Inuit Folk Singer Willie Thrasher Resurfaces
Light in the Attic Records has once again reconnected us to a hidden musical gem, this time in the form of Inuit folk singer-songwriter Willie Thrasher. Their latest reissue is Thrasher’s debut studio LP Spirit Child, released in 1981. According to history, Thrasher evolved as a musician over time, starting from playing in rock bands before fully embracing his Aboriginal roots and becoming a politically minded folk songwriter. Child feels like a marriage between 1960s-inspired folk and mellow psych-rock, bursting with ideas about human rights and rich with history.
Through spoken word interludes, Thrasher communicates a deep connection to his own context, transporting us to the Northwest Territories that raised him. Thrasher was raised in a traditional Inuit community, and taken from his family at a young age to be placed in the Canadian government’s school system. Thrasher was stripped of his identity and culture, assimilated and white-washed, and it was not until he had taken up as a drummer for a contemporary Inuit pop rock band that he had an epiphany and changed direction, rediscovering what had been unjustly taken from him. A true folk troubadour, Thrasher traveled and played music, sharing his love for the Inuit culture and his own struggle for acceptance.
Traditional Inuit sounds take shape in the details of Thrasher’s songs, more so than in the melodies which lean strongly toward earthy folk rock, a la Neil Young. But what stands out most is the message. Thrasher confronts the fears of an entire generation of Inuit people, watching their culture slowly die off and feeling defeated by a society that will not let them exist.
“Old Man Inuit”, on of Child’s most powerful tunes, incorporates spoken word translations, and is the strongest example of Thrasher’s expression of the anxieties of his people. “Silent Inuit”, “Forefathers” and the title track “Spirit Child” are also deeply affecting, possessing an enchanting, mystical quality that makes you want to follow them through the dense, dreamy forest of sound they create.
Thrasher’s background as a rock musician shows itself on the fabulous and soulful “We Got to Take You Higher”, with its groovy guitar licks and psych-rock coolness.
“Shingle Point Whale Camp” is Thrasher’s take on a classic working man’s folk song, and tells stories of whale hunting. And “Eskimo Named Johnny” is a brilliant narrative of the struggle to fit in away from home (set to a particularly lovely harmonica melody) that proves Thrasher’s natural storytelling ability.
Thrasher is an artist who deserves uncovering and Child is an extremely important record that strove to inspire social and political change. In fact, Child should be regarded as a protest record as much as a folk record. Don’t let its beauty and tranquility fool you – its voice is a strong one.