Just an update that PRINT/TRACK 06 is now out over on the THESIS bandcamp page. Big thank you to Birds and Rectangles (music), Rebecca Stoddard (poetry) and Gregory Euclide (artwork) for their amazing contributions to this project! Give it a listen and maybe pick up on of the records, they look amazing. This’ll probably be my last Valiska release for a bit as I’m working on another project currently, but I think the piece is a nice way to end off the decade: Hope you enjoy it!

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A few updates

A few updates as to what’s been happening in the last little while.

First off, my latest album ‘Numbers’ was released in June via Trouble in Utopia. It revolves around numbers stations, which are encoded shortwave radio broadcasts that are still in use to this day. I’ve always been intrigued by these alluring  recordings, so I was really happy when an opportunity to use these recordings as part of a musical project finally presented itself. I hope you enjoy the music and the mysterious recordings that it’s created around.

Secondly, I’m very happy to announce that a 10″ split with Birds and Rectangle will be coming out on via the THESIS Project on September 20. Pre-orders are now up. My contribution was an 11-minute long piece called ‘At Half Speed’. The release also comes with poetry by Rebecca Stoddard written specifically for the music on the release. It’s a really exciting project, so do check it out.

Lastly I want to briefly mention that I’ve been working on a new project with friend and collaborator Laura Reid. Laura is an incredible violinist and it’s been a real treat to work with her in the studio. I’m very excited about how the process has been coming along, and am looking forward to sharing the results with you. More info to come in the weeks/months ahead.

Take care!

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!


‘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.