nêhiyawak SHARES NEW SONG “open window” REFERENCING THE ‘SIXTIES SCOOP’ & RESIDENTIAL SCHOOLS

nêhiyawak SHARES NEW SONG “open window” REFERENCING THE ‘SIXTIES SCOOP’ & RESIDENTIAL SCHOOLS

 FIVE SONG starlight EP OUT TODAY

 LISTEN & SHARE “open window” HERE

INDIE-PSYCH TRIO FROM AMISKWACIY TREATY 6 RECALLS THIS DAY IN 1885 WHEN EIGHT LEADERS FROM INDIGENOUS NATIONS WERE HUNG AT FORT PITT

 LISTEN & BUY starlight EP HERE

 TOUR DATES CONTINUE NOV 28 IN TORONTO & NOV 29 MONTREAL

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 Photo Credit : Levi Manchak // DOWNLOAD HIGH-RES

nêhiyawak hails from amiskwaciy in Treaty 6 Territory. The trio of Indigenous Canadian artists – Kris Harper (vocals, guitars), Marek Tyler (drums), and Matthew Cardinal (synths, bass) – transcends a new intersection of contemporary sound and traditional storytelling. Their music is a resonant expression of indigeneity in the modern world.

Today, nêhiyawak releases its stunning starlight EP with the addition of the final song from the affective five-track collection. “open window” courses with melody and emotion, overflowing with brilliant melancholy as it confronts violations of indigenous nationhood perpetrated by Canada. The band describes:

Our parents begin the song with spoken word. We have them each speak their mother tongue and say what they felt like needed to be said. The lyrics reference The Sixties Scoop as well as the concepts portrayed in the model of the residential school system. The model used had very strong connections to the early boarding school models used in Ireland, India, and many early colonies of England. More than anything, this message is one of learning and acceptance. Something to help others feel connected by experience, but also encouraged toward personal growth and learning.

With Harper’s most direct and impactful lyricism, “open window” juxtaposes pain and understanding, over pulsating synths and clouds of plodding melody:

 There was a scoop that went on where people

Were forced to live another way of life

And I always wondered what had happened

To those mother tongues that were kept inside


 LISTEN & SHARE “open window” HERE

nêhiyawak has chosen important dates in the creation of the sovereign nation referred to as Canada to release music from the starlight collection. These dates were also important to the fragmentation of indigenous nationhood of which the effects are still felt today. Today, November 27, marks the date in 1885 when eight leaders of indigenous nations were hung at Fort Pitt.

 LISTEN & BUY starlight EP HERE

starlight EP is a collection of five songs that reflect the vast range of a band emboldened with the powerful inflection of its rich cultural connection. Produced by Colin Stewart (The New Pornographers, Black Mountain, Destroyer), nêhiyawak’s music is personified by chiming guitar, terrestrial rhythm, sheer ambience, and resilient poetry. starlight is at times grand and emotional, at times cool and reticent, combining the tense post-rock of Mission of Burma and Godspeed You! Black Emperor with the baroque pop backdrop of Grizzly Bear and Blonde Redhead.

 WATCH “page” VIDEO FEATURING MARILYN DUMONT


TOUR DATES
Nov 28 - Toronto, ON - Baby G (TICKETS)
Nov 29 - Montreal, QC - Casa Del Popolo (TICKETS)

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DOWNLOAD HIGH-RES

 nêhiyawak starlight tracklist
1. starlight
2. page
3. copper
4. somnambulist
5. open window

NOTES
nêhiyawak ᓀᐦᐃᔭᐊᐧᐠ
Pronunciation: neh-HEE-oh-wuk
Meanings: Cree People, People of the Plains, Plains People, Exact People
Note: There are no letters capitalized in Cree language. Please write name in all lower case.

nêhiyawak ONLINE
WEBSITE
FACEBOOK
TWITTER
INSTAGRAM

JEREMY DUTCHER ANNOUNCES 2019 TOUR DATES

JEREMY DUTCHER ANNOUNCES 2019 TOUR DATES

 2018 POLARIS MUSIC PRIZE WINNER SELLS OUT UPCOMING TORONTO PERFORMANCE, ANNOUNCES 2019 TOUR DATES

 WOLASTOQIYIK LINTUWAKONAWA OUT NOW

“Jeremy Dutcher's voice is an instrument that's reaching across a century of Indigenous history. …an alluring emotional intensity that transcends the perceived boundaries of words.” Canadian Press

"The future meets the past as Dutcher’s resonant operatic voice is paired with a recording made over 110 years ago of a speech. Layered with crystalline strings and booming horns, the result sounds grandiose yet intimate." - NOISEY

“beautiful, celebratory and very much alive.” Exclaim! 9/10

“Jeremy Dutcher's dance with the dead is nothing short of transformative. … a stunning work.” The Record

“…a cross-generational collaboration of inspiring postclassical music.” The Globe and Mail

“Opening with a song about death and closing it with one inspired by love truly marks Wolastoqiyik Lintuwakonawa’ as a life cycle lived in reverse, and optimistically rewrites the history and rules about indigenous language and culture in our modern world.” Domionated

“This is really one of the best things we’ve ever heard on the history of the show.” Tom Power, CBC q

WATCH JEREMY DUTCHER’S CBC MUSIC FIRST PLAY LIVE
LISTEN TO JEREMY DUTCHER’S CBC q PERFORMANCE HERE

STREAM / BUY WOLASTOQIYIK LINTUWAKONAWA HERE

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 PHOTO CREDIT : Matt Barnes // DOWNLOAD HIGH-RES

On September 17, Toronto-based performer, composer, and member of the Tobique First Nation Jeremy Dutcher was awarded the prestigious Polaris Music Prize for his album Wolastoqiyik Lintuwakonawa. After winning, Dutcher gave a statement in English and also in his ancestor's language saying, "Psiw-te npomawsuwinuwok, kiluwaw yut. All my people, this is for you."

He also tweeted, "You are in the midst of an indigenous renaissance. Are you ready to hear the truth that needs to be told? Are you ready to see the things that need to be seen?"

Those words, and the words of his people on Wolastoqiyik Lintuwakonawa, have echoed around the world, receiving further praise and attention from The Guardian, The Globe and Mail, CBC, Noisey, and many more.

In an interview with Bilboard, Dutcher was asked if he grew up with these songs, to which he responded, "This is why I'm so passionate about doing this - because I didn't." When asked if he expects people to learn his language, he said, "Yes. I do, 100%. Why not? We learned yours. For me, it's less about asking people to learn a new language and more about disrupting the bilingual Anglo-centric Canadian music narrative. Up until this point, why have there been no popular records in my language?" and even teaches readers a few phrases, which can be found in the interview here.

Dutcher recently shared Casey MQ's remix of "Pomok naka Poktoinskwes" from the award-winning LP. He says he is “honoured to collaborate with Casey MQ, who reimagines a sonic world surrounding this anthem to our water rights! Listen to this track and Imagine a universe where our melodies  and languages dominate dance floors of this land. Wake up to the beautiful indigenous realities all around. There are 48 entries in the Wolastoqey dictionary for the word Dance. This is my favourite: Mawekak [they come together dancing].”

“Pomok naka Poktoinskwes” (bah-mog na-ga buck-tah-in-skwes) is the song of the Fisher and the Water Spirit. “This was the only archival recording that I recognized from my childhood,” says Dutcher. “It was recovered in the 80s by song carrier Maggie Paul and has been sung in Maliseet communities ever since. I envision Teiya’s high soprano to be that spirit who is troubled by her treatment.”

LISTEN AND SHARE “POMOK NAKA POKTOINSKWES” (CASEY MQ REMIX) HERE

STREAM / BUY “POMOK NAKA POKTOINSKWES” (CASEY MQ REMIX) HERE

Today Jeremy Dutcher announces 2019 tour dates in continued support of Wolastoqiyik Lintuwakonawa which will include upcoming performances in Alberta, Manitoba, B.C., Ontario and more. All tour dates can be found below.

WATCH JEREMY DUTCHER’S CBC MUSIC FIRST PLAY LIVE
LISTEN TO JEREMY DUTCHER’S CBC q PERFORMANCE HERE

STREAM / BUY WOLASTOQIYIK LINTUWAKONAWA HERE


TOUR DATES
12/12: London, ON - The Aeolian
12/13: Guelph, ON – Royal City Church
12/15: Toronto, ON - Danforth Music Hall
01/06: New York, NY – GlobalFest
01/25: Fredericton, NB - Wilmot United Church
01/31: Norman Wells, NT - Norman Wells Community Hall
02/02: Inuvik, NT - Our Lady Of Victoria Catholic Church
02/05: Fort Smith, NT - St. Joseph’s Cathedral
02/07: Fort Simpson, NT- Bompass Elementary School
02/09: Hay River, NT – Roman Catholic Church
03/02: Sherwood Park, AB – Festival Place Theater
03/05: Brandon, MB – Brandon University
03/06: Winnipeg, MB – West End Cultural Centre
03/08: Victoria, BC – Pacific Opera, Bauman Centre
03/09: Vancouver, BC – The Rio Theatre
03/22: Kingston, ON – Isabel Bader Centre for Performing Arts
03/24: Kingston, ON – Isabel Bader Centre for Performing Arts

JEREMY DUTCHER ONLINE
WEBSITE
TWITTER
FACEBOOK
INSTAGRAM

 

JEAN-MICHEL BLAIS ANNOUNCES ‘EVICTION SESSIONS’ EP, AVAILABLE NOVEMBER 30

JEAN-MICHEL BLAIS ANNOUNCES ‘EVICTION SESSIONS’ EP, AVAILABLE NOVEMBER 30

5 NEW LIVE PIANO RECORDINGS WITH ACCOMPANYING MINI-DOCUMENTARY

 UPCOMING DATES IN TORONTO, NEW BRUNSWICK, HALIFAX AND MORE

 FOLLOW UP TO 2018 POLARIS MUSIC PRIZE SHORTLISTED ‘DANS MA MAIN’

 LISTEN TO “SANS TITRE (ANDANTE)”

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Today, contemporary pianist Jean-Michel Blais announced a new EP recorded live in his Montreal apartment before being evicted.

“In the spring of 2018, I was asked to leave the beloved apartment where lived for 7 years, and where I recorded my first album, Il,” explains Blais. “Before signing with Arts & Crafts, I would host one show a year in the intimacy of my bedroom. eviction sessions is a recording of my final pop-up concert in that apartment, and my way to say goodbye to that room, “he continues. “Friends and family, side by side on the floor, on my bed, sharing the silence of their breathing, I wanted to record a live album in a unique way that would capture the presence of them being.”

The result is eviction sessions, a five-song EP recorded live to accompany Blais’ recent full length, Dans ma main. The EP features new piano-only recordings the vocal and electronic-heavy album tracks, “blind”, “igloo” and “chanson”, as well as two new songs, “sans titre (andante)” and “hutchinson (improvisation)”.

On the contemplative minimalist composition “sans titre (andante)”, Blais says, “'andante' (an italian word for 'moving') is a tottering quest towards meaning, reflecting the process of seeking for another home.”

“hutchison (improvisation)”, a prepared piano excursion “where the almost-wrapped instrument features surrounding cardboard boxes, scotch tape, and a bag of pennies” harkens back to Blais’ “hasselblad” improvisations from his breakout album Il. eviction sessions is available on digital and streaming on November 30th.


WATCH A LIVE PERFORMANCE OF “SANS TITRE (ANDANTE)”

Blais will support Dans ma main and the new EP with an extensive world tour including forthcoming dates in America, Canada, UK, France, Denmark, Germany, and the Netherlands before embarking on an extensive tour of Quebec. Full details below.

 MORE ABOUT DANS MA MAIN

Dans ma main, the sophomore release by pianist and composer Jean-Michel Blais, is an expansive album of post-classical piano with strands of electronic detail. Blending his conservatory skill and precise pop sensibility with synthetic accompaniment, Blais creates unique environments where the piano’s intimacy can be subtly disrupted at any time.

Largely composed in one week of open exploration, Blais comes closer to the improvisational source of his writing, painting impressionistic stories within the fluid, indefinite outlines of dreams. Dans ma main rolls like clouds of nostalgic fog blown away on a clear wind, at once recalling and signifying the end of Il, his critically acclaimed 2016 debut album.

By contrast, Il was written and recorded by Blais over two years, culled from rolls of accumulated experimentation into an enchanting, unignorable arrival. Il unearthed an unknown musical imagination, with overwhelmingly intimate compositions cloaked in the romantic din of Montreal city noise. The debut album would go on to amass 50 million streams worldwide, reaching #1 on Canadian Classical Albums chart, and transforming audiences globally.

On Dans ma main, tempted by a tangent first explored on Cascades, his 2017 collaborative EP with Grammy-nominated electronic producer CFCF – born from a featured performance at 2016’s Red Bull Music Academy – Blais steps out with an artistic statement that both reaffirms and refutes his post-classical stature. The disparate universes within Dans ma main are so seamlessly entwined that they appear borderless.

Dans ma main weaves together expressive piano with austere synths in a double-helix of acoustic and electronic arpeggiation, tethering techno, industrial, ambient, and new age music to Blais’ solo piano essence.

The first single, “roses”, is a binary journey, softly oscillating between despair and hope. Oblique turns meet familiar resolve, as warm chords reference Radiohead’s “Pyramid Song”, and Eric Carmen / Celine Dion’s “All By Myself”, in sharp counterpoint to Rachmaninov’s Concerto No. 2 – an unexpected, but intentional cross-hatching of high-and low-art. Its emotional arc – optimistic and funereal – closes soundly with the glint of cinematic strings.

LISTEN AND SHARE “ROSES” HERE

The pulsating and elastic “blind” captures the grace with which Blais traces this genre dance. “Built as a subtle transition from acoustic to electronic, the piece blends styles, deconstructs categories, pushes back boundaries alongside a spectrum reflecting our human potential to self-transcendence,” Blais describes. “Might we be blind at night, at least we aren’t deaf.”

LISTEN AND SHARE “BLIND” HERE

Dans ma main explores an everyday life awash in spirituality, stemming from Blais’ interplay with music as therapy. Compelled by the cathartic air that audiences exude in his pin-drop performances, Blais considers how music has served as a tool of wellness in his own life. From his prior career in special education, to the role classical and ambient music played soothing the Tourettic symptoms he experienced as a child, Jean-Michel’s new compositions subconsciously call upon these periods of his life, reimagining a serenity he had only experienced seated at the piano.

Decidedly not limited to the keys as his compositional palette, Blais’ music is imbued with an emotional depth that belies its wordlessness. His playing and composition are poetic in themselves, with an inspired understanding of the inherent lyricism in instrumental music.

Borrowing imagery from the words of singer-songwriter Safia Nolin on “igloo”, Blais’ interprets the lonely nights where, “wandering like an amnesic ghost,” one can find oneself within its own shadowy reflections, a nostalgic incursion into a person’s vintage recollections.

LISTEN AND SHARE “IGLOO” HERE

Yet perhaps in the album’s most unexpected turn, on closer “chanson”, Blais reveals his own hidden falsetto, trilling like adjacent keys in a nearly wordless lilt. Ironically, the only discernible meaning he sings: “I speak.” Blais presents the human voice as another instrument, resting vague in its definition, so emphasizing the listener’s active role in projecting and interpreting itself. As Blais says, “What one hears becomes more relevant and telling than what is said.”

More than Blais’ mastery of composition x improvisation, greater than his ability to touch and confront emotion – including the pain of even death (“roses” and “a heartbeat away”) – is his ability to challenge listeners. The title track, “dans ma main”, and by extension the album as a whole, is about Blais’ conscious decision to pursue the unknowns of a musical path.

LISTEN AND SHARE “DANS MA MAIN” HERE

Growing up in rural Quebec, Blais began writing original compositions by age 11, and by 17 was invited to the Trois-Rivières Music Conservatory. However, the constraints of formal training drew Blais off this musical course, putting aside his piano until years later, settling in Montreal, he rediscovered his love.

The result, as Blais’ body of work unfurls, is the creation of a new musical forum where freshly sounded notes bounce back instantly with the magic and wisdom of shared space. Dans ma main captures but one moment of this infinite lineage, but with it comes the reminder of all the energy we hold in our own hands, in this moment. As Blais says:

“Like pieces of an unclear puzzle, a melting mirror, hope lays right there, into our singular hands, with which we love, we fail, we pray, we steal, we give, we try, we pay, we pluck, we muff, we scratch, we touch, we play, we hold each other’s hands.”

 

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TRACKLIST

1) blind (acoustique)
2) igloo (acoustique)
3) sans titre (andante)
4) hutchison (improvisation)
5) chanson (instrumental)


LIVE DATES
11/25: New York, NY - National Sawdust
11/28: Boston, MA - The Red Room
12/04: Seattle, WA - Triple Door
12/05: Portland, OR - The Old Church
12/07: Los Angeles, CA - Lodge Room
12/13: Verdun, ON - Quai 5160 - Maison de la culture de Verdun -
01/19: Toronto, ON - The Royal Cinema
02/19: Quebec City, QC - Grand Théâtr
02/23: Copenhagen, DNK - Musikcaféen
02/25: Bochum, DE - Jahrhunderthalle
02/27: Mainz, DE - KUF
02/28: Esslingen, DE - Dieselstraße
03/01: Munich, DE - Heppel & Ettlich
03/02: London, UK - Purcell Room Southbank Centre
03/03: Amsterdam, NL - Zonnehuis
03/06: Bernay, FR - Pole Theatre
03/23: Knowlton, QC - Théâtre du Lac Brome
03/24: Sainte-Marie, QC - Salle Méchatigan
03/29: Lasalle, QC - Centre culturel Henri-Lemieux
03/30: Rimouski, QC - Salle Desjardins-Telus
04/02: Sept-îles, QC - Salle Jean-Marc Dion
04/04: Carleton-sur-Mer, QC - Studio Hydro Qc du quai des arts
04/05:  Moncton, NB - Central United Church
04/06: Halifax, NS - St.Matthews United Church
04/11: Sainte-Thérèse, QC - Cabaret BMO
04/13: Granby, QC - St-George Church
04/26: Saint-Eustache QC - Le centre d’art La Petite Église
05/02: Montreal, QC - Monument National
05/03: Baie-du-Febvre, QC - Théâtre Belcourt
10/05: Saint-Jerome, QC - Théâtre Gilles-Vigneault
10/11: Sherbrooke, QC - Theatre Granada

 JEAN-MICHEL BLAIS ONLINE
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