The Parish of Little Clifton is the project of multi-instrumentalist and Agassiz, BC native, Simon Bridgefoot. The first collective sounds to come out of this project came about with his previous EP entitled Haselnus which was released on the local digital label Cultus Vibes. His next release came in the form of a 7â€ entitled Septemberish which gave listeners a taste of what would be his debut full-length release with the two tracks â€œItâ€™s Okay, Roseanneâ€ and â€œEcho Islandâ€, both which saw a re-release with Bad Panda Records not too long ago.
Released near the end of September of this year was his debut full-length album entitled Portia, a 9-track collection of blissful electronic numbers that range from beat-heavy and complete instrumental cuts to more vocal and sample-based tracks. At times, some organic elements can additionally be heard in the mixes. The album also features some of his family and friends whom are also active in the local music scene including his sister, Hannah Flom, Teen Daze, Manitoulin (HAHA) and Bank Heist. The tracks on the album are generally light in nature with a tendency to reflect a certain Balearic aesthetic reminiscent in the southern coast of France or other southern European islands and beaches. It also seems to revolve around a discernible concept, a boyhood that encapsulates and expresses the experiences of a summertime day trip traveling to a lake or coastal island with close friendsâ€”the album artwork certainly reflects this impression.
The album opens with the rather uplifting â€œHigher (Holding You)â€, a track which gives the listener a taste of the following tracks on the album and the overall feeling it intends to pull from the listener as the album progresses. The following tracks are coherent in conceptual fashion, with the first half bearing the lighter side of things which expresses the euphoric joy of an afternoonâ€™s day trip. The latter half of the album features more prominent vocal work into the mix while seemingly delving into a more solemn emotional state in contrast to the expressions of a lighter demeanor in the first half. There are a myriad of standout tracks on the album, most notable include the opening cut â€œHigher (Holding You)â€, â€œItâ€™s Okay, Roseanneâ€, and â€œFirework Mirrorâ€.
For electronic fans, this would be an excellent album to indulge in. Through and through, the albumâ€™s conceptually coherent form encompasses a wonderfully relatable expression of heightened inner bliss experienced during a certain point in life. An inclination towards nostalgic behaviour may ensue as the listener yearns for past experiences which gave them a similar sense of reassurance, joy, and hope. Give this album a spin and find comfort in its high spirits.