Interview by Julie Oh
Photos by Lindsey Rewuski
“This piece is trying to reflect the listlessness of seasonal depression, when lighter days feel so far away and we feel trapped inside our heads, our homes, and in the unending greyness. But the ending is a reminder that spring will always come again, that the fog we feel stuck in will melt away. There’s a lot of pressure this time of year to be cheerfully celebrating with friends and family and I wanted to honour another side of the season that is so isolating and often gets tucked away and shamed.”
“I know I don’t want to make music that people can point at and say, ‘That’s an Oriental or an Asian sound,’ because whatever I make is going to be Asian art. So this is like — break down that idea and give you a whole new thing to listen to.” This is music that pays respect to roots and grows out of them, while grappling with totally new ideas.”
an interview I did with Kim Sklinar of Never Enough Notes at The Great Escape in Brighton, UK
respectfulchild – Glitter
Bewitching is possibly the only word to describe this calming, Zen-like piece of delicate instrumental music from Canadian-based solo musician respectfulchild’s debut album Searching.
There are echoes of landmark ambient and experimental pieces – the liquid atmospherics of The Irresistible Force’s classic remix of Coldcut’s ‘Autumn Leaves’ perhaps, or the restlessly reverberating plucked strings of Steve Reich – but ‘Glitter’ has a mood and charm all of its own. Gan or 敬兒– whose name, given to them by their grandmother, translates as respectfulchild in mandarin, has been on tour across the UK in recent weeks, appearing alongside former Can frontman Damo Suzuki in one of his live improvisation sessions.
Playing looped up violin and using the character of his breath – a common theme in ‘Glitter’ too – to add to the slowly enveloping sonics, he’ll round off the tour with dates at The Great Escape on May 18 (Unitarian Church, Brighton) and 19 (Green Door Store, Brighton).
Released this week on Coax Records. (BW)
The tour’s other highlight came from Respectfulchild, a solo instrumental project from Gan of Saskatoon, which, as they acknowledge, is on Treaty 6 territory. Gan stood alone on the stage, conjuring loops from their violin, vocalisations, and breath, fusing the organic and the electronic. Performing in the Landr offices as the sun set over Mont Royal, their performance drew a feeling of calm over the entire space, a moving moment of meditation and clarity in an otherwise hectic weekend. – M for Montreal – The Line of Best Fit
I got a lovely feature on Weird Canada’s New Canadiana page. Thanks to Marie Leblanc Flanagan for the beautiful words and to Emily Traichel for the translation
Been dreaming underground, been breathing under while soft bones feed the green. Saskatoon’s respectfulchild pulls strings through and up, looping you to the golden haze. All good things end in death, all good things come from death. A voice warming distant like prairie sundogs, trickle beats like footsteps rippling around grasping holes. Not all loops return to where they began, some pull upward.
Par les mains pulsantes de Marie LeBlanc Flanagan:
(Traduit par les rêves germinants d’ Émily Traichel)
Ses rêves germinent sous terre, sa respiration sous la surface tandis que de tendres os nourrissent le vert. Respectfulchild de Saskatoon fait traverser les cordes et les faitt monter, vous bouclant à la brume dorée. Toutes bonnes choses prennent fin dans la mort, toutes bonnes choses viennent de la mort. Une voix qui s’échauffe, lointaine comme des parhélies de la prairie; des rythmes ruisselants comme des bruits de pas qui ondulent autour des trous agrippants. Ce n’est pas toutes les boucles qui retournent où elles ont commencé, certaines se relèvent vers le haut.