An Interview with Bruce Cockburn

I had the sincere privilege of meeting with Bruce Cockburn for an hour this winter. We talked taboo: faith and politics, and discussed his recently published memoir Rumours of Glory (HarperCollins). Visit for the story.

Auto Parts Metallic Drum Set

For Sleeping At Last’s @sleepingatlast‘s song “Mercury” from the SPACE EP, they used a metallic drum kit. Check out Jordan Hill’s insane video of his hand-built car part drum set:

Kyross – EP

If you haven’t heard of Kyross, it’s for two understandable reasons: First, he’s 16, and second, this is his first EP. Still in high school, he’s been honing his production skills remixing. You can hear all that on Soundcloud.

With the help of Midwest Collective, Maple Ridge-based Kyross released this 3-track EP that combines R&B grooves with gritty electronica and floating ambiences.

I might also mention that he’s a student at the school I teach at, so I’m proud of him pursuing what he’s passionate about. Listen here, pay what you will at Bandcamp.

I Am Mountain, Literalism & the Christian Complex

I am Mountain

Obviously nobody likes to create art like this and immediately have to explain or defend it in the first 48 hours. – Chris McGrath

‘Liturgical post-rock collective’ Gungor released their third album, I Am Mountain, earlier this week. Received with intense praise, in its musical quality, I Am Mountain continues Gungor’s journey of innovation, trumping Beautiful Things and Ghosts Upon The Earth.

The album has received equally intense criticism, with some of the more common criticisms being: “It’s not ‘Christian’ enough”. “There’s too much mythological language”. “Where is the hope?”

As Michael Gungor writes on his own blog, “explaining poetry with prose can sometimes be counterproductive”. It’s not wrong of people to want answers. We all do. But I say this: not every art piece produced by Christians needs to be a comprehensive picture of the gospel of Jesus. Christian Contemporary Music has attempted that and runs the risk of being inauthentic: what, you’ve got it all figured out? Attempting to answer our own hard questions is overwhelming. Michael speaks more about that in his book The Crowd, The Critic, and The Muse.

My dancer friend Kim Stevenson is quoted in WeMakeStuff Volume 01, saying: “We do not give God enough credit for how much He can work through our art without it being a literal story about winning souls. God is so real to me while creating that I know He is integrated throughout my work. We need to dive into work that is relevant, pushing boundaries and moving ahead. We need to maintain high standards in our craft, and God will do the rest”.

Even Jesus did not summarize the kingdom of God in one artistic composition. Further, he was famous for speaking metaphorically, not literally. He compared the kingdom of God to this and that, allowing the meanings to rise and connect from the deep places of his listeners’ subconscious.

My friend Steffen, a marketer, tells me that 95% of our decisions are made subconsciously rather than consciously. Art forms carry power in their ability to bypass the rational-logical conscious filters and speak to the “heart”.

The final song is a perfect example of art speaking to the heart: this track, which is an exquisite wordless symphony, could speak – without using words – the messages these critics are desirous to hear in this album. Unexpected. Ironic. The message is potentially left unreceived by people looking for literalism. Yet… “He who has ears to hear, let him hear.”

It’s upsetting that some self-professed “long-time fans” are upset with Gungor, as if they’ve let them down. Let me ask you, on what grounds do you support an artist? As long as they give you the right warm fuzzies? It’s okay for Gungor to put out an album that focuses on questions and even heavier material. Michael Gungor himself doesn’t see it as a heavy album (see video below), but if that’s what the band is experiencing, their art is how they process it. Shunning their material and criticizing them publicly for it is like ostracizing your friend because they are asking hard questions in their personal life. These criticisms reek of an inability to empathize. They stink of objectification and narrow-mindedness.

When we shut ourselves off the the artist’s process, and just expect them to deliver a product that we can consume, we’ve lost sight of the purpose of art. Art’s purpose is to ask the right questions, not deliver all the right answers.

Here’s a video about what Gungor say about it:

Interview: Sleeping At Last

by Craig Ketchum


Ryan O’ Neal, the man behind the admired musical act Sleeping At Last, has been releasing albums since 1999. He’s toured with Plain White T’s, Switchfoot, and Yellowcard. He is involved with the non-profit organization To Write Love On Her Arms. But the most interesting thing about Ryan is his penchant for launching and completing exceptionally challenging musical projects. Two years ago he created an EP every month for 12 months. Now he is launching a series of six EPs exploring the universe, entitled Atlas. I just had to get inside his head, and he was gracious enough to take the time to respond – practically in the middle of recording!

CK: Atlas is going to cover a whole lot more than the earth! Tell me about what this project is going to look like.

Ryan: Yes, “Atlas” actually tells a large, overarching story via the sequence of EP themes and concepts. It’s the story of how all things came to be – starting with darkness (the unknown) and eventually, light… which leads to space and the heavens, which leads to the solar system, which leads to our planet, our land, which leads to our waters, our oceans, and so on. I have about 3 or so years worth of themes relating to that story, all mapped out in my head. If you can imagine a video camera as deep into space as possible, slowly pulling in, getting closer to and closer to the details of the universe… that’s what Atlas is about. And inside each of those broader themes, I explore as many interpretations of the theme as possible in my songwriting. I really enjoy the process!

CK: What are sources of inspiration for your songs? What are you currently reading, listening to or looking at to fuel your work?

“Earth” artwork by Geoff Benzing for Atlas: Space 1

Ryan: Well, I love movies a lot. I’ve realized more recently that I connect with things visually more than anything else and as a result, I’ve noticed that my appreciation for movies has made my lyric writing very visual. So I pull quite a bit of inspiration from watching tons of movies. Right now, I’m on a Space documentary and sci-fi kick! All “research” for my Space EPs, but I can’t get enough of ‘em! “In The Shadow of the Moon” was one recently that I pulled a lot of inspiration from. “For All Mankind” is another! As for books, I’m also reading some space-related stuff. C.S. Lewis’s Space Trilogy for the first time, and loving it. Ender’s Game is up next. Aside from media though, I get inspired by experiences, stories, relationships, faith, etc. I treat my songs like a journal. Since I don’t keep a journal, it all goes into my music.

CK: You’ve done something very well: marketing your music, and doing so with a personal touch. The Yearbook and Atlas subscriptions were such a cool idea, bringing anticipation for your music. What lessons have you learned as you promote your art?

Ryan: Thank you so much! The idea for the subscription model came out of asking myself what I would like from an artist I listen to. The answer for me was lots of music. I’m impatient and wish bands would put out albums all the time! So I thought, maybe I could do something with that idea and a) challenge myself creatively to write more than I’ve ever written before, and with deadlines, and b) to offer up music to my listeners far faster and more frequently than I ever had before. The subscription concept came as a result of those ideas. It was the obvious vehicle for making first Yearbook work, and now Atlas.

CK: Your upbringing must have been filled with music for you to have become accomplished at all those instruments. What was your childhood like?

Ryan: No one in my family was musical, actually! My parents listened to great things as I was growing up, but I benefited most from my mom’s encouragement in whatever I wanted to do. Music was it and she nurtured my love for it very early on. I got my first guitar when I was thirteen and that’s when I feel completely for music.

CK: How do your family and friends affect your songwriting?

Ryan: I often ask my mom or my wife for their opinion on a song, or lyric… but what we’ve all realized is that what I’m asking for is not an opinion at all, but a chance to hear the song through new ears (which is what happens when you show someone you care about something you made… you see it differently.) So my family is very, very patient with me and my misleading “tell me what you think of this!” questions.

CK: Your lyrics are incredibly poetic. Do you start with the words? Tell me about your process.

Ryan: Every song comes about a little differently. But I’ve learned some practices that work for me to help the process along. I constantly collect. Melodies and words. They usually begin separately… for instance, I try to sit down and write words as often as possible. I collect ‘em… throughout my day, I’ll hear a word and suddenly it sounds interesting to me, so I write it down. And other times I’ll just collect my thoughts. The same goes for music… any time I sit down and play my piano or guitar, I keep a little recorder handy, and if there’s a little melody that sounds interesting, I’ll hit record. I collect these little 30 second snippets and go back to them later… and all of a sudden I’ll forget about a melody and hear a song in it.. so I’ll pluck it from the bunch and start carving out a song. Then, once I sort out a little arrangement and sing nonsense over it, I dig around in my word collections and see what resonates with the feeling of the song and begin a little clipboard of ideas and lines that might work. That’s basically my process… but as I said, each song has its own way and cares very little about my recipes.

CK: You seem to write to people in many of your songs. Is that a conscious decision?

Ryan: It is a conscious decision. With every song, there comes a point in the writing where the message of the song is clear to me… then I have to decide who it belongs to. Am I singing this to someone? Is it about me? Is it a universal thought? So I choose accordingly.

CK: What’s with the motif of a “guardian” character on Darkness EP? To whom are those songs addressed?

Ryan: Lately I’ve been writing very narratively. No clue where that’s coming from, but I’ve been enjoying my hand at more direct storytelling like this. The “guardian” perspective you mentioned is actually a story I came up with, based on several true stories I’ve brushed up against in my life. The Darkness EP ends with a song called “Uneven Odds” which is part 1 of a story about a child who loses his parents, and is having to face a true darkness at a very young age. The song is written from the perspective of the legal guardian, who is left with the task of explaining what darkness is, and how it will pass to a pure and innocent child. The Light EP opens with its title track, which is part 2 of that same story… the boy grows up and has a child of his own, and is now tasked with articulating the light and beauty of life to his brand-new little one. It’s a story about hope.

CK: What’s important to you in your music?

Ryan: It’s also important to me that the songs I write be as honest and sincere as possible. Also, hope. I never really consciously insert hope into my songs, but I’m very grateful that light and hope tend to find their way into just about any topic I write about. Over the years that has become very important to me.

CK: What are you drawn to when listening to other people’s music?

Ryan: I love rich melody… and creative production.

CK: What’s your favourite creative project by another person?

Ryan: Whoa, that’s a big question! I can’t think of anything to point to… too many movies and creativity to narrow down!

CK: Do you have a favourite place?

Ryan: Just about anywhere in Hawaii.

CK: If you had to survive on a diet of one food, what would it be?

Ryan: Pizza. No question. In fact, from an outsider’s point of view, it probably looks like I do survive on a diet of just Pizza.

CK: sleepingATLASt: Did the idea come from wanting to cover the world around us, or from a play on words?

Ryan: The world around us… but I noticed and liked that Atlas is already hidden in my music name.

Ryan’s third EP in the series has just launched on iTunes. It’s entitled SPACE 1, and there will be a second SPACE EP coming soon. It comes hot on the heels of “LIGHT” and “DARKNESS”. Read more about the project on his blog.

Photo by Jeremy Cowart for Sleeping At Last

Kye Kye – Fantasize [Advance Review]

In June, I received a kind thank-you e-mail from Kye Kye. What I didn’t expect was a link to the new album! All of a sudden, I was the elated recipient of a sneak preview of Kye Kye’s new LP Fantasize — months prior to the release. Because Kye Kye have recently been navigating some tough choices in how to release this album and whether to do it independently or on a certain label, the release date has been postponed to January.

For a music journalist and strong appreciator of Kye Kye’s work, it was a great birthday present (Okay, so their manager didn’t know it was the week of my birthday, but it sure seemed like he had done his research.)

If you don’t know Kye Kye, you might like to read my interview from early 2011. Originating from Eastern Europe, their family moved to Camas, WA, where the three siblings (Olga, Tim, and Alex) began producing music. Olga’s fiance Tommy (now her husband) joined the band to play drums. Kye Kye produce an interesting mix of electronica-infused pop, doing it with both live instruments and programming. They’ve has put out one album, Young Love, and the three siblings put one out prior to that, under the name Paper Rings.

photo by Vanessa Weber
photo by Vanessa Weber

I’ve given Fantasize multiple listens, and it’s clear Kye Kye have worked tirelessly on this new full-length. The band have been quoted calling it a “labour of love”; that’s more than clear – it’s meticulously produced.

I must give you one spoiler alert: it’s pretty different from Young Love. Don’t go into this album expecting more of the same.

The opening chord of Fantasize takes me back to the first time I saw Kye Kye live. These first notes had the same effect on me as in that concert. I stopped breathing. The timbres swirled around me for a moment and then everything became normal again. Pretty mystifying.

This new album Fantasize is something special. And it’s fun.

This album is not only an important step in the evolution of Kye Kye, but I believe it stands out in its genre. The original creativity in this album is astonishing, and I’m sure Kye Kye have drawn influences from atypical sources for the electro-pop genre.

Every instrument on this album has been treated. I noticed the drums first, washed in reverb, while not being at all overbearing or heavy-handed. Olga’s voice, too, has a very glossy, floating feel to it, while remaining front and centre in the mix. A prime example of this is in the middle of “Softly”.

photo from
photo from

What makes this album so different from Kye Kye’s previous work? There’s been an evolution in at least three regards: first, the drums are central to this record. Both real instruments and electronic drum kits have been used. Brilliant stick work and drum programming have created some very tight grooves that enhance the rest of the instrumentation. While Young Love had a great texture to it, Fantasize feels more solid – and that’s a good thing. Second, this album relies less on loops and is driven by bass and beats. It features more instruments in general: synths, horns, percussion, electric guitar, bass, and a multitude of virtual instruments and loops. The guitar, which does not feature strongly on previous album Young Love, are exceptional. Third, Olga’s melodies reveal an increased confidence in exploration. Throughout the album, especially on tracks like “Dreams (2am)” and “Fantasize”, her creative use of timing and intervals brings a freshness and melodic leadership to the music. “Seasons” — and its interlude afterwards — would have been entirely out of place on Young Love, but is a fitting inclusion on Fantasize, and transitions masterfully into “Softly”.

Kye Kye have picked from multiple decades in regards to their influences on this album. “People” and “Softly” throw back to the 80’s. I can’t help but imagine, half-jokingly, that Kye Kye took some production cues from bands like Toto. After all, “Africa” enjoyed a momentary resurgence of stardom last summer.

True to her form, Olga is not afraid to be soul-baringly reflective in her lyrics. “I never knew that I was so harsh with things I thought I wasn’t afraid of. I never knew that I was so scared to change because of honest affection”, she sings on “Honest Affection”. She possesses a real strength of narrating through lyrics, though her tendency to under-enunciate, combined with the effects of reverb, can make it a challenge to pick out exactly what she is saying at times. Nonetheless, the production on her voice is magnificent.

Meticulously produced, this is a very strong release from Kye Kye. It’s exceptionally powerful musically and sets the bar for original creativity very high.

Holobody – Riverhood

Holobody - Riverhood - cover


If only I knew sooner that simply typing “Canada” into Bandcamp’s search bar would bring incredible music like this to my ears, I wouldn’t have waited so excruciatingly long.

Riverhood is one of the most creative albums I have ever heard, and I do not say this lightly. It’s the work of Montreal’s highly talented Luke Loseth (aka Felix Green), Charlotte Loseth (aka Sea Oleena) and others listed on their Bandcamp page.

The production is incredible. At any given moment, the sound is a flawlessly layered cake; an auditory delight: vocals reverberating, bass marching, synths spiralling up and down, and an incredible array of ambient sounds – claps, old European radio broadcasts, pianos, glass bottles, and the like.

Genre? “No” is the band’s apt reply. “Sonic exploration”.

Pick this album up. You’ll love what you discover.

Get Riverhood directly from the artist for $8 here: