Sparky Division "Foxy"
Black To Comm "At Zeenath Parallel Heavens"
At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, language, and beyond. Richter mirrors personal dualities by employing a combination of sounds he created and manipulated samples, blurring their boundaries. This time these sources were pushed to the extremes as he explored contrasts of these combined sonic pallets. “It was created by a combination of sampling and doing my own recordings and then a lot of studio work, editing and collage, which is the main process. I always try to blur the line between sampling and my own recordings, also between ‘real’ instruments, MIDI, electronics, editing, between authenticity and theatrics/artificiality.” As Richter worked on the album, he became aware of how AI text programs processing resembles his own methods. “I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays – especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results).” Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek. Song titles drawn from epic poetry and ancient mythology explore a duality between the serious and ridiculous, mimicking the multi-layered meanings of the music itself; “I love the pathos, the flowery baroque language, the ambiguity (especially with regards to erotic innuendo),” Richter elaborates.
At Zeenath Parallel Heavens pushes Richter’s audio occultism into even more divine, transcendent territory. Across the album’s dazzling expanse, Richter assembles an arresting sonic narrative that blossoms from primeval creation myths to ominous, shadowy expanses and radiant heavenly vistas, exploring the existence of alternative realities. It is as astounding in the scope of its vision as it is immediately enthralling, as inviting as it is subtly unnerving.
Neighbourly "Neighbourly"
Despite having a concept in mind, Neighbourly didn’t want to limit themselves when it came to the process of recording the songs. Some songs evolved collaboratively within the group, while others were written naturally by individual members.
The band engineered the album themselves, and each song was produced by its respective writer. This project serves as a centrepiece showcasing the band’s growth over the past year. Mixing and mastering credits go to Latham Reader, who continues to support other artists in the Vancouver Island scene.
Neighbourly, the album, transcends through psych-funk grooves, calypso beach vibes, and dreamy shoegaze, offering the epitome of what the group has to offer.
Jeremy Dutcher "Motewolonuwok"
From Secret City Records:
“There is no one making music like this” – NPR Music
Dutcher originally vaulted himself into the upper echelons of Canadian performance with his 2018 debut, Wolastoqiyik Lintuwakonawa. Since winning the Polaris and JUNO Prizes, performing for NPR Tiny Desk, and collaborating with Yo-Yo Ma, Buffy St. Marie and Beverly Glenn Copeland, Dutcher returns with a moving and radiant exploration of contemporary Indigeneity and his place within it, presenting his most expansive work yet.
The Motewolonuwok album inspiration began with a poem by Cherokee writer Qwo-li Driskill. “From the heavy debris of loss, together we emerge,” a singular story of a two-spirit kin who was taken too soon, and calls us all together to witness, celebrate and heal. Jeremy sings in Wolastoqey — his native tongue, considered an endangered language — anchoring his work while he continues to reimagine the song traditions of his people from the banks of the Wolastoq River, just like he had previously done on his first full-length.
The new album also marks Dutcher’s first time writing and singing in English. A powerful invitation for collective healing and understanding. “Shared tongue is a beautiful gift, with a complicated reason,” Dutcher explains. These new English songs are also a way of singing directly to the newcomer, or settler, in their own language — a direct line of communication that seeks to platform his community’s stories of healing, resilience, and emergence to all that may hear.