Tanya Tagaq And Shad’s “Centre” Gets A Bonkers Animated Music Video. – The Fader


Chad VanGaalen started making music videos after he became globally known as a spirited folk experimentalist from Calgary. Eventually, visuals for bands like Shabazz Palaces and METZ, as well as his owns songs, would gain renown. His video for Timber Timbre’s “Beat The Drum Slowly” also won the 2015 Prism Prize, an award for best Canadian music video of the year.

So his animated video for Tanya Tagaq’s new single “Centre” featuring Shad (a song The FADER premiered) features many of his trademarks: wonderful creatures in a strange worlds that blend into each other in a psychedelic cauldron of galaxies. Watch it above via Stereogum. Tanya Tagaq’s new album Retribution is out October 21. Watch the video here.

Throat Singer Tanya Tagaq Loudly Combats Indigenous Stereotypes – LinkTV

Tanya Tagaq — celebrated Inuit throat singer, recording artist, and Inuk advocate — loudly confronts Indigenous stereotypes and erasure. This is particularly audible in “Nanook of the North,” her bold re-working of Robert Flaherty’s 1922 film of the same name. In a wry artistic twist, Tagaq uses as her springboard a film that contains and conveys stereotypes of indigeneity and portrays indigenous people as silent relics of the past. “In America and in Canada, people see indigenous culture as a dead one: the brave dead Indian with the headdress, the happy-go-lucky Eskimo. But we’re still here,” she says. This message will ring through Los Angeles when Tagaq brings “Nanook” to The Broad this fall. This piece — much like Kara Walker’s beautiful and disturbing silhouettes on permanent display inside the museum — artfully recalls the turbulent past and present of race relations on this continent. Enticing, unnerving, and utterly compelling, Tagaq’s music consistently delivers.

Read the full article here.


Canadian scientists recently found the so-called “lost” Franklin expedition in the Arctic. Turns out, it was exactly where the Inuit have been saying it was, all along. Who would have thought?

Who would have thought that, if we had only listened to these ingenious navigators and survivors, we could have saved ourselves a whole lot of foolishness?

If you would like to know how our culture needs to find its way in the 21st century, I would suggest that you save yourself a lot of trouble, and listen to Tanya Tagaq’s album Animism.

Animism is a masterpiece because it transcends opposites. Dizzyingly complex and sophisticated in structure, it also completely hits you in your guts, in your soul.

It takes traditions that are tens of thousands of years old, and makes truly innovative music, music that could not have existed without Tagaq and her brilliant collaborators, violinist Jesse Zubot, drummer Jean Martin and DJ Michael Red.

The innovation on Animism is an argument not for moving beyond, but for putting more emphasis on the value and necessity of the traditions. The rootedness is where the newness of the record comes from. That will not be a contradiction for you, if you listen properly.

Animism seamlessly uses the technology of the digital recording studio to make an encyclopedic argument for the natural world. In fact, it will erase from your mind the notion of human artifice and nature as opposites. If you listen.

If you listen, you will careen through a panorama of the contradictions of existence. You can hear the living land, and the land under assault. You can hear children being born and conceived. You can hear the torture of the innocent, and the glory of the tenacious, unstoppable force of life. If you listen you can actually hear the sound of a people defying genocide to rise, wounded but alive, strong, and ready to fight.

There is no artist working today more emphatically herself, more incomparable than Tagaq. There is no musician in this world more powerful. Animism is the album that finally translates her unique power to the recording studio.

Can you hear it? If not, try listening some more. You’ll find it, eventually. I hope that in this instance, it takes people less than 170 years.

— Geoff Berner

Animism has received major critical praise and attention in Canada. The album won the 2014 Polaris Music Prize, a prestigious annual award (based on the UK’s Mercury Prize) that judges albums based on “the highest artistic integrity, without regard to musical genre, professional affiliation, or sales history.” Tanya’s unforgettable gala performance and acceptance speech have further amplified the impact of this win, and her victory has been heralded a turning point in Canadian music and culture. Animism has also won the award for “Pushing the Boundaries” at the Canadian Folk Music Awards.


WCMA Awards
Aboriginal Recording of the Year (2015)
Spiritual Recording of the Year (2015)
World Recording of The Year (2015)

Aboriginal Album of The Year
“Animism” Juno Awards (2015)

“Pushing the Boundaries Award 2014” Canadian Folk Music Awards

Polaris Music Prize (2014)

Best Media
“Tungijuq” Western Music Awards (2010)

Best Short Drama
“Tungijuq” ImagineNative Film & Media Awards (2009)

Best Album Design
“Auk/Blood” Canadian Aboriginal Music Awards (2008)

Best Female Artist
Canadian Aboriginal Music Awards (2005)

Best Album Design
“Sinna” Canadian Aboriginal Music Awards (2005)

Best Producer/Engineer
“Sinaa” Canadian Aboriginal Music Awards (2005)

Aboriginal Recording of The Year, Spiritual Recording of The Year, World Recording of The Year
ECMA Awards

Press Quotes

“Tagaq projects sounds that carry the imprint of the body’s secret contours and recesses, delving far beyond personal utterance, out beyond human identity, to summon voices from the flesh cavity haunts of animal spirits and primal energies.” —The Wire, UK

“Calling Tanya Tagaq an Inuit throat singer is like calling Yo-Yo Ma a cello player. Sure, it’s accurate, but it’s not the whole of what he does. Like Ma, Tagaq is the best of what she does — innovative, inspired.” —The National Post, Canada

“… [Tagaq] made it (Inuit throat singing) sound fiercely contemporary, futuristic even. Recalling animal noises and various other nature sounds, she was a dynamo, delivering a sort of gothic sound art while she stalked the small basement stage with feral energy.” —Jon Caramanica, The New York Times

“… Tagaq rose to the occasion with a performance that was simply elemental. Her approach is essentially abstract …Yet her singing delivered very concrete images of winter storms and summer sunshine, of birth and death and sexual ecstasy, of struggle and survival.” —Alex Varty, The Georgia Straight,
Review of Jan 30, 2010 performance with Kronos Quartet

“…magnificent, unique, overwhelming life force,” —fRoots Magazine

“Tanya Tagaq was an absolute standout, The Canadian prowling inside the candle-surrounded circular centre of the mausoleum and proving to be haunting both in breath-taking beautiful and completely terrifying manners, switching almost instantaneously and at times rapidly between high-octave almost operatic melodies and guttural yelps, the venue making it seem ash though she was duetting with herself in some hypnotic demonic dance. Catch her at all costs if you possibly can.” —Glasgow Review, Hamilton Mausoleum, Glasgow

“Quite how one woman sitting with four musicians could create such a visceral image is both baffling and difficult to explain, but this was an exquisitely drawn landscape. And the effect was nothing short of cinematic.” —Globe & Mail, Canada, (concert review of Tundra Songs with the Kronos Quartet)


Montreal, Quebec
La Tulipe
Los Angeles, California
Zipper Hall at the Colburn School
St. John's, Newfoundland & Labr.
St. John's Arts and Culture Centre
Corner Brook, Newfoundland & Labr.
Corner Brook Arts & Culture Centre
Charlottetown, PE
Confederation Centre of The Arts
Moncton, New Brunswick
The Capitol Theatre
Saint John, New Brunswick
Imperial Theatre
Fredericton, New Brunswick
The Fredericton Playhouse
Fairbanks, AK
The Hering Auditorium
Kodiak, AK
Gerald C. Wilson Auditorium
Yerba Buena Center for the Arts
Toronto, Ontario
Trinity St. Paul's Church
Ottawa, ON
National Arts Centre
St. Catharines, Ontario
Partridge Hall



Animism (2014)

Tagaq’s latest album.

Available at:
Six Shooter Records
Your local music retailer

anuraaqtuq (2011)

anuraaqutug (wind) is a live recording from the May 2010 performance at the Festival International de Musique Actuelle de Victoriaville. It features Tanya with Jean Martin (percussion) and Jesse Zubot (violin, viola). Available from Les Disques Victo.

Auk / Blood (2008)

Auk / Blood was released in 2008 and won a Canadian Aboriginal Music Award. It was nominated for two Juno Awards; Best Aboriginal Recording and Best Instrumental Recording.

Available at:
Six Shooter Records

Sinaa (2005)

Tagaq’s 2005 solo release Sinaa (Edge in Inuktitut). Includes “Ancestors” with Björk.

Available at:
Six Shooter Records


Drawing Restraint Nine

Tagaq appears on the soundtrack for Mathew Barney’s film Drawing Restraint Nine, where she sings on the song “Pearl”.

Do They Know it’s Halloween (2005)

Tagaq participated in the benefit song “Do They Know it’s Halloween” released by Vice recordings on October 11, 2005.

Medúlla (2004)

Iluani Erren (2003)

Tagaq, Oliver Schroer, Ugarte Anaiak Recorded in Spain in 2003.





Band Members

Press Photos

Jean Martin


Tanya Tagaq
Micheal Red
Cris Derksen
Scott Amendola
G.E. Stinson
Jesse Zubot
Jean Martin



Worldwide Label:
Six Shooter Records



Helen Britton and Shauna de Cartier
Six Shooter Inc.
P.O. 98038, 970 Queen St E.,
Toronto, ON M4M 1J0 Canada
Tel: 416 465 2459


Helen Britton, Six Shooter Inc.
Tel: 416 465 2459

Patrick Naud, Bonsound
Tel: 514 522 5672 ext. 258
Fax: 514 522 5460

Sue Renée Bernstein
Tel: 718 623 1214

Romain Peutat
Tel: 00 33 (0)683 155 658

UK Press

Kate Price, Stereo Sanctity
Tel: 07812 607230

Social Media