Jeremy Dutcher is a Two-Spirit song carrier, composer, activist, ethnomusicologist, and member of Neqotkuk (Tobique First Nation) in Eastern Canada. He gained international acclaim for his album `Wolastoqiyik Lintuwakonawa`. His musical style blends the songs of his community with neoclassical, jazz, and pop influences.
His latest album `Motewolonuwok` is released this month and marks Dutcher’s first time writing and singing in English. His latest album`s inspiration began with a poem by Cherokee writer Qwo-li Driskill. “From the heavy debris of loss, together we emerge,” a singular story of a two-spirit kin who was taken too soon, and calls us all together to witness, celebrate and heal. Jeremy sings in Wolastoqey, his native tongue, considered an endangered language, anchoring his work while he continues to reimagine the song traditions of his people from the banks of the Wolastoq River, just like he had previously done.
The album opens with `Skicinuwihkuk` a fairly ethereal listen where a cello complements the vocal which adds a heartbreaking almost haunted quality. A double bass and tinkling piano join and lead us heavenwards. The number closes with a percussive beat which leads into `Pomawsuwinuwok Wonakiyawolotuwok` which has a much jazzier texture with vocals that float in, around and over the musical accompaniment. The title of the track translates to “people are rising” and is a “resistance song for all voices.”
`Take My Hand` was inspired by a calling from Maggie Paul, an Indigenous Passamaquoddy elder, teacher and song carrier who has travelled around the world to share Wabinaki culture and is meant like a prayer to share that love can renew all things, all relations, all histories. The number itself is a piano driven nigh on gospel-tinged offering. There`s a deep intensity about `Wolasweltomultine` which has a quietly shared guitar, piano and brushed drum which allows the vocals to take full reign. A cello and choir like backing vocals join midway through and adds a further sense of poignancy to the number.
`tahcuwi Anelsultipon` is a blissful listen with piano and vocals that summon a sense of melancholy especially when a sting arrangement adds a further depth of wistfulness. Although fleeting `Sakom` has a real spiritual ambience.
`Ancestors Too Young` which is sung from the perspective of a parent devastated by the loss of a daughter has an almost tangible sense of frustration and despondency, especially towards the end as a trumpet mirrors this sentiment. It’s a song penned for the youth suicide crisis within Indigenous communities across Canada. There`s a real passion about `The Land That Held Them` which appeared to relate to an account of the significance of a native homeland.
`There I Wander` has a similar expansive emotion and temper to the previous number and has a kind of shimmer about it. The inspiring `Together We Emerge` gently develops from a stripped back submission with vocals, cello, and keys into a more robust balladlike, sacred almost divine composition.
`Rise In Beauty` leads us out and it`s a further orchestrated arrangement that leaves you pondering what`s been shared.
`Motewolonuwok` is a stunning album and at times is pretty overwhelming to listen to. Jeremy`s voice for me had a similar timbre to Anohni Hegarty`s wonderful vibrato and the sean-nós singer Iarla Ó Lionáird who has graced Afro Celt sound System and the Gloaming. His voice and content are fairly exquisite and thought provoking and can be quite overpowering to listen to in one session.
`Motewolonuwok`, if it gets the requisite airplay could really bring this artist some deserved recognition on this continent.
Rating 8.5 /10
