Diaper Island

Every so often, Chad VanGaalen emerges from his bunker in Calgary with a batch of songs, giving us a window into the the private world of this reclusive and enigmatic songwriter. With Diaper Island, VanGaalen distills his approach, producing his most sonically cohesive album to date – and the closest thing he has done to a rock album.

While VanGaalen’s three previous albums were made in a cramped basement studio, a move to a larger recording room offered space to develop and refine his sound. Fresh from producing Women’s critically lauded Public Strain, VanGaalen decided to avoid the comfort of working on previous ground, and apply some of the recording techniques and sonic ideas that emerged from those sessions. For the first time, multi-tracked and often overdriven guitar is the instrument at the centre of the songs, which are often spartan and free of the melodic details that embellished previous albums. With this focus on guitar, combined with a beloved vintage tape machine determining the sound, VanGaalen moved towards a leaner, no-frills approach – one that more closely resembles the music that influenced him as a teenager, while continuing the arc laid out in his previous work.

The paradox of trying to assert control in a climate of helplessness winds through the album, whether in the existential pondering on life and death that often pervades VanGaalen’s songs (“Do Not Fear,” “Replace Me”), or in the conflict between control and creativity (“Freedom for a Policeman,” “No Panic, No Heat”).