UNLEASHING JAYLI WOLF: THE UNAPOLOGETIC VOICE REDEFINING ALTERNATIVE MUSIC
BOLD NEW SINGLE BLOOD ORANGE
RELEASES TODAY ALONG WITH VIDEO
SECOND PREVIEW OF HIGHLY-ANTICIPATED
NEW EP GOD IS AN ENDLESS MIRROR
ARRIVING SEPTEMBER 22 ON ALT EDEN
NOMINATED FOR INDIGENOUS ARTIST OF THE YEAR
AND VIDEO DIRECTOR OF THE YEAR FOR HOLDING ON
AT THE 2023 WESTERN CANADIAN MUSIC AWARDS
“...beauty in vulnerability…” – COMPLEX
“...frenetic, sensual " – NYLON
“...emotional electronica…” – ROLLING STONE
TORONTO, ON – July 7, 2023 – Following the spring release of her powerful lead single, Holding On, JUNO-nominated Indigenous (Anishinaabe/Cree), Queer, activist, actress, poet, alt-pop singer-songwriter-producer and filmmaker, Jayli Wolf, returns with the transformative musical creation, Blood Orange. The second track to be shared from her highly-anticipated sophomore EP – God Is An Endless Mirror – Blood Orange is a powerful anthem that encapsulates the resilience of the human spirit, resonating with those who have faced abuse and oppression. Listen here and watch the accompanying video here.
Blood Orange invites listeners on a journey of empowerment, urging them to find the strength within to stand up against their oppressors and courageously share their stories. Through its evocative lyrics and captivating melodies, this song serves as a rallying cry for survivors, offering solace and inspiring them to embrace their truth and reclaim their power.
“I wanted this song to boldly confront the themes of control, oppression, and societal standards, while also illuminating the courage to break free and reclaim one's narrative," Jayli shares. "Blood Orange is a poignant testament to the indomitable spirit of those who have faced adversity, encouraging resilience, healing, and the liberation that comes from telling one's story."
Jayli's eagerly-awaited second EP, God is an Endless Mirror, expands on the themes that run through Holding On and Blood Orange, focusing on topics of spirituality, self-love, awakening, and healing. Set for release on September 22 through Jayli's own label, ALT EDEN, the album sonically experiments with collected sounds across Turtle Island, and fusing both folk and electronic alternative styles and seeing Jayli blend her own poetry with more organic instruments and elements.
"While I was writing this EP I just kept feeling like there was more I needed to be tapping into," Jayli continues. "Every song was about losing my mind, barely holding on, and feeling lost. As I reflected on that I realized that I needed a massive change in my life. I stepped back from acting, and bought my childhood farm. Then the music began to shift too - into more resolve, more faith and power. And so there is both music from during the shift and after in this EP. And I am excited for what is to come now."
ABOUT JAYLI WOLF:
A by-product of the Sixties Scoop, and proud of her post-traumatic growth, the Canadian rising star’s debut EP, Wild Whisper – which explored the hardship her family endured from the colonial genocide inflicted by the Canadian Government; the exodus of leaving the religion she was born into and releasing the shame and guilt instilled in her around her bisexuality – received much critical acclaim including a 2022 JUNO Award nomination, a spot on Apple’s 100 Best Songs of 2021, a Top 10 placement in CBC Music's Canadian Songs 2021 lists, a #1 on CBC Radio One, over 1+ Million views on Youtube for the Child of The Government self-directed music video, and coverage in VOGUE (Global), NYLON, Rolling Stone, CBC, them. and much more.
Jayli’s work caused a global stir when several of her TikTok videos went viral, one of which reached over half a million viewers and received countless comments from people whose Indigenous family members had similar experiences in the Sixties Scoop. Rolling Stone calls Jayli Wolf's music a crossover between Phantogram, Crystal Castles, and Chvrches. Her critically acclaimed prowess is living proof that you can find your truth despite a tumultuous past.
More about the Sixties Scoop: the Canadian Government and Catholic Church were responsible for taking or “scooping” more than 20,000 First Nation, Métis, and Inuit children from their families and communities in the 1950s through the ‘90s. The children were placed in foster homes or adopted (with accounts of children even being sold) into non-Indigenous families across Canada, the United States, and beyond. Along with the loss of cultural identity, the government went so far as to change some children’s true ethnicity on file. Many experienced severe sexual, physical, and emotional abuse.