red gate makes no compromises in serving the true underground community and up-and-comers and weirdos in east vancouver. contributing a track to their wildly diverse double cassette compilation, to help raise funds for their continued efforts, was no question.
just under 100 minutes of deep meditative ambient textures and tones and slow morphings. working with themes and methods of healing sound and sacred frequencies. almost the entire ‘lights’ album combined with half of the ‘scenarios for the real self’ album - all re-edited and refined and re-mastered, in some cases to such a degree that a lot of it sounds like brand new work. the title “(re)” is partially short for “(revisted)”.
it feels perfectly at home to release with ISLA for this one. daniel rincoin (label head / NAP) is a pleasure to work with. and the work was originally created all pre-ableton (a lot of it on hardware), all while firmed rooted and living in east van (12th & st. catherine, heatley & keefer) - very ISLA. (re) carries a size-able resonance (maybe it’s an east van thing) with the rest of ISLA’s body of work so far - perfectly below radar, perfectly free-spirited exploratory, and that comfy insular alone-while-together feel that comes with the weather/social climate this side of the world.
side a: 1 red (re) 2 orange (re) 3 yellow (re) 4 green (re) 5 blue (re) 6 indigo (re) 7 violet (re) 8 rain (re)
side b: 1 white (re) 2 open tones (re) 3 frozen ocean1 (re) 4 frozen ocean3 (re) 5 frozen ocane2 (re) 6 frozen ocean4 (re)
very much looking forward to the release event at index gallery, which is actually a co-release with sean evans (who’s music i really believe in). it fits as well that deep sea mining syndicate be the imprint for sean’s album debut, who i also put an album out with and have plans for another release with in near future too. all is in sync.
taking on three musical commissions for dance performance this year. one centered around a free public summer solstice event for the little chamber music series that could, one for a project called 'gateways' for olivia c. davies, and one for a mixed-media piece being created by sammy chien which also features music from barry truax.
honoured and excited to play the 10 year celebration for the much beloved bass coast music festival. it's a sold out show with matt the alien, librarian, barisone, and shah dj's. long life space toast!
curated the artists appearing at New Forms Festival 2017 friday and saturday late night event in the hangar at great northern way. very much looking forward. the entire festival is rock solid this year and so is the team.
Hangar Friday Night :
10:00 PM: City (Halycon Veil) -Live- 10:45 PM: Edna King (Modern Math) -Live- 11:30 PM: Aïsha Devi with Emile Barret (Danse Noire) -Live A/V- 12:30 AM: Sinjin Hawke & Zora Jones (Fractal Fantsay) -Live A/V- 2:00 AM: ZutZut (N.A.A.F.I.) -DJ- 3:00 AM: Endgame (Hyperdub, Bala Club) -DJ-
Hangar Saturday Night :
10:00 PM: E3 (ZamZam Sounds co-founder) -DJ- 11:00 PM: Sky H1 (Codes, PAN) -Live- 12:00 AM: Peverelist (Livity Sound, Punch Drunk) -DJ- 1:30 AM: DJ Lag (Goon Club Allstars, Gqom) -DJ- 2:45 AM: Madam X (Kaizen label-founder) -DJ-
proud to have been a part of this project put together by olivia davies. i composed the majority of the music for the work, four original long-form pieces, and helped with mastering and gluing together the rest of the audio. i was able to catch the premiere in may and was quite moved and inspired. thanks liv!
it's been an extra long process to get this release together but totally worth the wait. the fellas from babel printed and pressed (also see undone) worked hard to get it right and it shows. the booklet looks great. the vinyl sounds amazing. the video by endtask is world class. proud of this one. nice one taal mala too of course. vinyl & booklet is available at record shops in vancouver, new york, bristol, toronto, juno, rwd_fwd, red eye and bandcamp.
also a little lighter flash to the sinking ship, where me and taal mala and the label all lived under the same roof for a time, and where this project was seeded.
i initiated the low key YEARS END at the very end of last year, and got a bunch of positive feedback about it. the plan is to release another albums worth of material at the very end of this year too. i'll also be slowly feeding select unreleased back catelog and certain older short-run physical releases to there too.
just put up the original score i did for A1PHA, a short film eron carruth wrote and directed. thanks for the support
a belated but hearty thanks to everyone who came out and took part in new forms festival 2016. it was a pleasure to put together two of the line up's for this year. the satellite gallery on friday night with lee bannon, strategy, x/o, rosen, wzrdryAV, and aspecial performance from mark van hoen. and the main room saturday night with untold, deft, swisha, hood joplin and c130. it's been nothing but positive and entusiastic responses on all fronts. happy this could happen in vancouver. special thanks to malcolm levy, scott w, emmy, rauiri, matt, and the whole rest of the team. cheers!
extremely pleased to announce my audio installation for +15 soundscapes a time and place, revisted is happening from now until the start of january. a network of discreet speakers spread across a downtown calgary city block playing a soundscape i created, 24 hours a day. many thanks to arts commons to selecting my work for this, constantine katsiris and sheena jardine-olade for helping prep my work behind the scenes. and extra special thanks to tanya tagaq for letting me use her voice in the work and hosting me in her home community of cambridge bay, which allowed for the whole thing to happen in the first place.
arts commons wrote up their own description of the project, so i figured i'd share the description, in my words, below..
- PROJECT DESCRIPTION
A Time and Place, Revisited is a meditative sound journey of music and soundscapes created exclusively from audio recorded in and around Cambridge Bay, Nunavut. Invited by musical collaborator Tanya Tagaq, and an acclaimed Inuit throat singer, Michael Red flew up to the far north in 2006 to carefully record sounds from the land, life and Tanya in her home community. Sounds gathered include wind, rushing water, still water, slush, ice melting and crackling, birds, sled dogs, a qillauti (drum) played and tightened, swishing ulus (knives) together, fingers running through furs and feathers, objects being banged and clanging together at the community dump, the 10 o'clock siren, kids laughing and playing, and Tanya singing and experimenting with her voice. Over the course of three years, back in Vancouver, Red meticulously processed and categorized the three weeks of raw material he recorded and shaped them into a comprehensive sound library. This library includes full sets of drums, percussion, bass, melodic instruments, and atmospheres - all created the recordings from up north and computer software process's. Michael has used parts of this library in performance with Tanya, as well as in part of a installation for CODE:live (part of the 2010 Olympics), but never dove deep in the full expanses of the nunavut sound library until now.
A Time and Place, Revisited is a continuous cycling mix of the songs, soundscapes and sound art inspired by, and made from, the Canadian Artic. It is intended as a cyclical story that can be picked up anywhere, moving between the quieter moments of ambient field recordings and more dramatic areas like beat-driven songs. It is a sound expression of an experience - a compilation of ideas, emotions and expressions inspired from land above the treeline.
- ARTIST STATEMENT
A Time and Place, Revisited is a journey that engages the listener in a similar way to how they might experience the north themselves: quiet contemplations, wildly raw and powerful moments, mysterious and magical diversions, simple natural beauty.
This work is very much “alive”. Finding the life in raw audio recordings of things like wind and water, and allowing space for that life to speak in it's own voice.
The first appearance of this work was part of an art installation for the Vancouver 2010 Olympics. This is a further developed and refined version of that work, hence the “revisited” in the title.