It is wonderful to feel the grandness of Canada in the raw, not because she is Canada but because she’s something sublime that you were born into, some great rugged power that you are a part of.
Strictly speaking Emily Carr was not a member of the Group of Seven, but her art is related to that collection of artists. I have always been a fan of the work of the Group of Seven and other Canadian artists of that period. In fact, I am a fan of a great deal of homegrown Canadian culture, whether it is art, music, film, theatre, or television. The Group’s work speaks to the ruggedness of this country, and it’s beauty. They (and the artists they influenced) established perhaps the most significant artistic movement Canada has ever seen. I mention them because today’s piece is influenced by a similar vision of my home country.
The Lights I See You In Shadow is the second major album I have been a part of. The last, Muffin Parfait, was nowhere near this one in quality or completeness. I was surprised when I received a letter from the National Archives asking for a copy. Apparently they ask everyone who puts out any piece of recorded work. At the moment you can find Muffin Parfait in the Ryerson University library, at several Ontario university and college radio stations, and in the homes of about 50 people (assuming they haven’t lost or disposed of it). With the budget I have for this album, it will not be possible to release a hard copy in wide distribution. That is why I am relying on the internet to get the music out there. That said, I have worked with Dave Fallis on some album artwork, and I will be displaying that material on this blog later in the week. There will also be actual CD’s with cases available for a modest price if anyone wants one. Of course if you download the finished project on Amie Street you can contact me about getting an actual CD.
Great Cliff-face Real Estate is about rural life. I was born and raised in a city, but I have an interest in the country life. It’s amazing to think how dependent humans have been on uncontrollable elements like weather for survival. In light of this it isn’t surprising that we have put so much effort into controlling the earth. The music for GC-FRE evolved over a period of several months. I tried various piano parts before settling on the current version. The guitar in the chorus is a recent addition, and was called “avant garde” by a friend of mine. It has a bit of a first at the end when horns scream to life. I have never even thought to put any type of horn in my work. The trumpets worked into this piece very naturally.
Move onto some Great Cliff-Face Real Estate: