Music for Walks

I put together a Spotify playlist of some music that I sometimes take walks with, or in general just really enjoy. Of course I threw a few of my own in there for good measure as well 🙂

Hope you enjoy it!

Not Close Nor Far – Hiss

Recently, I’ve been getting back into playing more guitar, something that I had put aside for a few years in favour of keyboards and synthesizers. Finding that my fingers are no where near as dextrous as they used to be, I suppose it’s been more of a rediscovering of the guitar. That said, looking back to my first EP as Valiska which was recorded using mostly guitar, it seems appropriate that my first EP of this side-project is recorded using the same instrument. Honestly, not sure what this side-project will turn into or where it’s going, but I felt it was time to take what I’ve learned through working on my past releases and see if I can take it in a different direction.

If nothing else, I had fun working on these short tracks. I hope you enjoy it!

Pretty Good Not Bad / Kara-Lis Coverdale + Valiska + Alder & Ash

I’m very excited to be playing at Pretty Good Not Bad in Victoria, BC this year, opening for Kara-Lis Coverdale, along with Alder & Ash. Although I’ve been to Victoria (and Vancouver Island) a number of times in the last few years, I’ve never actually played a show there, so this’ll be a first. It’ll hopefully also give me a chance to practice surfing, so yes, very excited about this one!

Tickets: http://www.ticketrocket.co/event/details/104724/pretty-good-not-bad-presents-kara-lis-coverdale

‘On Pause’ out now on Trouble in Utopia

Released on new label Trouble in Utopia, On Pause is Valiska’s most personal work to date, and consists of eight tracks that recount a series of life-changing events that occurred between 2016 and 2017. Charting this journey of loss and upheaval, the music is melancholic and at times painfully stark but does not dwell in dischord – with passages of optimism, hope, and even fleeting euphoria.

“Most experiences have different layers to them, things that used to be infuriating can become running jokes or fond memories – the album reflect this complexity and should connect to a listener’s memories or experiences. To me, it’s also not a sombre or gloomy album for the most part, maybe introspective, but rarely in a sad way.”

This LP takes a sound palette used in previous works with the Moog Sub 37 synthesizer, which takes centre stage on the album, using tape looping techniques to build progression and variety in simple melodic ideas. The sound put through tape distorts and fractures as it disintegrates under its unpredictable materiality. Working with the confines presented by the medium, the album possesses both a structural and aesthetic clarity all brought together by the wash of analog hiss, crackles and warps.