Elisa Thorn Explores Melody and Connection on New Album xiik

LISTEN TO XIIK FEAT. “IDLE TALK” HERE

# Elisa Thorn Unveils xiik – A Decade-Long Exploration of Harp, Voice, and Musical Generosity

Vancouver-based harpist, vocalist, and composer Elisa Thorn releases her highly anticipated album *xiik*, a meticulously crafted work that represents nearly a decade of creative exploration and artistic commitment. Whimsical, curious, and deeply intimate, the album defies conventional categorization, blending experimental indie, folk, and ambient influences while centering Thorn's harp and voice as the primary instruments of expression. More than just a collection of songs, *xiik* stands as a bold statement about the harp's untapped potential and a thoughtful meditation on what it means to create and consume music in the contemporary landscape.

"*xiik* reflects a long pursuit of figuring out how to make the harp express melodies without being overly verbose," Thorn explains. "I'm pretty hell-bent on getting the harp out of the 'ornamental' category of music. It's tough, due to the nature of the instrument, but also because of people's expectations."

This determination to redefine the harp's role in modern music drives every aspect of the album. Rather than relegating her instrument to decorative flourishes or atmospheric textures, Thorn positions it as a melodic powerhouse capable of carrying entire compositions with directness and emotional weight. Her approach challenges listeners to hear the harp anew – not as ethereal backdrop but as a versatile, expressive instrument with the capacity for both delicacy and strength.

Recorded over the past eight years, *xiik* traces Thorn's evolution as both musician and composer. The project began with the acquisition of her first carbon fiber lever harp, which sparked a creative vision: to develop music that could be performed solo while also expanding into rich, layered studio arrangements. This dual ambition shapes the album's sonic character, balancing intimate moments of solo harp and voice with fuller productions that highlight the instrument's range and adaptability.

The album was co-produced by David Vertesi, whose understanding of the harp's nuances proved essential to capturing its warmth and versatility on tape. Drummer Dan Gaucher contributes throughout the record, bringing rhythmic complexity and energy that complements Thorn's melodic sensibility. An alternate take of the album's "Lullaby" was produced by LA-based ambient artist Tristan De Liege, further expanding *xiik*'s sonic palette and demonstrating Thorn's willingness to collaborate across genres and approaches.

Album opener "Idle Talk" immediately announces Thorn's ambitions, offering a math-folk composition that is both intellectually engaging and emotionally resonant. The track draws inspiration from the etymology of the word 'gossip' and the historical perception of female relationships, tracing how language reflects and reinforces power structures.

"The earliest known origin of the word referred to a midwife, then to women who supported a new mother during childbirth, then more generally to women who were friends/supportive of each other," Thorn explains. "Eventually, it ended up being a derogatory term during the Middle Ages and Renaissance times when the patriarchy started to see female friendships as a threat to its agenda."

This historical awareness infuses "Idle Talk" with layers of meaning, while musically the track showcases Thorn's experimentation with unusual time signatures and her collaborative spirit. "My favourite part of this track are the drums, played by Dan Gaucher. I'm also proud of my use of melody in this song – I have been working for a long time with getting the harp to express melody in a direct and succinct way and I feel like that really works here. It's so fun to play!"

The album's title, *xiik*, carries its own statement. It represents the dollar amount – approximately $12,000 – that Thorn spent recording this music, a figure she chooses to make transparent as part of a broader conversation about artistic labor and value.

"I feel so privileged to have had the resources to make this choice, but I want to talk about it," she says. "No resource is truly free, even if the consumer isn't the one directly paying for it. Music is worth far more than money, but it can be expensive to create. Often, the artist bears the cost with little return. When music is treated as a renewable natural resource, our current model of consumption has become unsustainable and exploitive. What does music mean to you? Can we imagine a different way of listening?"

This frankness about the economics of music-making adds an important dimension to *xiik*, inviting listeners to consider their relationship to the art they consume. Thorn's transparency serves not as complaint but as invitation – a call to reimagine how we value and support creative work.

Thematically, *xiik* explores relationships across time and space, considering connections to one's past and future selves, ancestors, and loved ones yet to be encountered. This expansive temporal vision gives the album a contemplative quality, as Thorn's compositions create space for reflection on continuity, memory, and the threads that bind us across generations. Her approach combines the introspection characteristic of classical and experimental music with a playful, generous sensibility that keeps the work accessible and emotionally inviting.

"As much as I roll my eyes at the angelic/mythical/feminine reputation the harp has, generosity is important to me in music-making," Thorn notes. "My hope is for the listener to feel held in some way which means sometimes it does sound dreamy. That being said… I think the harp can be a total boss, and that's why I love it."

This balance between strength and tenderness, challenge and comfort, defines Thorn's artistic identity. She refuses the limiting stereotypes often imposed on the harp while embracing the genuine warmth and care that characterize her approach to composition and performance.

Elisa Thorn's collaborative work spans an impressive range of Canadian and international artists, including Haley Blais, Ora Cogan, Tonye Aganaba, Mother Mother, Loscil, Wallgrin, Lief Hall, and Mauvey. Her performance history includes notable festival appearances at Jazzotpad in Poland in 2023, Women from Space in Toronto, Campbell Bay Music Festival on Mayne Island, TONE Fest in Toronto, Constellation Festival in Squamish, POP Montreal, Suoni Per Il Poppolo in Montreal, Wonderment in Victoria, and Vancouver International Jazz Festival.

Beyond her work as a performer and recording artist, Thorn is deeply committed to community building and musical accessibility. As curator of the Woodland Patio Series and an associate with the Vancouver Improvised Music Society, she actively fosters access to challenging and abstract music through community-driven presentation. This curatorial work reflects the same generosity that animates her compositions – a belief that experimental and adventurous music should be welcoming rather than exclusionary.