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Behind the Beats with Sebastian Gaskin | Digital Drum

Digital Drum — Mon, 15 Oct 2018 18:24:06 +0000

Behind the Beats with Sebastian Gaskin | Digital Drum Digital Drum Mon, 10/15/2018

With influences ranging from Metallica to Alan Jackson to Frank Ocean, it’s no surprise that Sebastian Gaskin’s sound is hard to nail down. But whether he’s shredding a guitar solo or hitting you right in the feels with his velveteen vocals, one thing’s for certain: “You can expect a lot of what you’ve never heard before,” Gaskin says. “Unique sounds. Dreamy soundscapes. Wet, lush reverbs.”

And despite Gaskin’s seemingly sudden emergence on the Canadian music scene, those unique sounds have not gone unnoticed. This summer alone, he secured gigs at the Winnipeg Jazz Festival, the inaugural sākihiwē festival and an RPM Live event in Toronto. His sultry first single, 6 AM, also reached number one on the Indigenous Music Countdown.

But according to Gaskin, we ain’t seen nothin yet. With long-term ambitions of supporting his family and headlining a world tour, he’s currently working on a six-track EP slated to drop in Spring 2019. In the meantime, we sat down with him to talk about all things music. Here’s what he had to say about his first guitar, discovering The Weeknd and much, much more.

Sebastian Gaskin by Digital Drum

How and when did you get into music?

I was born in Thompson, Manitoba, but raised in Split Lake, a reservation about an hour and a half north of there. Growing up, all my aunts and uncles played the guitar, so they’d be around the house, singing and listening to music. I remember in Grade 3, my mom enrolled me in this after-school fiddle club and within a few months I’d already been moved up to the advanced class. So I think I always kind of had a knack for music.

As I got older, I hung around my cousin Tyler a lot, and he was really into Metallica. I remember hearing him pick out Fade to Black and I just thought it was the coolest thing and asked him to teach it to me. After learning that song, I convinced my mom to buy me my first guitar, an electric blue First Act. It was a complete piece of shit, but it did the job for the first year.

When I outgrew that, I tried to convince my mom to get me this black Epiphone SG that I saw on the wall at a barber shop we went to. She said I could get it when I showed her that I was actually progressing and becoming a better player, so it was a really good incentive to expand my knowledge and practice every day.

Eventually, I played in bands with my friends on the reserve, but nothing too serious. Then, one of my ex-girlfriends introduced me to The Weeknd, this is back when he first came out, and it changed everything. I was living in Toronto then, and I’d have to drive two hours to school and two hours back, so I’d spend hours a day just cruising down the highway and singing along to Weeknd records. That entire year kind of helped me find my voice and find my tone as an R&B artist.

Who are you listening to right now?

A lot of SZA. Frank Ocean, of course. Suicide Boys, Brockhampton, Anderson Paak, Thundercat.

Do you prefer writing or performing?

It’s kind of 50-50. The thing I like about writing is that I’m able to let out any pent up emotions I might have. As for performing, I just love seeing the looks on people’s faces. With the way I look and the way I sound, I kind of have a shock factor. I really like that aspect of surprising people.

Walk us through your songwriting process.

I try to open my mind up, and my channel to the universe, and just let the energy flow on to the paper. After the song is written, I figure out what it means and revise it until it’s right. I still have songs from months ago I’m still editing.

How many original songs are in your repertoire right now?

Right now I have about 12 or 13 I’d feel comfortable performing.

What do you do when you’re not making music?

I like to cook. I like Italian. I also just got into painting this year; I’m trying to branch out into the visual arts. Hanging out with women, going out for drinks. Just living my best life.

Do you find as an artist that you can still listen to music as a fan, or are you always picking it apart and analyzing it?

It’s different every time. I remember when I first started listening to Frank Ocean I was just a fan, but after listening to it for so long I started to pick up different aspects of the music and the writing.

Sebastian Gaskin by Digital Drum

Winnipeg has a pretty good Indigenous music scene. Have you always been plugged in, or is it something you’ve discovered more recently?

When I was about 12 or 13, I went to one of the first Manito Ahbee festivals. I still remember seeing Joey Stylez perform, and I got to see backstage and stuff like that. So I’ve known about the Indigenous music scene here, but I’ve definitely seen a curve upwards in the past few years. There’s definitely a lot more openness and less exclusivity in the community now.

When we first met you earlier this year, performing was still relatively new to you. Half a year later, you’ve done Winnipeg Jazz Festival, RPM Live, sākihiwē and some other pretty big gigs. Has being onstage gotten easier?

I used to get the jitters real bad; I’d be shaking, my hands would sweat. But the last couple of gigs I’ve just got on stage and done the thing. Not to say it’s lost its excitement, but it’s a lot easier than it was eight months ago.

At the same time, it feels a lot more serious than it used to. I feel I have more of an obligation to continue down this path now. I actually just got this hand tattoo to kind of solidify my place on the musician’s path; like, I have to make it as a musician now.

This summer you received the 2018 Indigenous Music Award for the Ka-Kee-Nee Konee Pewonee Okimow Most Outstanding Manitoban. Tell us about that.

I was taken completely by surprise. I got an email saying they’d like to have me perform a couple songs at a pow wow, so I showed up and before I got onstage, Eric (Robinson) brought out a hand drum and presented it to me. I literally had no idea. I was supposed to make a speech but I was at a complete loss for words.

What do you hope to accomplish through music that you couldn’t in other ways? In other words, why do you make music?

I’d like to get my family off the reserve, to get them a nice big house. I’m very family-motivated and want to be in a position to help them as much as possible. One of my ultimate end goals, at least on the personal ego side of it, is to have a world tour and perform in front of as many people as possible.

How do you define success?

Success is a mindset, really. Even though I haven’t achieved all my goals, I feel like I’m already successful. I’m able to do what I love on a daily basis and make some money from time to time.

What’s coming up for you in the next couple months?

Just writing a lot and prepping for the release of my EP. I’m in the process of recording the vocal tracks for that right now and aiming for April (2019).

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Digital Drum

coast2coast

Indigenous Music

Canada

Sebastian Gaskin at the Winnipeg Jazz Festival - Image Credit: Sebastian Gaskin / Instagram

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Jeremy Dutcher | 2018 Polaris Music Prize

Digital Drum — Fri, 21 Sep 2018 20:53:26 +0000

Jeremy Dutcher | 2018 Polaris Music Prize Digital Drum Fri, 09/21/2018

It’s official: Jeremy Dutcher has won the 2018 Polaris Music Prize, becoming the fourth Indigenous artist in the past five years to take home the $50,000 award.

Dutcher’s debut album, Wolastoqiyik Lintuwakonawa, follows in the footsteps of Tanya Tagaq’s Animism (2014), Buffy Sainte-Marie’s Power in the Blood (2015) and Lido Pimienta’s La Papessa (2017). The project was recorded over the past five years and drew from archival wax cylinder recordings from the early 1900s. It is performed entirely in the endangered Wolostoq language.

“It is said that there are less than 500 speakers of the language left,” Dutcher told us during the recording process. “It’s at a really critical stage right now, and that’s why it’s really important for folks of my generation to start taking language reclamation seriously. When language is lost you’re not just losing words, you lose an entire way of thinking and moving through the world.” Widely considered one of the country’s most prestigious and coveted music awards, the Polaris is judged solely on artistic merit, without consideration for genre, sales or record label. Dutcher learned he had made the long list back in June, and then the short list (alongside fellow Indigenous nominees, Snotty Nose Rez Kids) in July.

“I was shocked,” he told us of the nomination. “So many amazing artists have been nominated and won this prize, and I certainly was not expecting to be counted among them as I release my first record. I also was very intentional about doing this album entirely in the Wolastoqey language, so that people are connecting with it outside of the community has been a really nice surprise.”

And while the relative newcomer’s win may have surprised some music fans, we were not among them. We knew from the moment Dutcher sat down to perform at the eighth edition of Aboriginal Music Program’s AMP Camp that we were in the presence of something special.

With his powerful voice, confident delivery and commanding stage presence, the classically-trained operatic tenor has the unique ability to hold his listeners captive while transporting them to a different place, a different time, a different world. Fusing elements of his classical training, contemporary jazz and traditional Maliseet music, he truly fits the bill as a genre-bending artist, creating a sound that is both unparalleled and inimitable.

While Dutcher didn’t learn of his big win until the end of last night’s Polaris gala in Toronto, his powerful performance earlier in the night ensured that his name was already trending by the time he accepted the prize from last year’s winner, Lido Pimienta.

“You are in the midst of an Indigenous renaissance,” Dutcher said upon winning the award. “Are you ready to hear the truth that needs to be told? Are you ready to see the things that need to be seen?”

You can listen to Wolastoqiyik Lintuwakonawa on Stingray Music.

Polaris 2018: Long List Nominees (available on web & mobile)

Polaris 2006-2018: Shortlist Nominees (available on web & mobile)

Festival International de Jazz de Montréal 2018 (available on web & mobile)

Canadian Indie (available on TV, web & mobile)

Folk Alliance International 2018 (available on web & mobile)

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This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

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Canadian Country Music Awards 2018 | Behind the Scenes

Nicole Rayy — Tue, 11 Sep 2018 18:05:02 +0000

Canadian Country Music Awards 2018 | Behind the Scenes Nicole Rayy Tue, 09/11/2018

Country music took over Hamilton, Ontario from September 7-9, 2018 to celebrate the best in Canadian Country Music. Canadian country singer-songwriter and pianist Nicole Rayy brings us an exclusive behind-the-scenes look at the 2018 Canadian Country Music Awards.

Canadian Country Music Hall of Fame

Saturday evening was a night of glamour as country music community dressed up in its best to celebrate those who make country music great.

The night honoured both artists and industry professionals with the highlight of the evening being Terri Clark’s induction into the Canadian Country Music Hall of Fame. Her acceptance speech was truly moving. Terri spoke of her late mother and how much she had helped her in her career. She also talked about the great gift we have as artists of being able to bring people together. Terri’s speech and induction, as well as the induction of Jackie Rae Greening, were just the start of many moments this weekend that highlighted women’s empowerment in country music.

Female Power

Female power started the Canadian Country Music Awards off with a bang on Sunday night at FirstOntario Centre. Jess Moskaluke, Kira Isabella and Madeline Merlo paid tribute to the Queen of Canadian country music, Shania Twain, and demonstrated how the talent of females in country music is better than ever.

The queen herself, Shania Twain, who was the host of the evening, then joined the talented women of today’s country on stage. Twain took home four awards including, Top Selling Album of the Year, Top Selling Canadian Album of the Year, the CCMA Generation Award and the coveted Apple Music Fan’s Choice Award. She took several moments throughout the night to celebrate the progress that women are making in country music, but she also recognized the need for more progress in the future:

"I'm thrilled to see women in country dominating the album of the year category," said Twain, pointing how rare it is to see this many women nominated in the category. But we can go further by recognizing a place for diversity in country music by being inclusive and by really respecting what women of country have always been able to deliver: heart, soul and a kick-ass guitar riff."

The female talent and focus of the night didn’t end there as the crowd of over 10,000 fans enjoyed performances from Jessica Mitchell, Lindsay Ell and Meghan Patrick. Meghan who took home the award for Female Artist of the Year said: “To all the girls: we are killing it this year”. Jess Moskaluke then picked up the award for Album of the year for Past the Past.

Kira Isabella, Shania Twain, Madeline Merlo & Jess Moskaluke
Photo Credits: Nicole Rayy

Future Fan Favourites

Of course, fans were also lucky enough to hear from some of the best males in country music on Sunday night. The Washboard Union, who took home the award for Group or Duo of the Year, filled the room with their harmonies and James Barker Band, who picked up the award for Single of the Year for Chills, lit up the night. Dallas Smith who won Male Artist of the Year performed his hit song with Terri Clark One Drink Ago. And of course who could forget a special guest performance from superstar Keith Urban!

Keep up with Nicole Rayy on Twitter and Instagram

CCMA

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Polaris Music Prize: A Look at the Indigenous Long List Nominees | Digital Drum

Digital Drum — Thu, 21 Jun 2018 19:45:54 +0000

Polaris Music Prize: A Look at the Indigenous Long List Nominees | Digital Drum Digital Drum Thu, 06/21/2018

While Canada’s Indigenous music scene may not always get the mainstream recognition it deserves, the Polaris Music Prize knows what’s up.

Widely considered one of the country’s most prestigious and coveted music awards (and judged solely on artistic merit, without consideration for genre, sales or record label), the Polaris has gone to three different Indigenous artists over the past four years. This year, a new group of artists are in a position to follow in the footsteps of Tanya Tagaq (Animism, 2014), Buffy Sainte-Marie (Power in the Blood, 2015) and Lido Pimienta (La Papessa, 2017) and take home the $50,000 prize.

Announced earlier this month, the 2018 Polaris Long List (40 albums selected by a 203-member jury) includes Iskwé, Jeremy Dutcher, Snotty Nose Rez Kids and YAMANTAKA // SONIC TITAN. The Short List of 10 will be announced July 17.

In the meantime, here’s what the Indigenous nominees had to say about their albums.

Iskwé: The Fight Within

On the album: The Fight Within is my second album and one that holds a big piece of my heart. This album reflects a bit of a grief cycle for me, as my community and myself personally experienced some pretty big moments in the years it took me to write.

On the nomination: The Polaris nomination is a HUGE honour! To be recognized by your peers in such a way just cuts right through to the heart, in the best way possible!

Jeremy Dutcher: Wolastoqiyik Lintuwakonawa

On the album: Wolastoqiyik Lintuwakonawa is an exploration of the traditional songs of my nation collected on wax cylinders over 110 years ago. I have reimagined these melodies for the contemporary moment, in the hopes of reconnecting my people (Wolastoqiyik) with what has been taken.

On the nomination: I was shocked. So many amazing artists have been nominated and won this prize, and I certainly was not expecting to be counted among them as I release my first record. I also was very intentional about doing this album entirely in the Wolastoqey language, so that people are connecting with it outside of the community has been a really nice surprise.

Snotty Nose Rez Kids: The Average Savage

On the album: For some people, The Average Savage is the unsettling feeling you get after hearing the roaring cry of a Bucquis (Sasquatch) pierce through a dark tree line. A feeling that stems from the lack of understanding of the existence of each other. For others, The Average Savage is realizing that it’s OK for the Bucquis to coexist.

On the nomination: We never anticipated this album to get all this recognition. The Polaris Long List? Are you kidding me?! We lost our sh*t when we found out!

YAMANTAKA // SONIC TITAN: Dirt

On the album: The album was conceived as the soundtrack for an unreleased Haudenosaunee and Buddhist themed Anime. It's a sarcastic album with a sci-fi plot, featuring a quest for arable soil on a flooded planet stewarded by a vengeful AI who exposes humanity’s fatal flaws. I get to bring together a variety of vocal influences for this album, from spaghetti westerns, to 80's power metal and pow wow pitches. – Ange Loft, Yamantaka//Sonic Titan

On the nomination: We were on tour in Europe when we learned about the nomination and were also hearing news about trade wars and human right violations against Central American children in the U.S. When we first composed the album lyrics as a group, over two years ago, I was hesitant to speak some of the more pointed lyrics, such as: "You need the cage, the mine, and the blood on the stone. You need the mills, the rags and the people you own.” In our current political and moral climate, these words don't feel strong enough. This record speaks to the ongoing doom and dread Indigenous populations know intimately that the U.S. and Canada were built upon. If this nomination provides a platform to bring some thought to Indigenous, immigrant and environmental issues, we will be satisfied. It's an honour to be nominated alongside many other Indigenous artists who are making resistance art rock. – Ange Loft, Yamantaka//Sonic Titan

Listen to Dark Water

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

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And the 2018 Indigenous Music Awards Winners Are … | Digital Drum

Digital Drum — Thu, 24 May 2018 20:46:57 +0000

And the 2018 Indigenous Music Awards Winners Are … | Digital Drum Digital Drum Thu, 05/24/2018

Earlier this year, Canada’s thriving Indigenous music scene made some serious noise at the 2018 Juno Awards. Last weekend, it cranked things to 11.

On Friday, May 18, the top talent from across Turtle Island gathered in Winnipeg for the return of the Indigenous Music Awards. Hosted by Jarrett Martineau and Beatrice Deer, the event kicked off with a red carpet celebration and treated the sold-out crowd to unforgettable performances by Indian City, Kristi Lane Sinclair, Ansley Simpson, Chase Manhattan (ft. 14-year-old hoop dance sensation Theland Kicknosway) and more.

But the night truly belonged to the show’s award winners.

With categories including pow wow, hip hop and everything in between, a total of 19 First Nations, Métis and Inuit artists/groups were recognized for their outstanding musical achievements over the past year. Pat Vegas, best known as a member of Redbone, also took home the Lifetime Achievement Award, while B.C.’s Jasmine Netsena won the inaugural TD Indigenous Songwriter of the year award (along with $10,000).

Below is a complete list of the night’s winners.

Best New Artist: Ansley Simpson, Breakwall

Best Rap/Hip-Hop Album: Supaman, Illuminatives

Best Folk Album: Buffy Sainte-Marie, Medicine Songs

Best Pop Album: Indian City, Here & Now

Best Rock Album: Relic Kings, Armoury

Best Country Album: Desiree Dorion, Tough Street

Best Electronic Music Album: Once a Tree, Phoenix

Best Blues Album: Robert "Freightrain" Parker, Freightrain Live

Best Hand Drum Album: Young Spirit, Mewasinsational: Cree Round Dance Songs

Best Instrumental Album: Jan Michael Looking Wolf, Flute Medicine

Best Inuit, Indigenous Language or Francophone Album: Shauit, Apu peikussiak

Best Pow Wow - Contemporary Album: Black Bear Singers, Notcimik

Best Pow Wow - Traditional Album: Northern Cree, Mîyo kekisepa/Make A Stand

Best Gospel Album: Callie Bennett, Awake Arise Shine

Best Producer/Engineer: Supaman

Best Radio Station Program - Promoting Indigenous Music: Indigenous Music Countdown (Native Communications Inc.)

Best International Indigenous Artist: The Imbayakunas, New Ground

Best Music Video: Buffy Sainte-Marie, The War Racket

Best Radio Single: Carsen Gray, Wanna See You ft. DJ Shub

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

10 Beautiful Opera Houses to Visit in a Lifetime | Opera With Pearls

Opera with Pearls — Wed, 16 May 2018 12:43:17 +0000

10 Beautiful Opera Houses to Visit in a Lifetime | Opera With Pearls Opera with Pearls Wed, 05/16/2018

My Bucketlist, Part 1

With summer right around the corner, I lately find myself day-dreaming about the places I could go on vacation. The hard truth about opera is that their seasons usually end around May-June, but that doesn’t mean that I couldn’t add some opera to my travels. May opera houses are known for their beautiful architecture, whether they are historic or modern buildings. They can be destinations on their own as many opera companies will offer guided tour during the summer season. It’s a great opportunity to visit backstage and perhaps maybe even take a selfie ON the stage!

Here’s the first part of my bucket list, with some destinations already checked off! Which one would you add to the list?

Teatro alla Scala, Milano, Italy ✅

Inaugurated on August 3rd, 1778 with a performance of Antonio Salieri’s Europa riconosciuta, Teatro alla Scala’s planks are graced by the best singers in the world. Some of the greatest works of the operatic repertoire were premiered there, such as operas by Verdi, Rossini, Donizetti, and Puccini, to name but a few composers. The theatre gets its name from the church of Santa Maria alla Scala which was located there prior to the theatre’s construction. It was renovated in 1907 into its current 1,987 seat-layout but was severely damaged during World War II. Recent updates to the hall include monitors on the seats to follow the libretto in Italian or English.

Sydney Opera House

Surely the most recognizable opera house of the world, it is an emblem of Australia at the same level as the Christ the Redeemer statue in Rio de Janeiro, Brazil. For some of us on the other side of the world, it would be a dream come true to visit! This popular attraction was opened in 1973 by Queen Elizabeth II and welcomes about 8.2 million visitors yearly. It houses Opera Australia in the Joan Sutherland Theatre of 1,507 seats, named in honor of La Stupenda. A UNESCO World Heritage Site, its architecture is recognized for being well beyond its time. The large white sails are often used for projections, such as during the Chinese New Year.

Oslo Opera House, Norway ✅

Situated at the head of the Oslofjord, the Oslo Opera House is home to the Norwegian National Ballet & Opera, and recently celebrated it’s the tenth birthday! Recipient of several awards for its architecture, the building is made to look like an iceberg coming out of the water. During the day, the lobby is flooded with sunlight, and pedestrians are welcome to walk up from the ground to the roof to enjoy the beautiful view of the fjord and the city. The Main House, where the opera productions take place, is a horseshoe shape auditorium of 1,369 seats.

Harbin Opera House, China

Innovative, futuristic, bold, and dynamic, the Harbin Opera House in northern China is breathtaking from every curve, inside and out. Inspired by the surrounding nature and climate, its undulating shape blends in with the wetlands, as if molded snow dunes by the wind. Finished in late 2015, it is the centerpiece of the Cultural Island. The Grand Theatre seats 1,600 patrons and can host Western as well as Chinese opera productions. Visitors can also climb up to the roof to enjoy views of the city skyline and the Songhua River. Unfortunately, finding information on their programmed concerts is virtually impossible, so if you’ve got a tip, please share.

The Metropolitan Opera, New York City

Because the United-States rarely do anything small, it's no wonder that the largest opera house can be found in the Big Apple. The fan-shaped auditorium has an amazing acoustic and can welcome just over 4,000 operagoers. Part of the Lincoln Center for the Performing Arts, the opera house opened on September 16, 1966, with the premiere of Barber’s Antony and Cleopatra, with Leontyne Price in the leading female role. From the large arched windows, you can see two Chagall paintings on either side of the large stairway adorned by crystal chandeliers resembling constellations.

Opera With Pearls challenges preconceived notions about opera as companies worldwide creatively redefine the art form. It is a lifestyle with opera at its core. All the glam without the snob.

Keep up with Opera With Pearls
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Snapchat: @chatdopera
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This article was originally published on operawithpearls.com. Reproduced with permission from the author.

Behind the Beats with Celeigh Cardinal | Digital Drum

Digital Drum — Tue, 17 Apr 2018 16:32:41 +0000

Behind the Beats with Celeigh Cardinal | Digital Drum Digital Drum Tue, 04/17/2018

Métis singer/songwriter Celeigh Cardinal has won an Aboriginal Youth Role Model Award, participated in the Banff Centre for the Arts’ Re(Claim) program, been named Cultural Ambassador for the Arctic Winter Games, and received an “ATB Listens” grant from ATB Financial.

And that was all before the release of her dazzling debut album, Everything and Nothing At All (2017).

She has since attended the Indigenous Music Residency in Manitoba, performed at Folk Alliance International in Kansas City, earned a 2018 Indigenous Music Awards nomination for Best Pop Album and scored a whopping seven nominations at the upcoming Edmonton Music Awards. She’s also scheduled a European tour for later this year, and started work on her second album. If it’s anything like the first, we can expect a soulful blend of roots, folk, rock and pop alongside some seriously powerful vocals (not to mention a ton of acclaim).

Between local gigs and songwriting sessions, Celeigh recently made time for an interview about all things music. Find out her pre-performance ritual, who she’s currently listening to and more.

How and when did you know you wanted to be a singer?

My first time singing solo on stage was when I was four years old. For as long as I can remember, this is what I’ve wanted to do. I feel very lucky to have unquestioningly known my passion from a very young age.

How would you describe your sound, and has it changed over time?

Eeee. Hardest question. I would say my voice is influenced by blues and Motown music, while my songwriting is influenced by folk and singer/songwriters. So it’s a mixed bag of genres.

Do you prefer songwriting or performing?

I would say performing. It’s my favourite thing to do. Writing doesn’t come as easily, and I tend to prefer things I’m naturally good at.

When you perform with a group, how important are the musicians you play with? Is talent enough, or do you look for something more?

Though talent and skill are very important, one must never underestimate the importance of a good hang. Travelling with people you don’t get on with is THE WORST. You’re in a relationship with the people you play music with, a very special one. It’s imperative that you work well together.

Do you have a pre-performance routine or superstition?

Typically, I try to have a bath before performances. I still get a lot of anxiety and adrenaline from performing, so I try to stay as calm as I can before I perform.

What do you do when you’re not making music?

Eighty per cent of my time is spent working on the admin aspect of my music career: social media, website, booking, etc. Ten per cent performing, five per cent writing and five per cent having baths.

What’s been your biggest struggle or challenge, either personally or professionally?

Balance. That is my struggle with everything. I have an ‘All or Nothing’ complex, so I’m either working so hard I can barely keep up, or I’m doing absolutely nothing and in recovery from that. However, I’m self-aware enough to say I’m working on it.

What are you listening to these days?

Though I’m a ‘90s girls in a ‘90s world, I’ve been adding new music to my catalogue these days. I’ve actually been listening to a lot of my Indigenous Canadian peeps, ’cause they’re making such good music! A few, but not all, examples are Jeremy Dutcher, Sebastian Gaskin, Wolf Saga, Digging Roots, Lacey Hill, and so many more. But I’m also listening to Theo Katzman, Vulfpeck, Erin Costelo, First Aid Kit. Oh, and the Fugees made it back onto my playlist.

What’s the most important lesson you’ve learned along the way?

You have to do what you love. I cannot do anything else; most other jobs make me miserable. If I was in the constant pursuit of a career in music, I would be very unhappy, and I’ll never settle for anything less than happiness again. Life is way too short.

As a musician, how do you define success?

Honestly, just being able to live off of it. I feel successful in that sense, but I suppose more sustainability, and maybe some medical benefits, would be nice.

It’s also very important to me that I’m contributing some representation in music for younger Indigenous artists. Growing up, I never saw anyone like me playing music (except for Buffy Sainte-Marie, but I didn’t relate musically) and I know how important it is to be able to relate and have role models. If I can do that, I feel I’ve done something.

What are you currently working on, and what’s coming up for you in the next year?

Touring, touring, hopefully, a new album (grants have been written) and more touring!

I am headed to Sweden, Denmark and hopefully Germany in the fall, and I really want to go to Australia and New Zealand next year. I love traveling!

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

Meet This Year’s Indigenous Juno Nominees | Digital Drum

Digital Drum — Tue, 20 Mar 2018 17:13:49 +0000

Meet This Year’s Indigenous Juno Nominees | Digital Drum Digital Drum Tue, 03/20/2018

If the 2017 Juno Awards served as a coming-out party for Canada’s thriving Indigenous music scene, the 2018 edition is a full-blown celebration.

One year after an epic opening performance by A Tribe Called Red (featuring Tanya Tagaq and Black Bear Singers) and big wins for ATCR, William Prince, Quantum Tangle and Buffy Sainte-Marie, a total of 10 Indigenous artists or groups are up for awards in seven different categories at this year’s event.

Leading the way with two nominations each – including Contemporary Roots Album of the Year – are The Jerry Cans and living legend Buffy Sainte-Marie. Riding the momentum of their latest album, Nunavut’s The Jerry Cans are also up for Breakout Group of the Year, while Buffy is up against DJ Shub (PowWowStep), Indian City (Here & Now), Iskwé (The Fight Within) and Kelly Fraser (Sedna) for Indigenous Music Album of the Year.

Following up on their Producer of the Year win in 2017, A Tribe Called Red scored a nom for Group of the Year, while Tanya Tagaq’s Retribution is up for Alternative Album of the Year. The Nunavut Sivuniksavut Performers are nominated for Classical Album of the Year (Large Ensemble), and Josh Cayer’s band Longhouse (II: Vanishing) is up for Metal/Hard Music Album of the Year.

Here’s a closer look at this year’s Indigenous Juno nominees:

The Jerry Cans

Nominated for: Contemporary Roots Album of the Year (Inuusiq); Breakout Group of the Year

Known regionally for their trademark mix of Inuktitut and English, The Jerry Cans’ unique fusion of folk, country, reggae and throat singing has earned the group gigs around the world and helped put Nunavut’s music scene on the map. Inuusiq is the band’s third album, and the first on their own label, Aakuluk Music.

Buffy Sainte-Marie

Nominated for: Contemporary Roots Album of the Year; Indigenous Music Album of the Year (Medicine Songs)

At 77 years young, Buffy Sainte-Marie continues to prove that age is just a number. Mixing new material with classics spanning her entire career (Universal Soldier will NEVER get old), the 2017 release of Medicine Songs reminds us that her stories are as relevant and powerful today as they were half a century ago. With an Academy Award (1982), a Polaris Prize (2015) and five Junos already to her name, another award or two would just be gravy.

DJ Shub

Nominated for: Indigenous Music Album of the Year (PowWowStep)

As a former member of A Tribe Called Red, DJ Shub got his first taste of the Junos when the trio won Breakthrough Group of the Year (and were nominated for Electronic Album of the Year) back in 2014. He has since launched a solo career and seems to be doing just fine. His debut album, PowWowStep, offers up a killer collection of upbeat bangers and features collaborations with Northern Cree Singers, Classic Roots and more.

Indian City

Nominated for: Indigenous Music Album of the Year (Here & Now)

Winnipeg pop/rock supergroup Indian City are a perfect example of power in numbers. Fronted by guitarist Vince Fontaine, the collective has released three albums and also includes Jay Bodner, Don Amero, Shannon Mckenney, Jeremy Koz, Rena Semenko, Neewa Mason, Atik Mason, Rich Reid and Gerry Atwell. While this is the group’s first Juno nomination, Fontaine has four noms and a win as a member of iconic rock duo Eagle & Hawk.

Iskwé

Nominated for: Indigenous Music Album of the Year (The Fight Within)

We had to wait more than four years for the follow up to Iskwe’s self-titled debut album, but 2017’s The Fight Within was completely worth it. Touching on everything from environmental protection and MMIWG (Missing and Murdered Indigenous Women and Girls) to love and relationships, she again manages to blend poignant lyrics with big sound for an album as timely as it is powerful. This is Iskwé’s first Juno nomination.

Kelly Fraser

Nominated for: Indigenous Music Album of the Year (Sedna)

Also up for her first Juno is Nunavut songstress Kelly Fraser. Since bursting onto the scene with her Inuktitut versions of Top 40 pop songs in 2013, she has released a pair of albums and helped shine a light on Nunavut’s oft-overlooked music scene. Inspired by the Inuit legend of the sea goddess Sedna, her latest album combines Inuktitut and English while fusing elements of pop, electronic music, throat singing and hip-hop for an upbeat (though not always glamorous) portrait of life in the North.

A Tribe Called Red

Nominated for: Group of the Year

It was only four years ago that ATCR won the Juno for Breakout Group of the Year. Now, despite losing one of their founding members (Ian Campeau aka DJ NDN) last year, the group has established itself as a household name not only in Canada but around the world. Since dropping We Are The Halluci Nation in 2016, they have won a number of awards (including the 2017 Juno for Producer of the Year), made the Polaris short list and played festivals like Coachella, Bonnaroo, Osheaga and more.

Tanya Tagaq

Nominated for: Alternative Album of the Year (Retribution)

Awards in general, and the Junos in particular are nothing new to Inuk throat singer Tanya Tagaq. Since 2006, she has been nominated five times and won twice. She also took home the coveted Polaris Music Prize and a Canadian Folk Music Award for her third album, Animism (2014). But her latest offering, Retribution, may just be her most powerful work to date. Experimental, bold, genre-bending and tradition-obliterating, albums like this are why the Alternative Album of the Year category exists.

The Nunavut Sivuniksavut Performers

Nominated for: Classical Album of the Year (Large Ensemble)

Nominated for their collaboration with the Winnipeg Symphony Orchestra on The Shaman & Arctic Symphony, the Nunavut Sivuniksavut Performers is an Ottawa-based college program that serves Inuit youth from across Canada's north.

Josh Cayer (Frontman of Longhouse)

Nominated for: Metal/Hard Music Album of the Year (II: Vanishing)

This is the first Juno nomination for Algonquin artist Josh Cayer, the bassist/vocalist for Ottawa doom band Longhouse. II: Vanishing is the group’s second studio album.

The 2018 JUNO Awards go down in Vancouver on March 25.

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.

7 Opera Characters You Find on Valentine's Day | Opera With Pearls

Opera with Pearls — Thu, 08 Feb 2018 15:58:12 +0000

7 Opera Characters You Find on Valentine's Day | Opera With Pearls Opera with Pearls Thu, 02/08/2018

I'M PRETTY SURE OPERA INVENTED VALENTINE'S DAY

As I was scrolling through my Facebook newsfeed with high hopes of finding a new cat video, I ended on a 2014 Buzzfeed article titled The 13 Types Of People You See On Valentine's Day. I went through the list, trying to figure out which one was me, hoping for a revelation, much like when I read the horoscope (don't we all?)
When I was done reading, I wondered if there was something like this with more opera. So instead of looking for one, I figured I'd just make a list!! Plus, this article completes as a serenading playlist. You’re welcome. So which Valentine are you?

*** Warning: Spoilers ahead. ***

7 OPERA CHARACTERS YOU FIND ON VALENTINE'S DAY

1. THE MATCH-MAKER

This opera is for that person who is either in denial of their lack of relationship, or in a long-term one, and finds the need to spice up their life by playing match-maker. But just like Figaro in The Barber of Seville, they make true love happen, so we love them for who they are.
Now if you have a friend matchmaker, go ahead and trust what they're doing. They have more than one trick up their sleeve and are quick on their feet! If you can end up with dreamy Almaviva instead of your tutor Bartolo, why not give it a try? You could finally have your Say Anything… John Cusack moment.
Without this person, there would be no great love story. So if you are like Figaro, you can tap yourself on the shoulder and congratulate your efforts. Well done!

2. THE INDEPENDENT

It’s normal to fear that you might lose yourself or lose sight of your personal goals if you get into a relationship. In the case of Turandot, she fears ''the domination of men'' which is understandable when you are the heir to the throne. Its’ all very Queen Elizabeth I. To protect herself from suitors, she asks them three riddles and if they fail, well, they are executed.
However, the one man who eventually succeeds happily places his fate and life in her hands. That's just how much he loves her. (Cue the awws).
A man like this would thaw any frozen heart. Just remember that if you don't jump on the occasion, there is a Liu pining for the same person...

3. THE TRAGIC LOVER

Not all stories have the happy ending you'd hope for. But that doesn't mean they aren't worth living. No regrets. Although there was a disapproving father, a sense of obligation, and a terminal illness, our lovers in La Traviata had a truly passionate – with ups and downs – relationship. For a few months. But there are memories you'll cherish forever. And nothing could ever change that. So go for it, you might not have a second chance.

4. THE ACCIDENTAL SWINGER

Your entourage might try to convince you that your betrothed could be unfaithful, and go to extreme lengths to prove it.
In Cosi Fan Tutte, although the two sisters have professed their unwavering love, they are easily duped when their fiancés disguise themselves and switch sisters to win a bet. They must have had really good costumes, just saying. The sisters eventually succumb, unaware of the ruse. Fortunately, all is forgotten in the end. Word of advice? Not everyone forgives and forgets as easily as the gentlemen in this opera do!

5. THE EVERYONE-LOVES-ME-WHY-DON'T-YOU TYPE

Now this might seem like an odd choice at first. But this list isn't about the most romantic or lovey-dovey of operas. There is something for every type of feelings. If this is you, you might want to figure out why you absolutely need attention. It’s impossible to please everyone, and you wouldn't want to learn it the hard way like Salome. She does get the guy at the end - well, his head anyway - but that's a long shot from a happy ending.
So if you're day is heading (pun not intended) for this, please review your options. ASAP.

6. THE GIPSY SEDUCTRESS

The Seductress is untameable, doesn't belong to anyone, and is easily bored. Nothing is guaranteed with Carmen. Heads up: If she outright tells you that if you don't love her, she loves you, but if you do love her, well beware, perhaps you should take that into consideration before leaving everything behind for her. Because it could lead you to dark and desperate measures...
So love her if you must, but set her free when the time comes. She's an oiseau rebelle afterall.

7. THE KNIGHT IN SHINING ARMOUR

This is pretty much every little girl's dream come true. When your honour and life is at risk, you hope to see a Lohengrin arrive, shining armour, on his white swan (the swan is the new steed.) He'll save you, marry you, but on one condition: that you do not ask his name. You'd think that this is fairly simple to respect. But opera isn't simple. So unless you want to instantly fall dead (that's just how it goes), enjoy your life without knowing your lover's name. Call him Bob or something, and avoid all the drama.

Happy Valentine’s Day!!

This article was originally published on operawithpearls.com. Reproduced with permission from the author.

On the Rise 2018 | Digital Drum

Digital Drum — Wed, 07 Feb 2018 19:14:02 +0000

On the Rise 2018 | Digital Drum Digital Drum Wed, 02/07/2018

On the Rise: Eight Emerging Indigenous Artists to Watch For In 2018

As the great Métis leader Louis Riel once said, "My people will sleep for 100 years, but when they awake, it will be the artists that give them their spirit back."

For anyone paying attention, that time has come.

Thanks to the commercial success of artists like A Tribe Called Red, The Jerry Cans and Iskwé, Canada’s Indigenous music scene has undergone a resurgence of sorts over the past few years. But this so-called Indigenous Next Wave extends well beyond the acts getting mainstream recognition.

For every artist selling out shows or winning awards, there are dozens more on the verge of breaking out. And many of them are just getting started. Here’s a list of eight emerging Indigenous artists to watch for in 2018.

Ansley Simpson

Back in 2016, Toronto-based Anishinaabe singer-songwriter Ansley Simpson won the inaugural imagineNative Bull’s Eye contest as Canada’s top emerging Indigenous artist. She has since released her impressive debut album (Breakwall, 2017) and toured the country with the four-week, 13-community New Constellations series. With a slot at the MEGAPHONO 2018 Music Showcase Festival and new music in the works, she is definitely one to watch in 2018.

Celeigh Cardinal

Riding the momentum of her dazzling debut album (Everything And Nothing At All, 2017), Métis singer/songwriter Celeigh Cardinal is in for a busy 2018. Between the Indigenous Music Residency in Manitoba, Folk Alliance International in Kansas City and a tour of Sweden, the Edmonton-based artist will also be working on her next album. If it’s anything like the first, we can expect a soulful blend of roots, folk, rock and pop alongside some seriously powerful vocals.

Jeremy Dutcher

Fusing elements of his classical training, contemporary jazz and traditional Maliseet music, Toronto-based composer/vocalist Jeremy Dutcher truly fits the bill as a genre-bending artist. And with fewer than 500 remaining Wolastoqey speakers, he’s also doing his part to preserve the language. Combined with his powerful voice and commanding stage presence, his message is bound to reach – and perk – plenty of ears.

Logan Staats

If you haven’t heard the name Logan Staats, you will. Although the Six Nations singer-songwriter has been making music and winning awards for almost a decade, he recently got his big break on CTV’s talent search show, The Launch. In addition to earning the praise of Scott Borchetta, Shania Twain and others, his rendition of The Lucky Ones was a huge hit on iTunes. Fusing elements of folk and rock, his signature sound is about to blow up in a big, big way.

Mob Bounce

Drawing from their Indigenous culture and connection to Mother Earth, Mob Bounce explore everything from politics and spirituality to racism and the environment. And their music with a message hasn’t gone unnoticed. Last year alone, the electronic hip-hop duo scored gigs at Aboriginal Day Live, Northern Lights Festival Boréal and with Gord Downie’s The Secret Path project. They also got a great start to 2018, landing on the cover of Beatroute (BC) magazine.

Once A Tree

Since joining forces to form electro-R&B duo Once A Tree, the wife-husband team of Jayli and Hayden Wolf have been turning heads on the Toronto music scene and beyond. In a few short years, they’ve released a killer debut album (Phoenix, 2017), accumulated 100K+ Youtube views on their music videos and been featured on Rolling Stone’s “10 New Artists You Need To Know” list. And with plans to tour in 2018, they may just be coming to a city near you.

Snotty Nose Rez Kids

Bursting onto the scene in 2017, Haisla hip-hop duo Snotty Nose Rez Kids flipped the script on Indigenous stereotypes and gave listeners a fresh perspective of life on the rez. But that was just the beginning. In 2018, they’ll be playing the brand new Skookum festival (Vancouver), headlining Edge of the World Music Festival (Haida Gwaii), releasing their third album (Braided and Faded) and collaborating on new projects with Drezus and the aforementioned Mob Bounce.

Ziibiwan Rivers

It’s hard to believe Ziibiwan’s career is only just getting started. In the two short years since releasing his debut EP (Time Limits, 2016), the Anishinaabe electronic artist/producer has been signed to RPM Records and scored a pair of 2017 Indigenous Music Awards nominations (Best New Artist and Best Instrumental Album). And with a new album on the way, 2018 promises to be his biggest year yet.

Keep up with Canada's Indigenous music talent on digitaldrum.ca

This article was originally published on digitaldrum.ca. Reproduced with permission from the author.