Shane Philip

Shane Philip makes didgeridoos. Then he plays them. Along with various hand-made guitars and custom-built drums. He also writes his own music and sings.
Neat, huh?
I gave his CD In The Moment a long listen this morning and now I’m gonna tell you about it. I’ve played the didgeridoo - this guy’s good.
First, how do I classify this so you’ll understand what I’m saying? Shane writes folk-based music with some bluesy and world influences. Then he tosses in the didgeridoo for good measure. (Advertising voice) “But that’s not all!” Nope. Shane craftily layers percussion parts and backing vocals, painting an aural landscape that’ll please any fan of acoustic music. I found the brooding intro to the first track mesmerizing.
Production-wise, this CD is virtually note-perfect. The mix is very good - rich, deep and clear. All the instruments are represented in their best light, and in some instances the tones are fantastic. Must have taken about a year to record this, maybe longer. Details sparkle throughout. Some hot spots are the bridge breakdown in the second cut (“Good Morning”), the sexy percussion treatment in “Clearcut Issue” and the hypnotic dance/trance feel of “Mocha.” I also like the reggae feel in “Same Road” and the nod to Delta blues in “Deaf.” Track 11, “Push On Through,” is Shane’s global awareness matchstick battering ram against the marble walls of big money.
If you’re into eclectic world-music folky-type stuff then this’ll be a real treat for you. Frankly, I quite liked it - Shane is a great instrumentalist and a smart musician. Nice. (And just the thing for Encore - anyone listening? - here in town - great music that won’t offend anyone.)
By Simon Harrison - Wainwright Edge

Lately, the song I have been listening to for a jump start is Shane Philip’s “Good Morning.” Delightfully chipper and optimistic, chirpy harmonica, twangy diggeridoo, angelic backing vocals – what’s not to like? Like good coffee, it’s a great wake-up call and a nifty afternoon pick-me-up.
Shane Philip is a fine singer/songwriter/multi-instrumentalist – his acoustic-centered songs on In the Moment are percussive and filled with unusual and cool flourishes. The opening track, “Strange Noises,” kicks off with a big blast of didgeridoo, and turns into a funky, hypnotic number with a snaky bass line and Shane’s raspy-yet-trippy vocal.
Philip can thrown down deep, deep grooves, like the reggae thump of “Same Road” (more propulsive bass, courtesy of Corwin Fox). He can also deliver shimmering folk like “Where the Truth Lies” and “Seeing You” – I could give away some of the interesting touches that make these more than your typical acoustic fare, but they are worth discovering on your own.
“Step Left” is also in this mellower vein, but it’s exotic enough to remind me of Bob Marley’s “No Woman No Cry.” Again, it’s full of sounds worth discovering on your own.
“The Situation” and “Deaf” both dig deep into traditional folk blues – “The Situation” is notable for slippery cello-like bass (and that it was recorded live), and “Deaf” is wicked backwoods fun, layered with nasty slide guitar and percolating percussion and didge. It’s one of my favorites.
Mid-album, Philip interjects a couple of songs, “Clearcut Issue” and “Mocha,” that are almost strictly percussion, like something done by one of Grateful Dead drummer Mickey Hart’s bands. Then he glides gently back with the title song, a wistful, ethereal folk number with an earnest, personal vocal take – it is also a fine example of the poetic simplicity of his lyrics.
“Smile” is a joy of a song, as upbeat as “Good Morning” but with a lope to it. “Smile” ends too darned soon, but the following “Serenity” is a great way to end the disc – mellowly dueling guitars, sort of like the Allmans’ “Little Martha” except with a boinging didge. Philip and Fox are fine string pickers throughout the disc.
In the Moment satisfies my craving for jam-band adventure and offbeat yet comfortable folk. And from the background material I read, I gather Shane Philip is an intense live performer, too. Hope this Canada native makes his way to sunny Florida sometime to escape a brutal winter and play a few shows.

By Chip Withrow - Muse's Muse

The sound of the didgeridoo is unmistakable. Its tribal origins in the
Australia outback are widely known, and its low growling is instantly
identifiable. Shane Philip combines that special sound with such diverse
sounds as acoustic guitar, congas, Weissenborn lap slide guitar, Kona lap slide guitar, cello, harmonica and various percussion instruments. This rich sonic palette is dynamic and compelling for listeners, and provides a thick backdrop for the vocals.
The music combines influences from reggae, ska, funk, folk, blues, and rock.
Hailing from Quadra Island, B.C., Philip used to be a high school social
studies teacher until his music hobby became his primary focus. He has performed with 54-40, Spirit of the West, Barney Bentall and Chilliwack.

”In the Moment” opens with the growling didgeridoo laying the groundwork for Strange Noises. Other highlights include the delicate Where The Truth Lies, the foot-stomping Good Morning, the hint of Motown in Same Road, the bluesy Deaf and the tribal Mocha.

If you're tired of the same old music, Philip clearly delivers something
different.

Posted: January 26 2008
(Independent, 2008) - Belleville Intelligencer

Red Deer Express

What's new in CDs

In the Moment
Shane Philip
(Independent)

For something completely different, but completely compelling at the same time, music fans ought to give Shane Philip’s In the Moment a serious listen.

He cleverly melds touches of reggae, ska, folk, funk, blues and rock in his tapestry of music, and also injects the sonic wonders of the hauntingly melodic didgeridoo throughout. For those unfamilar with the fascinating instrument, it originated with indigenous Australians hailing from the norther regions of that continent.

Based on the west coast, Philips’ approach to crafting terrific tunes is abundantly refreshing – from the beautifully rhythmic disc opener Strange Noises to the bright, pleasant nature of Good Morning.

Same Road courses along with a light, engaging reggae sensibility. His vocals – rich, smooth and expressive — match his musical style perfectly as well.

It’s not often artists today are daring enough to truly follow their raw creative impulses to the core, but Philips obviously has. In the Moment reflects a stark individuality that is remarkable and constantly entertaining.

Rating: 4.5 out of 5

-Mark Weber
- Red Deer Express

Shane Philip had his work cut out for him performing at the Fernie Hotel Jan. 26. Australia Day revelers looked content dancing to the beats of the DJ, but the musician proved himself up to the task.

He was also up to the multi-tasking of playing two, three, four and sometimes five different instruments for each of his songs. His bare feet bounced over pedals orchestrating the heavy hit of the bass drum, the hiss of the hi-hat and other effects. His arm took control of the guitar-strumming and drum-beating duties. With his mouth, he sang or blew into one of his three didgeridoos.

As he alternated between the various instruments that populated the stage with him, it was awe-inspiring to watch Philip play all of the parts of a three- or four-piece band. His acoustic guitar would take melodic lead over the beat of his drums and then would fall into rhythm as the didgeridoo informed the tune –unless he was blowing into a harmonica. For one song, he played two different hand drums and the didgeridoo, all at the same time. Reminiscent of Ben Harper when he played the lap-steel guitar, Jack Johnson when he strummed and sang beach folk and Xavier Rudd in his multi-instrumental madness, Philip took his audience around his world of influences and back again. While his set list included tracks from his first new albums, much of the music he played came from his recently released third album “In the Moment.”

In shorts and a T-shirt, the former schoolteacher delivered raucous rhythms and escorted the room from its electro vibe into something warmer and far more organic. Philip’s blend of reggae, folk and even drum and bass shone from the stage like his smile. It was near impossible not to wish for sun-warmed sand under bare feet on the dance floor. The sweat that stuck locks to faces in the audience was testament to the Vancouver Islander’s prowess playing each and every noise maker he touched.

By Carolyn Nikodym

- Fernie Free Press

One man folk act performs evolutionary leap

In the crisp heart of February, it's easy to forget the beach fire jams of summer. To rekindle that longing for summer nights and a sensual
relationship with folk music, In The Moment is the missing link.

On his hot off the press release, one man band Shane Philip packages up the West Coast outdoor party and delivers it like correspondence to both those who miss it and those who were never there.

He plays seven instruments and sings in a relaxed medley that carries a live Saturday night into a lazy Sunday. Whether you're moving to the music or observing from a hammock in the distance, the style puts its listener at warm peace.

Having shared the stage with hidden gems like Ember Swift, Herbalizer, Wassabi Collective and other sinful oversights of the mainstream Canadian musical palate, Shane Philip is the next best act you've never heard of.

There are times that his folky, dreamlike sound is reminiscent of the Grateful Dead, and times when it sounds like Ben Harper's or Jack Johnson's older, earthier jams.

He goes out of his way to incorporate elements of reggae, blues, funk, and ska, blended up and laid out cleanly. His use of particularly the didgeridoo breaks all the rules of smooth folk. The album is a huge leap for him as an artist beyond the traditional folk rock into an organic, dancing vibe and it
teeters on the verge of clearing an evolutionary gap in the entire genre.

- Jon Thompson

Artist: Shane Philip
Album: In the Moment
4 out of five - Kenora Daily News & Miner

With the last notes of “The Situation”, a song from his new album In The Moment, hanging in the air, I felt oddly connected to the ground that my size eight’s were planted on. Shane Philip has that effect on people, whether it is while sharing an impromptu performance in an intimate studio setting, or playing for huge crowds at outdoor festivals. He is a one man troubadour, who, in any combination, can sing, play the didgeridoo, guitar, and drums. It is an intuitive, choreographed dance between the instruments and the innate rhythm that lies within the artist. At the end of a recent tour, Shane Philip stopped in Kamloops for a coffee and a chat.
Fans dancing at a Shane Philip concert
Shane started banging out his musical signature on floors and tables shortly after he was born. “I’ve always been into percussion and rhythm,” he says. While in elementary school, he added his first strings - a ukulele. As a teenager he was given a Yamaki guitar, with which he promptly mastered the songs on the album, Harvest by Neil Young. Later, a high school band experience laid the percussive path more solidly. “I remember very clearly getting the clarinet. I also heard rumors that if the music teacher didn’t like what you were doing and you showed no signs of any musical talent, she’d put you on the drums. I really wanted to play the drums so I purposefully played the clarinet as badly as I could. So when she was looking for a drummer, I was her boy.”
The didgeridoo is one note. When I heard what he could do with one note, it changed my life
He went on to graduate from teachers college, with a background in phys.ed. and kinesiology, and fell into a job teaching social studies to volatile ninth grade students. In an effort to make the course material more interesting, Shane collaborated with another teacher who was also musically inclined. Together they wrote songs that put the curriculum to music.
Impromptu performance at Perry's Recording
Studio, Kamloops BC “If you want to learn the prime minister’s, just listen to the “Prime Ministers Are People Too” song,” he said with a smile.
The mix that would make up the Shane Philip sound continued to add layers. “I was attending a show on Quadra Island; it was a group that was called Island Rhythm. They were masterful drummers and in the middle of the show this guy comes out with a didgeridoo. When he played that didgeridoo with those drums, it just blew my mind. A didgeridoo is just one note, but when I heard what he could do with one note, it changed my life.” Shane ended up buying a didgeridoo and began to teach himself to play. According to Philip, “Every didgeridoo player goes through that…they make horrible noises. You go through all your bathroom noises, but eventually if you stick with it you get a nice smooth note. Then you need to sustain that note through a process called circular breathing. Playing the didgeridoo is kind of like playing the drums with your breath.”
“After that”, he says, “I realized that this music thing is a heck of a lot more fun than teaching. It didn’t take long for me to realize that my interests and my creativity weren’t being completely fulfilled teaching, so I knew I had to move on to something else. I left teaching behind cold turkey. I’ve been writing songs all my life so I made the decision to follow my passion completely. Boy did it work out. I’m happier than I’ve ever been.”
Three albums have marked Shane Philips’ musical journey. The first album, Om Cooking, is what he cheerfully describes as “Nothing but an experiment in self indulgence.” The second album Earthshake was Shane Philip playing solo and was recorded live off the floor. “If you were to label Earthshake, it would be world folk,” he comments. The latest release is called In The Moment. “With In The Moment,
Shane Philip third album releaseI tried to mix up styles. There is reggae, country, blues and folk. I wanted to come up with something for everyone.”
The songs that Shane writes are products of the environment that he lives in. “Music is an expression of who you are. I have an ocean to look at every day. I kayak, I run; nature is such a big part of my life. It can’t help but appear in my music intentionally or unintentionally.” With the song “Push On Through” on In The Moment, Shane asks the question, What would make your world a better place? What can you do? People phoned in their ideas and comments, which were recorded and set against the backdrop of his music.
Shane Philip has a unique connectedness to his environment and to his audience. Whether you hear the music as world folk or folk world, Shane Philip is able to intuitively harness the sound of the earth - the om - then weave the magic of his melody into it. It is a musical dance that captures all; it is the subterranean groove.

By Shelley Gummeson – May 2008 - Earshot

Ok, how is this possible? How can one dude lay down tracks for nine hours, mix for twelve (with no dubs or loops) and produce a complex album of reggae, rock and tribal folk, on which he is the only player? Impossible. Then again one look at the dude (that would be Shane) and it may not seem so ludicrous. The record is a lush, sweeping opus that touches on many genres, showcasing Philip's obvious musical muscle. Anyone honking away on a didgeridoo, then sliding all over a guitar, then wailing on djembe drums, deserves respect. And hey, the tunes ain't that bad either. Especially the thumping How Could You Know. It's sick (as in good - you know, the way kids talk). Now I wanna see how Philip pulls this off on stage.

John Sekerka - Ottawa Express

Shane Philip has recently released his fourth album "Live at Baker Studios" which was recorded - as the title suggests - live off the floor at Baker Studios. After the three hours it took to set up and mic the instruments, the nine hours of recording and the additional 12 hours of mixing, the album, which is sure to be a success, was complete and the result truly emphasizes Philip's natural, seemingly effortless talent as a singer, songwriter and performer. Aside from playing the didgeridoo, djembe drums, kick drum, acoustic/electric six string guitars, Weissenborn and Kona lap steel guitars, drums, and shakers, Philip produced the album with Joby Baker.

His soulful sound transcends musical borders ultimately producing a sound that can be associated with the elements: There are beautiful, natural, earth, tones; the flowing sounds of unique wind instruments; the cool, mellow sounds that provide relaxation properties similar to the gentle waves of the open ocean; the change of tempo creating fiery, upbeat and enjoyable melodies and lyrics, and the obvious heart, determination and dedication it takes to create an album of this magnitude.

Listening to this album, especially the songs "Breakdown", "Secret Garden" and "Skydance" was truly a treat.

Philip will be performing at the Communitea Cafe in Canmore on Feb. 12 and at Dicken's Pub in Calgary on Feb. 17 and 18 for anyone in the area interested in checking him out.

For more information on venues, this album, and Philip's previous work, visit www.shanephilip.com

- Ponoka News

Shane Philip's new album, Live at Baker Studios, showcases the noted one-man band's aptitude for performance in high-pressure situations. With numerous musical instruments at hands reach, including didgeridoo, drums, guitars and a Weissenborn, Philip's exuberant excellence beats out even the most zealous of multi-taskers. A mythological deity in the eyes of single-instrument musicians, Phillips keeps his cool and busts out Jack Johnson-ish riffs before building up to a climactic cacophony question period - where you are left scratching your head and wondering just who is playing all those instruments.
-Darshan Stevens
- Monday Magazine - Victoria BC