๐™ฅ๐™ง๐™ค๐™™๐™ž๐™œ๐™–๐™ก ๐™™๐™–๐™ช๐™œ๐™๐™ฉ๐™š๐™ง

by Lyndsey Scott

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1.
(๐™„ ๐™™๐™ž๐™™๐™ฃโ€™๐™ฉ ๐™š๐™ซ๐™š๐™ฃ ๐™ ๐™ฃ๐™ค๐™ฌ ๐™ž๐™ฉ ๐™˜๐™ค๐™ช๐™ก๐™™ ๐™—๐™š ๐™ก๐™ž๐™ ๐™š ๐™ฉ๐™๐™ž๐™จ) +++++ ๐™„๐™ฉ ๐™ฌ๐™ž๐™ก๐™ก ๐™—๐™š ๐™ข๐™ค๐™ง๐™š ๐™—๐™š๐™–๐™ช๐™ฉ๐™ž๐™›๐™ช๐™ก ๐™ฉ๐™๐™–๐™ฃ ๐™ฌ๐™š ๐™˜๐™ค๐™ช๐™ก๐™™ ๐™š๐™ซ๐™š๐™ง ๐™ž๐™ข๐™–๐™œ๐™ž๐™ฃ๐™š ๐™Š๐™ฅ๐™š๐™ฃ ๐™ช๐™ฅ ๐™ข๐™ฎ ๐™š๐™ฎ๐™š๐™จ: ๐™จ๐™ค ๐™ž ๐™˜๐™–๐™ฃ ๐™จ๐™š๐™š ๐™Š๐™ฅ๐™š๐™ฃ ๐™ช๐™ฅ ๐™ข๐™ฎ ๐™ข๐™ž๐™ฃ๐™™: ๐™ ๐™ฃ๐™ค๐™ฌ ๐™ž ๐™–๐™ข ๐™›๐™ง๐™š๐™š ๐™Š๐™ฅ๐™š๐™ฃ ๐™ช๐™ฅ ๐™ข๐™ฎ ๐™๐™š๐™–๐™ง๐™ฉ: ๐™๐™ง๐™ช๐™จ๐™ฉ ๐™ˆ๐™ฎ๐™จ๐™ฉ๐™š๐™ง๐™ฎ ๐˜ผ๐™ก๐™ง๐™š๐™–๐™™๐™ฎ, ๐™—๐™ช๐™ฉ ๐™ฃ๐™ค๐™ฉ ๐™ฎ๐™š๐™ฉ +++++ ๐™‰๐™ค๐™ฌ ๐™„ ๐™จ๐™š๐™š โ€ฆ. ๐™„๐™ฉโ€™๐™จ ๐™จ๐™ค ๐™—๐™š๐™–๐™ช๐™ฉ๐™ž๐™›๐™ช๐™ก. ๐˜ผ๐™ฃ๐™™ ๐™ž๐™ฉโ€™๐™จ ๐™–๐™ก๐™ก, ๐˜ผ๐™ก๐™ง๐™š๐™–๐™™๐™ฎ ๐™๐™–๐™ฅ๐™ฅ๐™š๐™ฃ๐™ž๐™ฃ๐™œ.
2.
New Shape 04:00
๐™’๐™๐™–๐™ฉ ๐™ฌ๐™–๐™ฃ๐™ฉ๐™จ ๐™ฉ๐™ค ๐™™๐™ž๐™š ๐™Ž๐™ค ๐™ฃ๐™š๐™ฌ ๐™ก๐™ž๐™›๐™š ๐™˜๐™–๐™ฃ ๐™œ๐™ง๐™ค๐™ฌ? ๐™’๐™๐™–๐™ฉ ๐™™๐™ค ๐™ž ๐™ฃ๐™š๐™š๐™™ ๐™ฉ๐™ค ๐™ช๐™ฃ๐™ก๐™š๐™–๐™ง๐™ฃ ๐™Ž๐™ค ๐™„ ๐™˜๐™–๐™ฃ ๐™ ๐™ฃ๐™ค๐™ฌ ๐™ฌ๐™๐™–๐™ฉ ๐™„ ๐™ฃ๐™š๐™š๐™™ ๐™ฉ๐™ค ๐™ ๐™ฃ๐™ค๐™ฌ? ++++++ ๐™„ ๐™–๐™ข ๐™ฌ๐™ž๐™ก๐™ก๐™ž๐™ฃ๐™œ ๐™ฉ๐™ค ๐™ฉ๐™–๐™ ๐™š ๐™– ๐™ฃ๐™š๐™ฌ ๐™จ๐™๐™–๐™ฅ๐™š ๐™„ ๐™–๐™ข ๐™ฌ๐™ž๐™ก๐™ก๐™ž๐™ฃ๐™œ ๐™ฉ๐™ค ๐™ก๐™š๐™ฉ ๐™ž๐™ฉ ๐™ฉ๐™–๐™ ๐™š ๐™ฉ๐™๐™š ๐™ฉ๐™ž๐™ข๐™š ๐™ž๐™ฉ ๐™ฉ๐™–๐™ ๐™š๐™จ ++++++ ๐™€๐™ญ๐™ฅ๐™–๐™ฃ๐™™! ๐˜พ๐™ค๐™ฃ๐™ฉ๐™ง๐™–๐™˜๐™ฉ! ๐™‡๐™š๐™–๐™ฃ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™š ๐™ฌ๐™–๐™ฎ ๐™ž๐™ฃ โ€“ ๐™๐™š๐™จ๐™ฉ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™š ๐™ฌ๐™–๐™ฎ ๐™—๐™–๐™˜๐™  . . .
3.
๐™ƒ๐™š๐™ก๐™ฅ ๐™ข๐™š ๐™ก๐™š๐™ฉ ๐™ž๐™ฉ ๐™œ๐™ค ๐™ฃ๐™ค๐™ฌ ๐™€๐™ซ๐™š๐™ฃ ๐™ฉ๐™๐™ค ๐™ž ๐™˜๐™–๐™ฃ๐™ฃ๐™ค๐™ฉ ๐™จ๐™š๐™š ๐™๐™ค๐™ฌ ๐™‡๐™š๐™ฉ ๐™ž๐™ฉ ๐™—๐™š - ๐™ฌ๐™–๐™ฉ๐™š๐™ง ๐™ช๐™ฃ๐™™๐™š๐™ง ๐™ฉ๐™๐™š ๐™—๐™ง๐™ž๐™™๐™œ๐™š ๐™‡๐™š๐™ฉ ๐™ž๐™ฉ ๐™ค๐™ช๐™ฉ ๐™ข๐™ฎ ๐™ข๐™ž๐™ฃ๐™™, ๐™‚๐™ง๐™–๐™˜๐™š ๐™ƒ๐™š๐™ก๐™ฅ ๐™ข๐™š ๐™จ๐™š๐™š ๐™๐™ค๐™ฌ ๐™ž ๐™ฃ๐™š๐™š๐™™ ๐™ฉ๐™ค ๐™˜๐™๐™–๐™ฃ๐™œ๐™š ๐™Ž๐™š๐™ฉ ๐™ข๐™š ๐™›๐™ง๐™š๐™š ๐™‚๐™ž๐™ซ๐™š ๐™ข๐™š ๐™จ๐™ฉ๐™ง๐™š๐™ฃ๐™œ๐™ฉ๐™ ๐™ฉ๐™ค ๐™›๐™ค๐™ง๐™œ๐™ž๐™ซ๐™š ๐™„โ€™๐™ข ๐™ฉ๐™–๐™ ๐™ž๐™ฃ๐™œ ๐™—๐™–๐™˜๐™  ๐™ข๐™ฎ ๐™ฅ๐™ค๐™ฌ๐™š๐™ง ๐™’๐™๐™–๐™ฉ ๐™จ๐™๐™ค๐™ช๐™ก๐™™๐™– ๐™—๐™ง๐™ค๐™ ๐™š ๐™ข๐™š ๐™ค๐™ฅ๐™š๐™ฃ๐™š๐™™ ๐™ข๐™ฎ ๐™๐™š๐™–๐™ง๐™ฉ ๐™„ ๐™–๐™ข ๐™‡๐™ค๐™ซ๐™š ๐˜ผ๐™ฃ๐™™ ๐™žโ€™๐™ข ๐™ง๐™š๐™–๐™™๐™ฎ ๐™ฉ๐™ค ๐™จ๐™ฉ๐™–๐™ง๐™ฉ ๐™–๐™œ๐™–๐™ž๐™ฃ
4.
๐™Ž๐™ž๐™ฃ๐™œ ๐™ช๐™ฅ๐™ค๐™ฃ ๐™…๐™ค๐™ฎ ๐™Ž๐™ž๐™ฃ๐™œ ๐™ช๐™ฅ๐™ค๐™ฃ ๐™‚๐™ง๐™ž๐™š๐™› ๐™Ž๐™ž๐™ฃ๐™œ ๐™ช๐™ฅ๐™ค๐™ฃ ๐™ฉ๐™๐™š ๐™‡๐™ž๐™œ๐™๐™ฉ ๐™ค๐™› ๐™– ๐™‰๐™š๐™ฌ ๐˜ฝ๐™ช๐™™๐™™๐™ž๐™ฃ๐™œ ๐™‡๐™š๐™–๐™› +++++ ๐™’๐™๐™–๐™ฉ ๐™ž๐™จ ๐™—๐™ง๐™ค๐™ ๐™š ๐™ฌ๐™ž๐™ก๐™ก ๐™—๐™š ๐™ข๐™š๐™ฃ๐™™๐™š๐™™ ๐™’๐™๐™–๐™ฉ ๐™ž๐™จ ๐™๐™ช๐™ง๐™ฉ ๐™ฌ๐™ž๐™ก๐™ก ๐™—๐™š ๐™๐™š๐™–๐™ก๐™š๐™™ ๐™’๐™๐™–๐™ฉ ๐™ž๐™จ ๐™ก๐™ค๐™จ๐™ฉ ๐™ฌ๐™ž๐™ก๐™ก ๐™—๐™š ๐™›๐™ค๐™ช๐™ฃ๐™™ ๐™ƒ๐™ž๐™™๐™™๐™š๐™ฃ, ๐™ง๐™š๐™ซ๐™š๐™–๐™ก๐™š๐™™
5.
๐™„ ๐™–๐™ข ๐™๐™š๐™˜๐™š๐™ž๐™ซ๐™ž๐™ฃ๐™œ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™–๐™ฉ ๐™‡๐™ค๐™ซ๐™š ๐™๐™–๐™จ ๐™›๐™ค๐™ง ๐™ข๐™š, ๐™„ ๐™–๐™ข ๐™„ ๐™–๐™ข ๐™„ ๐™–๐™ข ๐™๐™š๐™˜๐™š๐™ž๐™ซ๐™ž๐™ฃ๐™œ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™–๐™ฉ ๐™‡๐™ค๐™ซ๐™š ๐™๐™–๐™จ ๐™›๐™ค๐™ง ๐™ข๐™š, ๐™„ ๐™–๐™ข ๐™„ ๐™–๐™ข ๐™„ ๐™–๐™ข ๐™๐™š๐™˜๐™š๐™ž๐™ซ๐™ž๐™ฃ๐™œ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™–๐™ฉ ๐™‡๐™ค๐™ซ๐™š ๐™๐™–๐™จ ๐™›๐™ค๐™ง ๐™ข๐™š, ๐™ค๐™ ๐™„ ๐™–๐™ข ๐™ง๐™š๐™˜๐™š๐™ž๐™ซ๐™ž๐™ฃ๐™œ ๐™๐™ค๐™ฌ ๐™ฉ๐™๐™ž๐™จ ๐™‡๐™ค๐™ซ๐™š ๐™จ๐™š๐™ฉ๐™จ ๐™ข๐™š ๐™›๐™ง๐™š๐™š! ๐™„ ๐™–๐™ข ๐™๐™š๐™˜๐™š๐™ž๐™ซ๐™ž๐™ฃ๐™œ ๐™–๐™ก๐™ก ๐™ฉ๐™๐™–๐™ฉ ๐™‡๐™ค๐™ซ๐™š ๐™๐™–๐™จ ๐™›๐™ค๐™ง ๐™ข๐™š, ๐™„ ๐™–๐™ข ๐™„ ๐™–๐™ข (๐™•๐™„๐™‹๐™‹๐™€๐™ ๐™Ž๐™Š๐™‰๐™‚! ๐™›๐™ž๐™ก๐™ก ๐™ž๐™ฃ ๐™ฉ๐™๐™š ๐™—๐™ก๐™–๐™ฃ๐™†: ๐™‡๐™ค๐™ซ๐™š, ๐™‡๐™ž๐™›๐™š, ๐™‡๐™–๐™ฃ๐™™, ๐™๐™๐™ž๐™จ ๐˜ฟ๐™–๐™ฎ, ๐™‹๐™ก๐™–๐™ฎ, ๐™๐™ค๐™ช๐™˜๐™, ๐™Ž๐™ค๐™ช๐™ก, ๐™‚๐™ง๐™ž๐™š๐™›, ๐™๐™š๐™จ๐™ฉ, ๐˜ฟ๐™ง๐™š๐™–๐™ข๐™จ, ....๐™š๐™ฉ๐™˜)
6.
Love Dogs 04:24
๐™”๐™ค๐™ช ๐™™๐™ค๐™ฃโ€™๐™ฉ ๐™›๐™ค๐™ค๐™ก ๐™ข๐™š ๐™„ ๐™จ๐™š๐™š ๐™‚*๐™™ ๐™ž๐™ฃ ๐˜ฟ๐™ง๐™–๐™œ ๐™’๐™๐™š๐™ฃ ๐™„ ๐™ก๐™ค๐™ค๐™  ๐™–๐™ฉ ๐™ฎ๐™ค๐™ช ๐™”๐™ค๐™ช ๐™™๐™ค๐™ฃโ€™๐™ฉ ๐™›๐™ค๐™ค๐™ก ๐™ข๐™š ๐™„ ๐™จ๐™š๐™š ๐™‚*๐™™ ๐™ž๐™ฃ ๐˜ฟ๐™ง๐™–๐™œ +++++ ๐™„ ๐™ฌ๐™–๐™ฃ๐™ฉ ๐™ฉ๐™ค ๐™ ๐™ฃ๐™ค๐™ฌ ๐™ฎ๐™ค๐™ช ๐™ž๐™ฃ ๐™ฎ๐™ค๐™ช๐™ง ๐™š๐™จ๐™จ๐™š๐™ฃ๐™˜๐™š ๐™„ ๐™ฌ๐™–๐™ฃ๐™ฉ ๐™ฉ๐™ค ๐™๐™ค๐™ก๐™™ ๐™ฎ๐™ค๐™ช ๐™’๐™๐™ค๐™ก๐™š +++++ <๐˜ฟ๐™„๐™” ๐™จ๐™ค๐™ฃ๐™ž๐™˜ ๐™š๐™ญ๐™ฅ๐™ก๐™ค๐™ง๐™–๐™ฉ๐™ž๐™ค๐™ฃ>: โ€œ๐™–๐™๐™๐™๐™โ€ + โ€œ๐™ช๐™ก๐™ก๐™ก๐™ก๐™กโ€ ~ ๐™š๐™ญ๐™ฅ๐™ก๐™ค๐™ง๐™š ๐™‡๐™ค๐™ฃ๐™œ๐™ž๐™ฃ๐™œ ๐™–๐™ฃ๐™™ ๐™ฌ๐™๐™–๐™ฉ ๐™ฌ๐™–๐™ฃ๐™ฉ๐™จ ๐™ฉ๐™ค ๐™ง๐™š๐™ก๐™š๐™–๐™จ๐™š ๐™ž๐™ฃ ๐™Ÿ๐™–๐™ฌ, ๐™œ๐™ก๐™ค๐™ฉ๐™ฉ๐™ž๐™จ, ๐™ฉ๐™๐™ง๐™ค๐™–๐™ฉ, ๐™๐™š๐™–๐™ง๐™ฉ> (( ๐™ž.๐™š. ๐˜ผ๐™๐™๐™๐™ โ†โ†’ ๐™ƒ๐™Š๐™‡๐™‡๐˜ผ โ†โ†’ ๐˜ผ๐™‡๐™‡๐˜ผ๐™ƒ โ†โ†’ ๐˜ผ๐™ฌ๐™š ))
7.
Deeper 06:57
๐˜ฟ๐™š๐™š๐™ฅ๐™š๐™ง ๐™–๐™ฃ๐™™ ๐˜ฟ๐™š๐™š๐™ฅ๐™š๐™ง ๐™ž๐™ฃ๐™ฉ๐™ค ๐™‹๐™ง๐™š๐™จ๐™š๐™ฃ๐™˜๐™š ๐™„ ๐™–๐™ข ๐™›๐™–๐™ก๐™ก๐™ž๐™ฃ๐™œ ๐™ˆ๐™ค๐™ง๐™š ๐™ž๐™ฃ ๐™‡๐™ค๐™ซ๐™š ๐™ฌ๐™ž๐™ฉ๐™ ๐™”๐™ค๐™ช
8.
๐™’๐™š ๐™–๐™ง๐™š ๐™ฉ๐™๐™š ๐™™๐™ค๐™ค๐™ง ๐™ฉ๐™๐™–๐™ฉโ€™๐™จ ๐™—๐™ก๐™ค๐™ฌ๐™ž๐™ฃ๐™œ ๐™ฌ๐™ž๐™™๐™š ๐™ค๐™ฅ๐™š๐™ฃ ๐™’๐™š ๐™–๐™ง๐™š ๐™ฉ๐™๐™š ๐™ฅ๐™–๐™ฉ๐™ ๐™ฉ๐™๐™–๐™ฉโ€™๐™จ ๐™ฌ๐™ž๐™ฃ๐™™๐™ž๐™ฃ๐™œ ๐™™๐™ค๐™ฌ๐™ฃ ๐™’๐™š ๐™™๐™ค๐™ฃโ€™๐™ฉ ๐™ ๐™ฃ๐™ค๐™ฌ ๐™ฌ๐™๐™š๐™ง๐™šโ€ฆ.. ++++++ ๐™€๐™ฃ๐™ฉ๐™š๐™ง ๐™ข๐™š! ๐™€๐™ข๐™—๐™ค๐™™๐™ฎ ๐™ˆ๐™š. ๐™‚๐™ž๐™ซ๐™š ๐™ข๐™š ๐™ฎ๐™ค๐™ช๐™ง ๐™๐™–๐™ฃ๐™™ โ€“ ๐™ˆ๐™–๐™ ๐™š ๐™—๐™ž๐™œ ๐™จ๐™๐™–๐™™๐™ค๐™ฌ๐™จ ๐™„ ๐™˜๐™–๐™ฃ ๐™ข๐™ค๐™ซ๐™š ๐™ž๐™ฃ
9.
Prodigal 04:46
๐™ˆ๐™ฎ ๐™‡๐™ค๐™ซ๐™š, ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™ƒ๐™ค๐™ข๐™š. ๐™ˆ๐™ฎ ๐™‡๐™ค๐™ซ๐™š, ๐™ฎ๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™๐™ค๐™ข๐™š. ๐™ˆ๐™ฎ ๐™‡๐™ค๐™ซ๐™š, ๐™ฎ๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™ƒ๐™ค๐™ข๐™š. ๐™ˆ๐™ฎ ๐™‡๐™ค๐™ซ๐™š, ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™ƒ๐™ค๐™ข๐™š. ๐™”๐™ค๐™ชโ€™๐™ซ๐™š ๐™–๐™ก๐™ฌ๐™–๐™ฎ๐™จ ๐™—๐™š๐™š๐™ฃ ๐™’๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™ƒ๐™ค๐™ข๐™š. ๐™ˆ๐™ฎ ๐™‡๐™ค๐™ซ๐™š, ๐™ฎ๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™”๐™ค๐™ช ๐™–๐™ง๐™š ๐™ฌ๐™š๐™ก๐™˜๐™ค๐™ข๐™š ๐™ƒ๐™ค๐™ข๐™š.

about

( ( ๐™๐™š๐™ฉ๐™ช๐™ง๐™ฃ ๐™ฉ๐™ค ๐™ฉ๐™๐™š ๐™๐™š๐™–๐™ง๐™ฉ ๐™ค๐™› ๐™™๐™ž๐™ซ๐™ž๐™ฃ๐™š ๐™‡๐™ค๐™ซ๐™š, ๐™–๐™ฃ๐™™ ๐™›๐™ž๐™ฃ๐™™ ๐™ฌ๐™š ๐™ฃ๐™š๐™ซ๐™š๐™ง ๐™ก๐™š๐™›๐™ฉ. ) )

As a mystic kid, Prayer was my mother tongue. Sacred conversation all-the-time with all that is. Then I "stopped" cold, fraught with a lot, when I woke up to patriarchal brainwashing and left the Christian church in my early 20s. I grew the still-intact seeds of devotion into art collaboration, nature-connection, and activism, until they finally bloomed back into out-loud shared prayer on a trip to Standing Rock. The Indigenous Elders there asked us to power our protests with prayer. I had traveled to South Dakota from Iowa with a crew of soul sisters, and my spirit mama Liz Rog dubbed me our caravanโ€™s public pray-er. It was the exact permission slip my soul was waiting for, a huge homecoming.

Since then, song-catching and song community have fueled this first love, amping up my curiosity at how we can practice directly addressing, inviting, and communing with that which we hold Sacred with respect and flexibility in spaces where we hold different cosmologies.

Welcoming Relationship as the sacred cauldron that cooks us into a divine love feast, these 9 song-codes surge with vision and sensuality ~ healing divides between earth and sky, spirit and body, you and me. Composed to be sung a capella with drum, layered live in community song circles, they want to help us practice the new shapes required by an abolitionist future โ€” radical imagination, willingness, forgiveness, tenderness, faith, interbeing.

With their help, I keep rooting and dismantling the supremacy culture I inherited, to return to the Mother in a good way. I pray these songs especially nourish those who have been somehow exiled from shared spiritual practice and are now healing that heartbreak and finding their way back to paths of sacred kinship that feel aligned and generative.

I pray these songs help us tap into the well of unconditional Love that can fuel life-long, luscious, liberatory soul work.

๊ฉœ Find individual song credits + song stories by clicking the track title.

๐ŸŽต If you sing my songs with your circle or choir, thank you for purchasing the music and sharing source links with them.

โ™ฅ๏ธŽ 10% album proceeds go to the Palestine Children's Relief Fund through the Rajieen fundraising effort ---

Watch this visionary anthem from Middle Eastern and Northern African artists: www.youtube.com/watch?v=ug0L5S2Qzwg

And/or donate directly: pcrf1.app.neoncrm.com/np/clients/pcrf1/campaign.jsp?campaign=2532&fundraiser=533506

credits

released July 12, 2024

โœจ @ LAND
These songs were most all caught here, place I love to call the Heartland, place often referred to as the American Midwest, place named by settlers โ€œIllinoisโ€ after the Illiniwek tribe. Before these lands were stolen they were the traditional territory of the Peoria, Kaskaskia, Piankashaw, Wea, Miami, Mascoutin, Odawa, Sauk, Mesquaki, Kickapoo, Potawatomi, Ojibwe, Menominee, Ho-Chunk, and Chickasaw Nations. I give thanks to these peoples who knew how to live in right relationship with Land, and I pray these songs nourish us back into such aligned consciousness. Special thanks to my place on the prairie where the Middle Fork Vermilion River & Sugar Creek meet.


โœจ @ DRUM
Throughout the album you hear (in addition to all Linder's percussion instruments) my dear drum friends: one is a Remo-made 16โ€ synthetic replica of the Buffalo Drum. One is my very real, dyed bright red buffalo hide drum, created in ceremony with Wamble Luza of the Iron Nation Clan, Lakota, in keeping with his prayer that song + drum heal inherited lineage trauma. Both these drums sing deep and rich as Mama Earthโ€™s heartbeat just like those played widely by original inhabitants of this continent, Turtle Island, as an integral part of spiritual and social life. I bow to this Knowing that comes toward me in this time and way, and how it is changing me and my prayers. I bow to the people and places that grew this technology. With humility and holding the complexity, I pick up this drum as a descendent of European colonizers and ask that these prayers move through me in a good way that contributes to the mending of the web of life and to the profound reparations yet needed.


โœจ @ LINEAGE + GRATITUDES

Love to my first music teacher, my mama, church pianist, whose nightly ritual of playing her heartsong to G*d planted vital + sacred seeds of Song as sanctuary, and freedom in Devotion.

Cheers with this cup overflowing to my beloved, Tony, who lifts me up and walks beside me and opens me to Love beyond my dreams.

Big ups to Michael Linder! my dear brother, Producer, and creative collaborator who takes these simple stacking songs and turns them into something we can Feel.

Thank you to all yaโ€™ll Song Kin who are dreaming, leading, composing, and daring joyful noise in the community singing movement, & most especially my original teachers Liz Rog and Lisa G Littlebird, for opening this life-giving way of being for me.

I am deeply influenced by Black music, soul, beats, gospel, โ€”- you hear imprints of this in the music I bring through. I give praise and thanks to this legacy. As a white-bodied person, I commit to be in the lifelong work of dismantling white supremacy inside of me and the systems we live in.

๊ฉœ Find individual song credits + song stories by clicking the track title.

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Lyndsey Scott Rantoul, Illinois

(she/her) is an artist-goofball-yintennae devoted to priestesSing the Heartland, (lit & fig).ย  Weaving community singing as a "technology of Belonging," she gathers soul circles that decompose oppressive scripts thru Song, ritual, & heart-share.ย Her jams get you skippin easily between the sacred, sexy, and silly: your inner child, exiled banshee, + wise elder are all very invited to the partyย ๐Ÿ˜˜ ... more

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