LINDSAY DOBBIN

Yesterday I ventured out to Chester, Nova Scotia where I, with...

healinglovemagic — Sat, 04 May 2013 10:35:00 -0400

Yesterday I ventured out to Chester, Nova Scotia where I, with the guidance of a wonderful mentor, brought my first drum into being. Made from local white-tailed deer hide, this drum is a manifestation of my vision for the next phase of my life. A tool to help me understand the inner and the outer. A traveling companion. A teacher. A source of strength.

The drum-building represents the beginning of an intensive project where I will be studying shamanic drumming. Through self-directed study, drumming, journeying and learning from mentors, I aim to understand this ancient form of drumming — the first healing modality and tool to understand one’s place in their community, found in all cultures throughout the world. I will also be doing personal ancestral research during the process, namely focusing on my Mohawk ancestry and the life of a particular great grandmother of mine. It is my hope that this deep investigation will lead to new music, incorporating all of these elements.

It’s the day after the first day, and my drum is drying, the hide finding its place on the hoop, and my whole body is sore. Drum building is a physical process. Very physical. But I’ve never felt so satisfied. In three or four days, I get to play my drum for the first time.

Finally, I must say thank you to the Canada Council for the Arts for having huge hearts and supporting me in this endeavor. And also a huge thank you to Carla for your guidance, patience, support and strength in helping bring my drum into being.

ZOOBEE ZOOBAK

healinglovemagic — Wed, 01 May 2013 09:47:24 -0400

A short, shadow-animated film that I made with Edward Westerhuis in Whitehorse, Yukon is currently touring the country as part of the Sci-Fi Double Feature, a creation of Yukon’s own Ramshackle Theatre (Brian Fidler and Edward Westerhuis). The film Edward and I made is called Zoobee Zoobak’s Unregistered Inventors Summit, and it features a naively confident, duck-billed host guiding the heckling audience through three inventors’ creations. We witness the downfall of the event, and Zoobak’s blind enthusiasm.

In 2011, Zoobee won top honours at the First Annual Shadow Challenge, hosted by ED Video in Guelph, Ontario. I’m really happy it’s part of this event with Ramshackle. Now for a sequel! How about, Zoobee Zoobak’s Animal Wonderland Show? Or, Zoobee Zoobak’s Journey to Saturn. So many possibilities.

BROKEN DEER: SOUTHERN SOULS REVIEW

healinglovemagic — Wed, 01 May 2013 09:31:34 -0400

BROKEN DEER: SOUTHERN SOULS REVIEW:

brokendeer:

A really wonderful review from Andrew Patterson at Southern Souls:

Often, when discussing the merits of lo-fi recording, there is an emphasis on how the sound is made beautiful by restriction. Either there is a sense of immediacy (time restriction) or a sense of triumph despite limitations…

Music for Plants

healinglovemagic — Fri, 26 Apr 2013 10:52:13 -0400

I’m organizing/curating this event for the OBEY Convention in Halifax, NS. It’s free. Be sure to come on out!

COMMON ROOTS URBAN FARM PRESENTS – Music for Plants and Food Wolf Brunch
June 9th – 1pm | Common Roots Urban Farm

Improvised music. An urban farm. Springing plants. Locally-sourced brunch. All these elements will come together on Sunday afternoon’s Music for Plants – a performance of improvised music where artists will create soundscapes and textures inspired by their interactions with the plants at Common Roots Urban Farm. Inspired by her love of nature and sound, Lindsay Dobbin wanted to create an environment where the connection between the two could be explored, and she has invited her collaborators Evan Cardwell (Double Vision Quest) and Jesse Matthews (JFM), who call themselves JOURNEYS, to go on that quest. Tim Crabtree of Paper Beat Scissors will also be performing his more ambient, improvisational sounds. Other artists TBA.

Commons Root Urban Farm aims to deepen the connection between people and nature, and OBEY is thrilled to be part of that adventure by offering sound as a modality to grow food and community.

More info here.

I recently composed some music for a portion of Lisa...

healinglovemagic — Fri, 26 Apr 2013 10:44:25 -0400

I recently composed some music for a portion of Lisa Lipton’s BLAST BEATS film. You can watch/listen here.

A demo of the song “Perpetual Light” that will be on...

healinglovemagic — Thu, 18 Apr 2013 13:15:13 -0400

A demo of the song “Perpetual Light” that will be on the upcoming Unseen World release, Dreaming (Clocks & Daggers, May 2013).

On the heels of my Broken Deer release, I’m excited to...

healinglovemagic — Wed, 03 Apr 2013 17:42:00 -0400

On the heels of my Broken Deer release, I’m excited to announce my new musical project: Unseen World. Broken Deer will still exist, but I needed a project name for the non-field recording/experimental folk music I am doing. Hence, Unseen World. (I created a Facebook page if you’re interesting in following, or liking, or whatever it is.)

Above is the newest song I’ve created, along with footage of Loie Fuller’s Serpentine Dance, as featured in many different films from the late 1800s to early 1900s.

As part of this project, I will also be releasing a tape with the newish Halifax tape label, Clocks & Daggers. I’m really excited to be working with Jon (label operator) and James (visual art), and thrilled to have great label-mates, including Former Selves from California and mpala garoo from Russia. Below is a preview of the Unseen World record, Dreaming (excerpts from four tracks).

‘Dreaming’ is comprised of sound journeys inspired by actual dreams of Unseen World - the new project by Lindsay Dobbin (Broken Deer) - during the summer of 2012. She’d spend a few hours each day creating a new song based on the dream from the night before— relying heavily on improvisation and shamanic methods to capture its space and feeling. What results is an album that sounds like a radio station receiving transmissions from typically unseen places: the ocean, the underworld, inside your body, and outer space.

Also, this mid-to-late summer will find me releasing some new and old pop songs under the Unseen World moniker on a VHS split with Halifax’s Organ Magic. Silent Shout recently premiered a couple of those tracks.

Finally, I’m really excited about my ongoing collaboration with Jfm and Double Vision Quest, JOURNEYS.

A few weeks ago we improvised a hour-and-a-half set for a group of improvising dancers at Danspace in Halifax. I must say, it was one of the most rewarding artistic experiences of my life thus far. I don’t hear music, I see it, especially in terms of movement, colour and shapes. So collaborating with dancers is a match made in heaven!

We hope to have a JOURNEYS Bandcamp up soon and play some shows for you. Also, Jfm has an amazing record coming out soon, and you can pre-order it here.

brokendeer: Here it is — the video Heather Rappard created for...

healinglovemagic — Thu, 28 Mar 2013 08:26:16 -0400

brokendeer:

Here it is — the video Heather Rappard created for “My Heart’s in the Highlands.” It premiered here on Hartzine.

MY HEART'S IN THE HIGHLANDS

healinglovemagic — Mon, 25 Mar 2013 17:34:44 -0400

brokendeer:

The film Heather Rappard made for “My Heart’s in the Highlands” will premiere this Thursday via Hartzine. Also, it was selected to screen at the Halifax Independent Filmmakers Festival as part of the Atlantic Canadian Experimental Works + Chamber Shorts screening. Called a “gothic love ballad” by HIFF, the film has so much textural depth, light mixing with dark. I can’t wait until everyone gets to experience it!

POLARAURA

healinglovemagic — Wed, 20 Mar 2013 12:25:06 -0400

There is now a Broken Deer Tumblr, for all things Broken Deer. Also, Polaraura is going to be released in less than a week. It will be available Tuesday, March 27 via Bandcamp in limited edition cassette/zine format and/or digital download.

Broken Deer is the low-fi field recording/experimental folk project of Canadian Lindsay Dobbin. Through combining sounds of exterior and interior environments, Broken Deer explores forgotten wildernesses and unearths tender histories to create highly personalized sonic landscapes.

Broken Deer’s next album, Polaraura, will be released independently on March 27, 2013. Recorded on analogue tape recorders in a cabin outside Whitehorse, Yukon, Polaraura is a sonic journey of spiritual longing in a beautiful but undiscerning landscape. Featuring sounds of frozen rivers, wolves, snow, wind, forest spirits, owls and, even, northern lights, Polaraura takes the listener on a journey to another world - a forgotten wilderness - within themselves.

At long last, here’s a mysterious teaser for the new...

healinglovemagic — Thu, 28 Feb 2013 16:15:00 -0500

At long last, here’s a mysterious teaser for the new Broken Deer album, Polaraura. The video, created by Heather Rappard, reveals the album release date: March 27, 2013! More details, including a full-length music video for the song “My Heart’s in the Highlands,” coming very soon.

Today is the final day to help create the largest protected area...

healinglovemagic — Mon, 25 Feb 2013 11:54:20 -0500

Today is the final day to help create the largest protected area in North America by sending Yukon government a letter in support of the Commission’s Final Recommended Plan.

Visit the Protect the Peel Watershed: Yukon’s Great Boreal Wilderness website here, and take action!

Campfire song filmed in Mt. Robson, British Columbia.

healinglovemagic — Sun, 17 Feb 2013 02:38:00 -0500

Campfire song filmed in Mt. Robson, British Columbia.

Here’s a recent piano improvisation of mine, accompanied...

healinglovemagic — Thu, 07 Feb 2013 22:33:00 -0500

Here’s a recent piano improvisation of mine, accompanied by a video of a baby elephant enjoying the ocean for the first time.

The following is a DREAM MIX I created this Summer that I just...

healinglovemagic — Wed, 30 Jan 2013 20:22:00 -0500

The following is a DREAM MIX I created this Summer that I just realized I haven’t posted here!

We’re nearing the halfway point between the Winter Solstice and the Spring Equinox, so I think we can definitely start dreaming about Summer. Or, at the very least, break a sweat dancing around in our cozy homes to this rhythm-filled mix of music and joy!

And a special shout-out to Evan for introducing me to a couple of these songs.

INTERVIEW

healinglovemagic — Sun, 06 Jan 2013 16:21:00 -0500

Note: This interview is from awhile back (2009) but it applies to the record I’m about to release, Polaraura (More details to come on that very soon). And I also really like this interview.

Broken Deer is the project of musician/artist Lindsay Dobbin, formerly of Halifax, now relocated in the deep, northern frontier of the Yukon. Our Small Going is a collection of beautiful songs mixed with field recordings, soundscapes, and lo-fi blips and bleeps, finding the perfect home on San Francisco’s Gandhara Recordings. Lindsay’s music is embedded with grainy sound pieces and field recordings to create a celebration of nature, ritual, life and decay. The opening track “Coming of Age Funeral” is a beautiful instrumental piece, played on a solo acoustic guitar with tape hiss and buzz, giving the music a warm maternal feeling, while also tragic, as in the passing of an era or the sadness that comes with moving on. Neither ancient nor modern, the music seems to celebrate the difficulties and conveniences of our journey in the age of technology. Her textures are always light, often just using single instruments, allowing her to explore the fabrics of her sounds. Her unique voice shines through, giving a deep sense of ecology to her music. - Zachary Fairbrother (Avant-Lard / Weird Canada)

Z.= Zachary Fairbrother (Avant-Lard // Weird Canada)
L.= Lindsay Dobbin (Broken Deer)

Z. :: Not only are you a musician but you are a visual artist as well. Is there a common thread that ties your different approaches of art all together? Even within your music you explore styles that are sonically very different from one another. How do all these different aesthetics, fit you, as one artist?
L. :: I’m a very young artist. I don’t mean “I’m only 26, and that’s younger than the majority of the population.” No. I mean that I’m still discovering what subjects and mediums interest me. It’s all still fresh. Art, and I include music in that, has always been a process of discovery for me. When I moved to the Yukon over a year ago, I didn’t bring any instruments with me, only a hand-held tape recorder. I remained open to whatever came into my life. Surprisingly, the first thing that transpired was working with the land. I spent five months on a Yukon homestead, digging potatoes, raising animals, horseback riding, eating. Afterward, I took care of a friend’s house and they owned an upright piano. I had rarely played the piano, but that’s what was there. I began playing, figuring sounds. New Broken Deer songs like “White Woman” came from that experience. I strongly feel that playing that instrument was a similar process to interacting with the land. It was a means of grounding — connecting to the unspoken stories in that particular place. So, in short, I think the aesthetic tie in my art is the process, less than a subject matter or medium. And the process is me interacting with a particular place, and all the materials it offers – whether they be a kazoo, crayons, wool or soil – with the intention of finding some truth. I really hope I have that fresh approach my whole life, and not get stuck in a routine. I think an artist can always discover different worlds, transform as a person but create work that is consistent with who they are, even if it be superficially different.

Z. :: Your music has a sense of timelessness. You have the ability to create a sound outside genres and trends while remaining very idiosyncratic. Your voice, instrumentation, and aesthetic point to a day gone by, while your recordings and compositional techniques sometimes point ahead. Do you think of Broken Deer as ancient or modern?
L. :: I don’t think of Broken Deer being exclusively ancient or modern. Like you say, the music or sound is not really associated with any particular movement. And I feel that Broken Deer is not entirely music. There are songs, of course, but I place more emphasis on the process of recording. Recording is this private way for me to not only document what I’m doing, but to find sounds that speak from my dreams, different parts of my body, the landscape. Consequently, I don’t think these sounds do well blasting through laptop speakers, on the go or during the day. I think the sounds are best represented as close as you can get them, in a dark space – but these things seem to be lacking in our mass modern culture. That is, the spiritual practice of listening and spending time in dark spaces. I really think sensory overload through sounds, visuals and artificial light is directly connected to our loss of wonderment.

Z. :: You seemed to be very influenced by nature. You came from a small town, before moving to a small city, and then further embarked into the isolation of the Yukon where you worked with sled dogs and homesteaded. How does nature emanate itself inside your art?
L. :: The emanation of nature is obvious, sure, because I often incorporate field recordings into my compositions. But the influence runs deeper than mimicking or representing. I’ve always felt strongly impacted by the natural world in a very visceral way. Yes, there are beautiful splendors to witness, but for me it’s more about a sense of always being able to take my place in the landscape. Now I could be talking about the surrounding environment, or my own inner territory. The two don’t seem separate to me. Like sound, nature is felt in its movements. Things grow. Decay. Die. But, as the Black Eyed-Peas say, “The energy never dies” (although I’m sure they got that from somewhere). I feel very connected to these things, and my sound work is a means for me to play and engage in the slow, sustained process of pulling storied threads from the land and weaving something beautiful.

Z. :: Tell us a little about the music/art scene in Whitehorse.
L. :: There’s a strong music and arts scene here in Whitehorse. It’s small, and teetering more on the traditional side, but there is space for more “alternative” ventures. I’ve found that people are really supportive of others as individuals, and are really open to whatever you have to contribute. I think that’s really important. The amount of territorial arts funding helps, too, and makes it possible for artists to focus on their practice full-time.

Z. :: How do you get the sounds that you do? Some of the music sounds as if it’s recorded through a cell phone, with blips and glitches of a lo-grade digital mic. But instead of sounding cold and thin it comes across as warm and deep. The lo-fi grain of your music is very characteristic, why do you prefer the lo-fi sound?
L. :: I play! Around! Also, I mostly record analogue, using a little hand-held tape recorder. Instead of interacting with the recorder solely as an input device, I employ its shape and physicality. For example, I recorded the drum beat for a new song, “Her Elders”, by hitting the recorder. The same goes for the tape itself. I’ve often recorded on tapes with material already present, which leads to unexpected blips, drones. I feel like I’m sculpting rather than recording, and sound is the material. I prefer the lo-fi recording process because of the interaction and element of surprise it provides. I prefer the sound itself because it’s the sound of my analogue and earthbound childhood.

Z. :: It is the year 2010, how do you see things and how do you hear the future of Broken Deer?
L. ::To celebrate this month’s new moon, three friends and I went out into the middle of a huge, snow-covered horse pasture. It was dark-dark. We decided that we’d play a game where we’d walk away from each other in the four directions. After many, many paces, we’d close our eyes, turn around, and walk our way back to the center, with no visual aids. We found each other. Then we lit a sparkler. This is how I see 2010.

DREAM INTERPRETATION

healinglovemagic — Wed, 19 Dec 2012 16:53:00 -0500

After years of delving deep into my own subconscious, I now wish to aid you in the quest of interpreting your dreams. Dreams can be an incredible source of power and guidance — not only at life’s crossroads, but everyday. I’d like to offer you support in finding the answers and wisdom you are ready to receive from the imaginal realm.

I have studied Psychology and Anthropology at university, and have been researching dreams and soul-based psychology for years, namely through the works of Carl Jung, Robert Moss, Joseph Campbell, Clarissa Pinkola Estes and Sandra Ingerman, as well as through the practice of shamanic drumming/journeying, deep listening, lucid dreaming and intuition. I am an artist and musician as well, so I feel especially able to work with people engaged in the creative process.

If you have a dream that you would like to further investigate, please contact me at lindsaydobbin[at]gmail.com.

I am offering this service free of charge for the initial consultation (one hour of my time). After that point, if you wish to continue working together, I will ask for a small fee ($35 - 50 per hour) and/or barter in exchange for my services.

Like the Facebook page.

Testimonials:

“lindsay dobbin operates within another realm and walks with a calm knowing, unlike anyone i have ever met. she is a dreamer, a believer, a magical woman & a wicked drummer. lindsay taught me the methodologies for shamanic drumming & journeying - to which i currently practice. she has always been the first person to support my obsession with dreams - & together we have traveled through such realms into an endless conversation. i truly believe in this woman. i believe she possesses the sensitivity, heart, and study which would benefit anyone who spent time with her. she knows things. it’s wild and exciting.” - lisa lipton (frankie), visual artist & musician (mostly drummer)

Please note: I am not a professional psychologist or psychoanalyst.

"You have been telling people that this is the Eleventh Hour, now you must go back..."

healinglovemagic — Tue, 18 Dec 2012 17:31:00 -0500

“

You have been telling people that this is the Eleventh Hour, now you
must go back and tell the people that this is the Hour. And there are
things to be considered… .

Where are you living?
What are you doing?
What are your relationships?
Are you in right relation?
Where is your water?

Know your garden.
It is time to speak your truth.
Create your community.
Be good to each other.
And do not look outside yourself for your leader.

This could be a good time!
There is a river flowing now very fast. It is so great and
swift that there are those who will be afraid. They will try to hold on
to the shore. They will feel they are being torn apart and will suffer
greatly. Know the river has its destination. The elders say we must let
go of the shore, push off into the middle of the river, keep our eyes
open, and our heads above the water.

And I say, see who is in there with you and celebrate. At this time in
history, we are to take nothing personally, least of all ourselves. For
the moment that we do, our spiritual growth and journey come to a halt.

The time of the lone wolf is over. Gather yourselves!
Banish the word ‘struggle’ from your attitude and your vocabulary. All
that we do now must be done in a sacred manner and in celebration.

We are the ones we’ve been waiting for.

”

- Hopi Elders’ Prophecy (Oraibi, Arizona, June 8, 2000)

Why the World Doesn't End

healinglovemagic — Tue, 18 Dec 2012 17:24:00 -0500

Why the World Doesn't End :

Michael Meade is one of my favourite thinkers. Here’s an enlightening article just in time for all you doomsayers. Bring the light on the 21st. Don’t go underground.

Even a word that seems to announce the end of everything has to have a beginning and “apocalypse” begins with ancient Greek terms like “apocalypsis,” meaning “to reveal, to uncover; to lift the veil.” The ancient notion of apocalypsis refers to what happens when the web of life loosens, when the veils lift and the underlying tensions and oppositions of life become more evident and transparent. Apocalyptic conditions tend to involve of revelations of the underside of creation and a “return of the repressed,” as raw emotions and ancient energies erupt and can overwhelm the rational mind.

BEST MUSIC OF 2012

healinglovemagic — Wed, 12 Dec 2012 12:53:00 -0500

Well, ‘tis the time of year to make those year-end lists, and year-beginning lists. So I decided to make one featuring the Best Music of 2012. Now, this does not represent the general public whatsoever. Or even a comprehensive opinion. It represents me, and what music had the most gravity in my life this year. And, I must note, the music I will be featuring was not made in 2012. I came across it and lived with it in 2012.

When I moved up North, I stopped keeping on top of new music. I used to know a lot about what was going on, what was “good,” the stories behind the music, etc.. Now I am so out of the loop. But I feel okay about this. I feel as though I’ve returned to a more pure, naive place of listening. You know, the childhood sense of the world moving with you.

Which reminds me, I used to have a record and 8-track player in my bedroom when I was 5, 6, 7, 8. On it I would play recordings chosen by my great grandmother, grandparents, uncle and mother. I had no knowledge of other music. I thought that what was in front of me was it. And since I didn’t have much available to me, I listened intently and deeply to the records I did have. Over and over. Diana Ross, Gladys Knight, Elvis and that orchestral disco guy informed my childhood.

I won’t get too into the fact that the world has changed. That people listen to mp3’s, playlists, a new song everyday. You know this.

These days, though, I have returned to that old approach of living life with one recording or one artist over a long period of time. And I’ve found it amazingly rewarding.

So, with that said, I have to now say that my list is not really a list. It’s a celebration of one artist that has deeply impacted me in 2012.

That artist is Huun-Huur Tu. They’re a music group from Tuva, a Russian Federation republic situated on the Mongolian border.

The most distinctive characteristic of Huun Huur Tu’s music is throat singing, in which the singers sing both the note (drone) and the drone’s overtone(s), thus producing two or three notes simultaneously. The overtone may sound like a flute, whistle or bird, but is actually solely a product of the human voice. The group primarily uses native Tuvan instruments such as the igil, khomus (Tuvan jaw harp), doshpuluur, and dünggür (shaman drum). However, in recent years, the group has begun to selectively incorporate western instruments, such as the guitar. While the thrust of Huun Huur Tu’s music is fundamentally indigenous Tuvan folk music, they also experiment with incorporating not only Western instruments, but electronic music as well.

I remember the night when I first heard them. It was late January. In Whitehorse. I was spending a lot of deep Winter time looking at the moon, going on walks with my dog, drinking chaga tea, reading and writing about my dreams. Rob Brezsny of Free Will Astrology sent out his e-newsletter this particular week in January, and attached a video of a collaboration between Huun-Huur Tu and The Bulgarian Voices - Angelite (see video below). I must of listened to the song 100 times at least in the week to follow. I remember it giving my life a mythic quality. There was a longing that I have not heard in other music. At times it felt like a celebration, but it was also filled with a deep mourning. It made me think of the natural world, and how it’s fading — how were losing something beautiful and rich. But the song still inspired me, making me feel that there was something that could be done. By singing the landscape. Telling the stories of those who cannot speak for themselves.

I didn’t listen to any of Huun-Huur Tu’s other music for awhile. Just this song. But then, one day, I decided to explore and see if they had any other collaborations with Angelite. Thankfully I discovered that there are two whole albums, Fly, Fly My Sadness (1996) and Mountain Tale (1998).

Seeing those dates, I think back to what I was doing with my time in 1996-98, and I remember that I was listening to a lot of Spice Girls, rowing, eating popcorn, getting my first period, and going to Hawai’i. It was a very transformative time! And this year, the year Huun-Huur Tu have literally been walking aside me, in my ears, has been an incredibly transformative time. I wonder if back in the 90’s I subtly felt this music being created on the other side of the world, even though I hadn’t heard it.

Maybe not.

But, in any case, this is the joy of the recorded medium. That I can discover music created over 10 years ago, and experience it like it has been created today, in the soul of my life.

Huun-Huur Tu has soundtracked a move across the country, Whitehorse to Halifax. My morning writing routines. My late night bouts of longing. My feeling of loss for the natural world. Me, plunging into my depths, as I recover from a back injury (aka in-journey). They have, through every performance, elevated me but kept me real.

Their music is timeless, has a sense of stillness, but is always moving forward, especially when there is drumming involved. It is definitely music for the journeyer. The seeker.

Now that I’m living in Halifax, I find their music takes me back to the North. Their songs are true to that landscape. At once angelic, otherworldly, whole and wide, but grounded in the harsh and undiscerning reality of the wild world.

The fiddle sings to the heavens, but you can still hear the texture of the strings that speak to the earth from which they came. And the throat singing sounds as if it’s coming from the ground. Sometimes deep down, other times riding along the surface like a horse.

I know my life would be very different today if I hadn’t of discovered this music. I not only listen to it out of love, but it has become a tool for me to see deeper, hear deeper. Into my past, into my future.

Huun-Huur Tu make universal, connective music that balances the two spheres of life: heaven and earth. They teach that you can balance both. You can dream and practice immortality, but you can also be embedded in the rhythms, textures, and trials of life. You can feel everything feeling, and honour them in a celebration of being human.

EXPANSIVELY REAL music.

LINDSAY DOBBIN

Yesterday I ventured out to Chester, Nova Scotia where I, with...

ZOOBEE ZOOBAK

BROKEN DEER: SOUTHERN SOULS REVIEW

A really wonderful review from Andrew Patterson at Southern Souls:

Music for Plants

COMMON ROOTS URBAN FARM PRESENTS – Music for Plants and Food Wolf Brunch June 9th – 1pm | Common Roots Urban Farm

I recently composed some music for a portion of Lisa...

A demo of the song “Perpetual Light” that will be on...

On the heels of my Broken Deer release, I’m excited to...

brokendeer: Here it is — the video Heather Rappard created for...

MY HEART'S IN THE HIGHLANDS

POLARAURA

At long last, here’s a mysterious teaser for the new...

Today is the final day to help create the largest protected area...

Campfire song filmed in Mt. Robson, British Columbia.

Here’s a recent piano improvisation of mine, accompanied...

The following is a DREAM MIX I created this Summer that I just...

INTERVIEW

DREAM INTERPRETATION

"You have been telling people that this is the Eleventh Hour, now you must go back..."

Why the World Doesn't End

BEST MUSIC OF 2012

COMMON ROOTS URBAN FARM PRESENTS – Music for Plants and Food Wolf Brunch
June 9th – 1pm | Common Roots Urban Farm