‘Victoria’s Secret 2021’ is another collection of true nuggets from Victoria’s wildly creative music scene.
“Music is nothing else but wild sounds civilized into time and tune.” – Thomas Fuller
Features: Zane Coppard, THE HEX, Charl Cilders, Low Alamode (ft. Shädoe Zølie), Elura, Mar Mar & the Grits, Purveyors of Free Will, suffer fools, Winnie Richards, Jordan Koe, The Municipality, Lamedh, Shed Monkeys, Finley Rose.
Calgary’s TETRIX create their own style of doom psych-country, thanks to gravelly, whiskey-soaked vocals and an accordion on LSD. Here they re-imagine the Garth Brooks hit as the horrific theme song to a new David Lynch movie.
As the album cover sadly indicates, Adam Litovitz passed away before ‘jooj 2’ was released. However, the album stands as a testament to his brilliance, and also the unique creative synergy he had with partner Lee.
“Hestia” is from Little Sprout’s first full-length album ‘Fake Cake’. They constantly dispel any notion that they are just another “indie pop” band, with their rhythms punctuated with stops and starts, and with soft moments suddenly shattered with electric noise. It’s liberating and exciting.
Saint Idiot (Tomáš Andel) graces us with a brand new single, “Terracotta”. The art pop/experimental track will be featured on the upcoming album, ‘Alternate Utopias from a Nostalgic Future’, a texturally lush vision of a mossy techno-utopia, and an album about healing in an age of hyperindividualism and polarization.
“In the streaming age a lot of us have gotten used to binging,” Andel says, “and so it’s become unnatural for us to step back and ask when we’ve had enough, or, in fact, whether we feel satisfiable in the first place—and it shows in a lot of things.”
“I think that we live in a domination-minded age that’s ceaselessly preoccupied with conquering the next horizon, getting more, more, more, and constantly expanding because we keep painting history as a race against some clock,” Andel says, “and I really want to make people think about growing laterally, with what they have, turning instead to the people around them as partners instead of competition.”
Wolf’s beautiful (yet bleak) musical commentary is personal, but the issue is one that goes to the very heart of the nation’s conscience.
“From the 1950’s into the 1990’s the Canadian Government & the Catholic Church were responsiblefor taking, or “scooping” more than 20,000 First Nation, Métis and Inuit children from their families and communities;known as The Sixties Scoop. They were placed in foster homes or adopted (accounts of children even being sold)into non-Indigenous families across Canada, the United States, & beyond.
Along with the loss of cultural identity,the government went so far as to change some children’s true ethnicity on file.Many experienced severe sexual, physical and emotional abuse.