized oracles delivering cryptic messages from capricious gods.

The production, eventually finalized with Roger Leavens and mixer Gus van Go (known for work with Metric and The Beaches), balances nostalgic indie rock foundations with electronic flourishes that reflect the track’s thematic concerns. This approach signals the band’s continued artistic restlessness, building on their trajectory from the scrappy energy of their mid-2000s Warp Records debut through the Richard Swift-produced maturity of “Uncle, Duke & The Chief” (2018) to their ambitious “JUICE/SQUEEZE/PULP” trilogy (2020-2021).

As Born Ruffians prepare to launch their North American tour supporting “Beauty’s Pride,” “Athena” stands as evidence of their remarkable staying power in an indie landscape littered with defunct contemporaries from Toronto’s once-thriving scene. By transforming digital-age malaise into an infectiously danceable anthem, they’ve achieved something genuinely radical—making existential dread feel like celebration. The result positions Born Ruffians as that rare veteran act still capable of surprising listeners two decades into their career, proving longevity and innovation need not be mutually exclusive.