FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Constellation

Guest Mixtape: Rebecca Foon (Constellation)

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We are thrilled to present a special guest mix compiled by the world-renowned Montreal-based composer and cellist Rebecca Foon (Esmerine/Saltland). Last February marked her first eponymous release (on the legendary Constellation imprint) with a heightened emphasis on piano and vocals. ‘Waxing Moon’ casts an eternal light of staggering beauty and heralds a new chapter in Foon’s storied career.

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An emotional resonance emanates deeply in the heart of Rebecca Foon’s staggering works. It is why there has always been a deep connection – akin to the gravitational pull of the earth – to each and every record the Montreal-based composer has created. The Constellation alumnus has been responsible for a wide array of vital musical forces these past two decades: co-founder of modern chamber post-rock ensemble Esmerine; member of Thee Silver Mt Zion Memorial Orchestra (2001-2008); Set Fire To Flames (2001-2004) and her songwriting project Saltland. This year’s enthralling solo full-length ‘Waxing Moon’ marks the first album under her own name (which in itself is quite telling) that heralds a significant new chapter in Foon’s cherished songbook.

The soul-stirring piano lament ‘Ocean Song’ hits you deeply with its ceaseless waves of yearning and desperate prayer for hope. “Give me your hand and I’ll take you/ To the ocean of love and give you everything” is softly ushered beneath beautiful sustained piano chords. This opening verse, in just mere moments plunges the listener into the depths of a long lost world of faded dreams. ‘Ocean Song’ channels the darkest of fears for our planet: the swirling notes of piano and cello coalesce with Foon’s achingly beautiful vocal delivery; embedded inside “a thousand tears”.

The closing section encapsulates the spiritual dimension of ‘Waxing Moon’s sonic expedition. The staggering beauty of ‘New World’ begins with poignant piano arpeggios reminiscent of Arvo Part or the score-work of Nick Cave and Warren Ellis. An introspective moment of fragile beauty. The piece builds into a crescendo of soaring strings and ripple of piano notes that shares the DNA of Lubomyr Melnyk’s continuous music such is its divine spell.

Waves of sweeping strings serve the vital pulse of the album’s penultimate track ‘This Is Our Lives’. The charged immediacy of this otherworldly creation mirrors the desperation depicted by the song’s narrative. Foon pleas “I wish to hold you” on a later verse: channeling radiance from the depths of darkness. Just like the expanding waxing moon depicted on the scintillating title-track, the gifted composer’s newest work casts an eternal beauty and unfathomable power.

‘Waxing Moon’ is out now on Constellation.

https://www.rebeccafoon.com/

http://cstrecords.com/

“This mix includes songs that have moved me deeply, some of which I have been going back to recently and some over the course of my adult life. Much of this playlist has inspired the creation of my last album, waxing moon. I find great solace in the moving piano and strings of arvo part, satie, philip glass, the heightened awakened vibrations of alice coltrane and the outpouring of profound lyrics and powerful transformative energy in these songs. It is a 3 hour playlist for you during these times of stillness, reflection, heartbreak and so many unknowns. If anything, we can embrace and find hope in our interconnectedness, which feels truer than ever. I hope you enjoy it.”

Rebecca Foon

‘Waxing Moon’ is out now on Constellation.

https://www.rebeccafoon.com/

http://cstrecords.com/

Written by admin

May 12, 2020 at 3:36 pm

Mixtape: Fractured Air – April 2020

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fracturedair_april20

It’s been a while. The beautiful light of spring has finally descended upon us; filling the void (of current circumstance) with birdsong, blooming flowers, blue skies and all signs of glittering life. Even though nature does not mirror the dark surface that permeates all of our lives at this present moment; remember all things must pass. These days offer moments of introspection and quiet: to be at peace with your own self during this slowed down, prolonged period.

The art of music remains a trusted constant. Light In The Attic’s lovingly assembled compilation of Seattle-based recording engineer Kearney Barton is an exceptional document of divine pop, soul and R&B spanning the 60’s, 70’s and 80’s. ‘Architect of the Northwest Sound’ is filled with a seamless array of timeless musical discoveries.
Another essential compilation is Morr Music’s soon-to-be-released ‘Minna Miteru’: collection of hard to find music from the Japanese independent scene, compiled by Saya, who plays in the iconic duo Tenniscoats. We have an exclusive track (peformed by Takako Minekawa and Dustin Wong) on this month’s mix.

The L.A-based composer Kaitlyn Aurelia Smith’s shape-shifting sonic explorations continue to evolve on her Ghostly debut ‘Expanding Electricity’: an epic and enriching foray into visionary fourth world dimensions. Essential. Russian electronic musician Kate NV’s forthcoming full-length ‘Room for the Moon’ on Brooklyn music institution RVNG Intl represents another singular voice in the contemporary musical landscape of today.

The debut collaboration of Australian drummer Jim White (Dirty Three/Xylouris White) and renowned guitarist Marisa Anderson arrives soon on the legendary Chicago label Thrill Jockey (and first single ‘The Lucky’ offers the first glimpses into this enchanting body of work). Cellist Helen Money’s new Thrill Jockey full-length and Rebecca Foon’s latest Constellation solo release are things of beauty and boundless magnitude.

Inventions is the immense collaborative duo of Matthew Robert Cooper (Eluvium) and Mark T. Smith (Explosions In The Sky). Their new single ‘Outlook for the Future’ is a joyous, uplifting sonic voyage. “What is your outlook for the future?” is asked beneath colourful woodwind patterns and rhythmic pulses, before an elderly female voice responds: “I don’t worry about the future”. Live in the present: in the here and now. Music never ceases to surprise and awaken something deep inside of us all.

 

Fractured Air – April 2020 Mix

01. Ann Wilson & The Daybreaks ‘Through Eyes and Glass’ (Light In The Attic)
02. Maki Asakawa ‘No Ga Kowai’ (Honest Jon’s)
03. Takako Minekawa & Dustin Wong ‘Party On A Floating Cake’ (Morr Music)
04. Kate NV ‘Sayonara’ (RVNG Intl)
05. Inventions ‘Outlook for the Future’ (Temporary Residence)
06. Group Listening ‘A Little Lost’ (PRAH)
07. Cate Le Bon & Group Listening ‘Here It Comes Again’ (Mexican Summer)
08. Hamish Kilgour ‘Crazy Radiance’ (Ba Da Bing!)
09. Arthur Russell ‘You Did It Yourself’ (Audika)
10. Yves Tumor ‘Gospel For A New Future’ (Warp)
11. El Michel’s Affair ‘Rubix’ (Big Crown Records)
12. MF Doom ‘Ninjarous’ (30th Century Records)
13. Four Tet ‘Something in the Sadness’ (Text)
14. Cucina Povera ‘Saniaiset’ (Night School)
15. Kaitlyn Aurelia Smith ‘Expanding Electricity’ (Ghostly)
16. Laraaji ‘Hare Jaya Jaya Rama II’ (Numero Group)
17. Drab City ‘Working For The Men’ (Bella Union)
18. 24 Carat Black ‘You’re Slipping Away’ (Numero Group)
19. Pentangle ‘Light Flight’ (Sanctuary)
20. Jim White and Marisa Anderson ‘The Lucky’ (Thrill Jockey)
21. Enablers ‘Even Its Lies’ (Lancashire And Somerset)
22. Helen Money ‘One Year One Ring’ (Thrill Jockey)
23. Rebecca Foon ‘Ocean Song’ (Constellation)
24. A Winged Victory For The Sullen ‘Adios, Florida’ (Ninja Tune)
25. Brian Eno ‘Deep Blue Day’ (Editions EG)
26. Tropical Rainstorm ‘Flying Bird’ (Light In The Attic)
27. Aoife Nessa Frances ‘Less Is More’ (Basin Rock)
28. Dark Arts ‘The More Things Stay The Same’ (STROOM)
29. Windy & Carl ‘Crossing Over’ (Kranky)
30. Colin Self ‘Once More’ (RVNG Intl)

First Listen: GIGA)PUDDY by JOYFULTALK

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We are delighted to premiere GIGA)PUDDY, a special 39-minute instrumental DJ mix of original material from JOYFULTALK’s Jay Crocker. The critically acclaimed Constellation duo play Canadian shows this weekend (details below).

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The brainchild of instrument builder and sound alchemist Jay Crocker – joined by multi-disciplinary artist Shawn Dicey – JOYFULTALK is a junked-analog duo operating from a secluded outpost on Nova Scotia’s mystical South Shore. We were introduced to the critically acclaimed duo last year with the arrival of their utterly transcendent – and Constellation full-length debut – trance-like odyssey of masterfully sculpted analogue soundscapes, ‘Plurality Trip’.

Following its release they’ve been performing across North America and Europe to strong acclaim. Their touring action continues this spring with an appearance at MUTEK SF in May, and leading up to that show we’ll be sharing GIGA)PUDDY, a special 39-minute instrumental DJ mix of original material from JOYFULTALK’s Jay Crocker.

“GIGA)PUDDY is a collection of solo improvisations. It is a playful documentation of the soft transition from darkness to light when winter lets go and spring melts the ice and softens the ground. It is an interpretation of this fundamental change through the lens of immediacy, the evolution of palette in context with an exploration of process. NO MISTAKES. NO WRONG TURNS. NO TURNING BACK FROM THE LIGHT.”

—Jay Crocker

 

 

Tour dates:

Saturday 04 May 2019: King Eddy, Calgary, AB, Canada

Sunday 05 May 2019: The Rec Room – South Edmonton, Edmonton, AB, Canada

https://joyfultalk.bandcamp.com/

https://cstrecords.com/

Written by admin

May 3, 2019 at 6:16 pm

Guest Mixtape: Automatisme (Canada/Constellation)

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We are thrilled to present the latest installment of our guest mix series with prestigious Quebec-based producer Automatisme (William Jourdain). This shape-shifting electronic odyssey contains a host of exclusive remixes, reworks and alternative versions of formidable Automatisme creations (and more). Earlier this year, the gifted producer’s latest full-length ‘Transit’ arrived via the ever-dependable Constellation imprint. A scintillating exploration into the boundless orbits of dub techno, noise, electronic and drone sound worlds. Essential listening.

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Automatisme is the electronic music project of Saint-Hyacinthe, Quebec-based producer William Jourdain, who has since 2013 self-released a brilliant series of albums and tracks under this moniker, exploring various intersections of drone, glitch, dub techno, ambient, electro-acoustic and noise. Starting with site-specific field recordings, Automatisme samples, processes, signal bends and transforms this source material into soundscapes charting a broad spectrum spanning minimalist pulse, methodically additive beat, stacked-tone maximalism, spatial drone and arrhythmic ambient/noise.

‘Transit’ by Automatisme is available now on Constellation Records.

https://automatisme.bandcamp.com/
http://cstrecords.com/

Automatisme guest mix photo

 

AUTOMATISME FRACTURED AIR GUEST MIX TRACK-LIST & DESCRIPTION

1- AutomatismeStation 1 (Automatisme Solo Version), Liberation Through Hearing Records, Canada, 2018. This track will be officially released in late 2018 as a part of the Automatisme Featuring Thisquietarmy – Station EP via Liberation Through Hearing Records in Canada in cassette and digital formats.

2- Automatisme, Philippe VandalBlighted Apparatus (Automatisme Remix), Dream Disk Lab, Canada, 2018. This track will be officially released in late 2018 as a part of the Philippe Vandal – Embodied album via Dream Disk Lab in Canada in cassette and digital formats.

3- AutomatismeBateau (Version 2), Constellation Records, Canada, 2018.This track is a new version of the Bateau 1 & 2 tracks from the Automatisme – Transit album via Constellation Records. This track will be officially released in late 2018 as a part of a new Automatisme album.

4- AutomatismeTransit 2 (Version 2), Neologist Productions, USA, 2018. This track is a new version of the Transit 2 track from the Automatisme & Erinome – Post-Landscape 1 album available via Neologist Productions. This track will be officially released in late 2018 as a part of a new Automatisme album.

5- Automatisme & Erinome, Inwant2 Entrepôt 1 (Part 1), Neologist Productions, USA, 2018. This track is a part of the Automatisme & Erinome – Post-Landscape 1 album available via Neologist Productions in cassette and digital formats.

6-  Erinome, AutomatismeMars 2 (Erinome Remix), Neologist Productions, USA, 2018. This track is a part of the Automatisme – 2 album available via Neologist Productions in cassette and digital formats.

7- AutomatismeBureau 4 (Version 2), Constellation Records, Canada, 2018. This track is a new version of the Bureau 4 track from the Automatisme – Transit album via Constellation Records. This track will be officially release in late 2018 as a part of a new Automatisme album.

8- Automatisme, Joni VoidAesthetics Of Disappearance (Automatisme Remix), Constellation Records, Canada, 2018. This track is a part of a split digital 12″ featuring Automatisme & Joni Void remixing each other available via Constellation Records in digital format.

9- Automatisme Featuring ThisquietarmyStation 1 (Part 2), Liberation Through Hearing Records, Canada, 2018. This track will be officially released in late 2018 as a part of the Automatisme Featuring Thisquietarmy – Station EP via Liberation Through Hearing Records in Canada in cassette and digital formats.

10- Matrix, Isolation, Hidden track from the Various Films album, Chain Reaction Records, Cd, Germany, 2000. Not available in digital format. Only available in physical format.

11- Sturm (Reinhard Voigt), B1 Untitled, Part of the Die Glocken Von Sturm album, Mille Plateaux Records, Vinyl, Germany, 1999. Not available in digital format. Only available in physical format.

12- Komp (Andreas Tilliander), Lif, Part of the Vena album, Komplott Records, Vinyl, Sweden, 2000. Not available in digital format. Only available in physical format.

13- Silex (Fluxion), Clone, Part of the Alphabet album, Vibrant Music Records, Vinyl, Europe, 2002. Not available in digital format. Only available in physical format.

14- Motor, Gok, Part of the Gok 12”. Vinyl, Netherlands, 2001. Not available in digital format. Only available in physical format.

‘Transit’ by Automatisme is available now on Constellation Records.

https://automatisme.bandcamp.com/
http://cstrecords.com/

Written by admin

October 31, 2018 at 4:55 pm

Chosen One: Saltland

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And that’s what I love about music is trying to transcend or get out of this reality and move yourself and channel something deeper and find emotional depth within it.”

Rebecca Foon

Words: Mark Carry

Rebecca playing cello

Rebecca Foon’s second album as Saltland unfolds a deeply moving and intense journey, which forges an indelible imprint on one’s heart and mind. ‘A Common Truth’ centers on climate change and the state of the world (issues which Foon has worked tirelessly on over the years as an activist, organizer and co-founder of Pathway To Paris and several other environmental groups). The message of ‘A Common Truth’ resonates powerfully: Humanity needs to act urgently in order to save our planet Earth.

Employing the Montreal composer’s looped layers of cello and voice, stunningly beautiful cello soundscapes furl into the atmosphere as a transcendent flow of captivating strings is channelled from deep within the cosmos. An undeniable force is formed when Foon’s beguiling vocals blend with her layered cello instrumentation. On the achingly beautiful lament ‘Light Of Mercy’, Foon asks “How did we get ourselves here?” beneath mesmeric passages of brooding strings, akin to a late night vigil or desperate prayer to mother Earth. A deeply moving, meditative quality permeates throughout Foon’s otherworldly song cycles, capturing a rich intensity and raw emotion at every turn.

A striking intimacy prevails throughout ‘A Common Truth’. The hypnotic wordless vocals of album opener ‘To Allow Us All To Breathe’ flickers like stars dotted across a night sky. ‘I Only Wish This For You’ is a deeply affecting exploration that navigates the depths of human darkness where a vivid colours of hopelessness and despair engulf the utterly transporting sonic layers (bringing to mind the likes of Dirty Three, Rachel’s and Sarah Neufeld’s solo works).

A Common Truth’ features multi-instrumentalist Warren Ellis (Dirty Three, The Bad Seeds) on several tracks, further heightening Foon’s divine tapestry of enchanting sounds. The renowned Australian composer’s instrumentation of violin, pump organ and loops supplies rich textures for Foon’s voice and cello; the record shares the gripping intensity of the scores penned by Nick Cave & Warren Ellis, creating, in turn, a timeless journey that forever orbits an ethereal realm.

‘A Common Truth’ is out now on Constellation.

http://www.saltland.ca/

http://cstrecords.com/

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Interview with Rebecca Foon (Saltland).

 

Congratulations on the new Saltland album ‘A Common Truth’, it’s such a gripping and moving journey. Please discuss for me the making of the new record, Rebecca?

Rebecca Foon: Well basically, I was writing this album mostly in 2015 and at the same time I was working quite heavily on organizing with my partner Jessica Smith a concert in Paris at the lead-up to the UN climate change. I do a lot of work in Climate and Change as well so I had that on my mind a lot so it was pieces of creative expression on what was heavy on my mind at that time, and still to this day. And also, it’s a wonderful way for me to challenge myself in different musical ways with singing and writing lyrics and trying to sing on top of my cello playing with loops. And then four songs were co-written by a friend Warren Ellis and that was really a project I worked with him on those four songs and we would send files back and forth. I just really admire his playing and it was such a wonderful opportunity.

I love how the album itself the mix between the voice and instrumentals – it works so wonderfully – and how  you’re able to blend your voice with the cello instrument is amazing and how it comes back and forth throughout the record at different points.

RF: That’s so nice, thank you. It’s definitely been a fun process. It’s challenging for sure because it’s new territory for me but also really exciting and fun.

In terms of the lyrical content – you’ve already mentioned – is stemmed from the world as it is present and climate change, and the effect of these lyrics they really hit you. And more so, the message of the album is very hard-hitting, which is a good thing obviously.

RF: I’m so glad to hear that and your feedback, thank you.

Your approach to writing these pieces, how challenging must it have been to write the different layers to these compositions? It’s a process you must be getting more and more used to?

RF: Yeah it’s interesting because I wrote the lyrics before the music except for that song ‘Light Of Mercy’ which I wrote at the same time. But that song – unlike any of the other songs on the album – just came out, which was very interesting, that was probably the easiest song to write like it truly just came out of me. The other songs, the lyrics I wrote first and then wrote the music and then I would sing on top. I was writing the layers – like a cello groove happening, like a world of cello sounds – that I could then try and sing on top of and then I would flesh them out in the studio.

But because with music – like the melodies and chords –there are no words so it can take you into this trip, playing this. And that’s what I love about music is trying to transcend or get out of this reality and move yourself and channel something deeper and find emotional depth within it. And for the lyrics, writing the lyrics for me there was that poetic element but also because I was tapping into this really real, raw feeling around climate change and the state of the world with a sense of urgency. I think that’s what’s different about this album is like for me and where I’m at I really feel a strong sense of urgency, for humanity to act and I feel very compelled to channel that within my music. And so within that there is definitely a bit of a cerebral element to the lyrics like I’d find my own creativity within it and poetic feeling within that, there is almost an intellectual component to it. But then the music is quite a different experiment and then trying to bring them together was a fun challenge because it’s using two different parts of the brain in a way.

With the input of Warren Ellis as well, I wonder did you have him in mind or particular parts in mind for him before the songs were completed or was it towards the end of the process?

RF:  It was quite organic. Before writing the album, I always wanted to invite him to be part of it but I wanted this album to be very stripped down like on my first album, quite  few friends of mine play on it but this album I wanted to be much more intimate and much more of a cello vocal record. But I always had the intention of inviting Warren to be part of it and then the organic part of it is this concert I organized in Paris with my partner Jesse, Warren ended up performing at it – which was also spontaneous – and that concert was like a unique concert because it was during the UN Climate Change conference and it was really to highlight the importance of establishing the Paris Agreement. So, we had that connection then and so from there, it all came together organically.

The intimacy and just how raw the journey is really is striking. The album has a similar feel to scores by Nick Cave & Warren Ellis as the intensity really hits you.

RF:  I mean I’m really inspired by them and the emotional depth that they can convey in their music is very powerful. I think with the first record, it was my first time doing that world of cello and voice and writing songs from that foundation. I brought in a lot of friends for that record [‘I Thought It Was Us But It Was All Of Us’] because I really wanted to try to not hide away from anything and try to really get to the essence of what I’m trying to channel without trying to vary it in any way and not being scared of that being raw or naked or whatever it is you know. I’m glad that you find that come through; it’s rewarding to hear that.

You’re part of so many groups and bands and being part of the wonderful music scene in Montreal, I suppose all these different projects must feed into one another; as you’re finishing one thing, you’re beginning something else almost at the same time?

RF: Yeah, definitely and that’s quite beautiful because it’s all inter-connected like all the music is connected and everyone’s stories are woven together like my solo record, I would never would have created what I created if it wasn’t for everything; all the experiences that I’ve had leading up to it, which is a beautiful thing about life and the scripts of our lives, it’s so magical in a way.

Would you have memories of first learning music or discovering music in the first place?

RF: Well I started when I was eight. I had a funny story where I don’t come from a musical family. So I started playing cello because I went to a school that had a string programme and so I saw the cello and I totally fell in love with it and then I told my family that I wanted to play that instrument and they were like ‘What’s that? It’s so big’ [laughs] So, because of that experience, I really believe in public education because I never would have had the experience of playing music if I hadn’t had access to that as a kid. And playing a string instrument, it’s hard to start it when you’re older, even when I was eight that was quite old to start playing a stringed instrument so I always felt like I started way too old.

Just thinking of today and the last few years, it’s amazing too with just the cello instrument alone, how much wonderful music is being made with the cello.

RF: Totally because when I was growing up, there was not like the language of cello – it wasn’t violin even – it felt like classical was the way and anything else didn’t exist. There was no musical language outside of classical music like when I was growing up. I decided to not pursue classical music and so that was hard for me because I didn’t have a lot of reference points in the cello community but now that’s changing. It’s still not huge but there’s definitely more out there that I’m inspired by, for sure.

You’re probably touring the album ‘A Common Truth’ quite soon as well?

RF:  Yeah, I’m doing one-off shows and I’ll probably open up for Esmerine on tour. I’ll do my album launch in North America, in Montreal and New York.

Do you have favourite albums at the moment that you’re listening to?

RF: Yeah I guess for me within the Constellation/Montreal world, I’m really inspired by Matana Roberts and Colin Stetson. I love the new Bad Seeds record ‘The Skeleton Tree’, I love some other stuff on Constellation like Jerusalem In My Heart and I love listening to old albums like Mary Margaret O’ Hara ‘Miss America’, I love Marvin Gaye, Neil Young [laughs], I always go back to classic records that inspire me. But you know I have to say something about Marvin Gaye because there is this one album when you listen to his lyrics – it’s super-trippy – he references environmental degradation a lot on some of the songs. It’s interesting that you can go back to some albums from way back and it’s fixed like where we are now as a society. I love Sarah Neufeld and there’s some very interesting female solo albums put out now that makes me feel happy, who are doing things untraditionally like going for it.

There’s a lovely parallel between you and Sarah Neufeld and it shows just how much wonderful female solo artists there are making such important music.

RF: I think we inspire each other too and it keeps us engaged like seeing each other do it, inspires us to keep doing what we’re doing and it’s helpful to have friends in the community, it’s like a nice and supportive environment.

Lastly, you work so hard and well with all these issues concerning climate change, where do you see the state of the world as we are now and what do you hope for the next decade?

RF: Because I feel the urgency so strongly and because of the world right now with politics all over, I really believe – and part of me is because I am an optimist by nature – we can make it through but we can only make it through with really powerful collaboration and that needs to happen on a city level. And because federal politics are so murky right now and will probably continue to be murky for a while and we don’t have much time in order to avoid catastrophic climate change. I think what needs to happen – and this is what I’m working on with this organization that I’ve started Pathway to Paris – is really focusing on at a city level and I think that if cities can come together around the world and make commitments and action plans and implementation strategies to reduce the greenhouse gas emissions by 80-100% by 2050, I think that we will be OK.

If that can happen and it’s going to take flagship cities from all around the world to really start moving on that and for governments to support cities that don’t have funds to do it and have creative funding and creative mechanisms to help cities around the world to join in that effort because it’s much harder for cities like New York for example to make those kind of commitments and implement strategies and movement forward to move towards those kinds of reductions. But I really do think that if we can do that we’ll be OK but it needs to happen fast and it needs to happen very collaboratively. It’s exciting if it does because imagining cities that are not dependent on fossil fuels like that’s a pretty cool world, you can conquer a lot of problems at the same time reinventing those cities. So, for me that’s what excites me, to work towards that goal.

But I do think it requires a global effort and a global effort at this point. It’s unfortunate because with the state of the world right now with federal politics going more and more within federal boundaries and creating stronger and real walls to protect those boundaries but really the world needs to break away from all of that and think of us as a planet and think of it like a global picture to conquer this issue. And this issue is just a reflection of how we see the world, it’s showing us so strongly how we need to perceive the world but unfortunately the reaction is going in the opposite direction. But I do think there is hope there if we take another route, like the city route.

‘A Common Truth’ is out now on Constellation.

http://www.saltland.ca/

http://cstrecords.com/

Written by admin

April 4, 2017 at 6:38 pm