The first single from "alexjcurrie"
Concept, Direction & Editing Alex Currie Set Design & Puppets Candace Cloutier & Alex Currie Additional Set Pieces Joyce Aguilon & Erynn Ahern Puppeteers Alex Currie, Candace Cloutier, Luca Morellato, Ashley Brewer, Adam Smith, Nick Alles & John Kennelly “Leelocker” From alexjcurrie (2026)
Written by Alex Currie Produced, recorded & mixed by James Bunton at slow|go sound, Consecon, Ontario Mastered by Heather Kirby at Dreamlands Mastering, Sophiasburgh, Ontario
A solo acoustic slowed down version of Devil's walking stick from alexjcurrie LP.
A devil's walking stick is a type of tree used for ease of tooth pain when it's bark or inner core is chewed. Problem is, it's covered in protective thorns.
Shot in a 1973 commemorative replica of the first church built by early Scottish immigrants in 1787, located at 1576 Loch Broom Loop in Loch Broom, Nova Scotia.
The only person there was a teenage worker and her dog, we asked what she did all day and she said "this". She had no problem with us filming.
Shot and edited by Danny Harvie
A blustery grey day in Caribou River, Nova Scotia with one of my oldest friends.
A cut from my LP “Greetings from…” written on a guitarlele on the beach over a week in July 2025. A song about ghost stories and feeling displaced. 📷
@danharvie
From The album "Greetings from..." A song about about feeling out of place, stuck and reluctant acceptance. From the album "Greetings from..."
Direction, concept, editing and song by alexjcurrie Additional direction and filming by Ashley and Adam Brewsmith
My father told me a story about a made up villain so I wouldn't wander past the point at our cottage. From the album "Greetings from..."
Direction, concept, music and editing by Alex Currie Erynn Ahern - Camera and additional direction Marigold Currie - The point man
This presentation was performed at the VOIDfest2 Saturday Afternoon Showcase at the Picton Public Library, December 27, 2025.
The work explores the relationship between sound, noise, space, and reverberation, and how these elements shape meaning. Sixteen machines play sixteen field recordings captured by me in diverse locations and through varied methods. Using tape recorders, phones, speakers, amplifiers, a large fan, and my voice, the piece moves from an interpretation of a calm day into a full electrical storm, before returning once more to stillness.
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