Montreal-based Cree pop artist Siibii is stepping into a bold new chapter with the release of their latest single, “Body to Body,” featuring award-winning artist Aysanabee. The track arrives ahead of their highly anticipated self-titled debut EP, due out November 14 via Ishkōdé Records.
At once a love song and an act of reclamation, “Body to Body” explores intimacy as a powerful form of healing—physical, emotional, and spiritual. The song pushes back against the long shadow of colonial ideologies that sought to sever Indigenous peoples from their own bodies and relationships, instead reframing touch, love, and connection as both natural and sacred.
The accompanying video, premiered through Atwood Magazine, brings this vision to life in a moving visual performance that emphasizes tenderness and closeness as acts of empowerment. Fans won’t have to wait long to see the new music live—Siibii is set to make their POP Montreal debut on Friday, September 26.
Tanóok Taylor Neal, known as astrodamus, is carving out a lane that fuses Afro-punk, grunge revival, and themes of transformative justice. Based between Alaska and Oklahoma, Neal’s work spans multiple states, stages, and mediums, grounded by her Afro-Lingít heritage and sharpened by her academic and activist journey. With recent releases including Ground Control (2024), Diving Board to Memories (2025), and a live album recorded at KBOO Community Radio in Portland, astrodamus is building a sound that is as raw as it is reflective.
We caught up with her to talk about grunge roots, cultural identity, community activism, and what she hopes listeners carry with them when they press play.
Your music blends Afro-punk, grunge revival, and themes of transformative justice. How did you arrive at this unique sound?
Something I appreciate about the 1990s—it was effortless and casual about niche ideas. Grunge was always in my environment. Chris Cornell was a voice that was always there. Bad Brains too. Having that foundation of sound and then subconsciously searching for it made me want to bring it to life with my own practices.
I didn’t fully understand transformative justice until Fort Lewis College, where I studied Criminology. I was drawn to helping people impacted by harmful systems find paths of healing. Wanting to help people within proximity to the criminal justice system—that’s transformative in itself.
You describe yourself as an Afro-Lingít artist. How does your cultural identity influence your music and storytelling?
My connection to Sitka and Lingít heritage feels concrete, though it was ethereal for a while. You hear that in astrodamus music—sometimes airy, sometimes heavy. I don’t shy away from being transparent about pain.
I grew up moving—Alaska, Chicago, California. My mom was adopted as a Tlingit and Filipino baby, and it’s been hard to determine our clan. That’s a huge part of identity, and I don’t have answers. It’s humbling to take baby steps in connecting the dots of my identity.
On stage, I perform as if I’m alone. I haven’t had much energy in life, but I’ve come to terms with that by finding what feels free.
You’ve released projects across Alaska, Oklahoma, and beyond. How has moving between these places shaped your creativity?
Moving between Alaska and Oklahoma made my creativity feel more refined and less restricted. Oklahoma taught me I can try less and it still feels concrete. I booked my first tour, played festivals, and got encouraging feedback there.
I’ve outgrown the struggle of trying to build a platform in Alaska. I rep AK, study it, and speak on it, but I’m not really platformed there. Alaska is my true home, but I’m kind of considered an outsider.
What role does music discovery and listening to others’ work play in your process?
Listening to others’ work is a constant force. I love shows, I love letting myself love someone’s sound, and I love learning from something even if it doesn’t resonate.
The astrodamus project actually began as a DJ set at KDUR community radio in Colorado. It was about curating sounds and contributing to people’s life soundtrack.
Beyond music, you recently completed a Master’s in Indigenous Peoples Law. How do legal and activist work intersect with your artistry?
Activism has been many lessons in community that usually result in me having to reflect individually. Self-reflection and accountability made me feel safe to be an artist.
My legal experience intersects with artistry by creating a dedication to discipline. Studying tribal and Native law gave me an affinity for context—limitless context.
What do you hope listeners take away from astrodamus, and what’s next?
I hope people can feel the direction in each album, song, or setlist. Maybe my music helps them stop thinking, maybe it makes them think, maybe it makes them curious. I want it to feel like a reusable water bottle—sustainable, eco-friendly, convenient.
My immediate goal is balance and grounding in this technocracy. I need to refine projects I thought were complete and bring new perspectives. Musically, I just want to feel my feelings and see what sounds carry me into the next chapter.
Emerging from their surprise EP uLu Selects Vol #2, Portugal. The Man have unleashed their latest single, “Denali,” a sonically intense homage to their Alaskan roots and musical daring. Released September 3, 2025 on the Thirty Tigers label, the track delivers thick, distorted synths, crunchy grunge-guitar riffs, and frontman John Gourley’s slick vocals, stirring, raw, and unmistakably bold.
Indigenous artist Tûtu has released their new album Qunneq, a body of work that blends raw emotion, rich storytelling, and bold soundscapes. The album’s title, which means “strong” in Greenlandic, reflects both the resilience behind Tûtu’s journey and the spirit captured within each track.
On Qunneq, Tûtu seamlessly weaves together traditional influences with modern production, delivering a sound that feels both timeless and fresh. Each song carries a deep narrative, touching on themes of identity, healing, and cultural pride, while pushing creative boundaries with genre-defying arrangements. The release marks an important milestone in Tûtu’s career, solidifying their role as an innovative voice in the global music landscape.
As Anchorage School District preschoolers and kindergarteners step into classrooms for their first time today, the Anchorage School District’s Indigenous Education Program is making sure students begin the year feeling connected, supported and proud of who they are. With a mission rooted in cultural identity, academic success, and community partnerships, the program offers Indigenous students opportunities to learn from Elders and culture bearers, participate in arts and language experiences, and find leadership roles within their schools. This year, the focus is on amplifying student voice and weaving cultural pride into everyday learning, helping students start strong on day one and carry that strength throughout the year. The RIVR spoke Jamie Galvin, the Indigenous Education Center’s Director.
Q: Can you tell us about the mission of the Anchorage School District’s Indigenous Education program and how it supports Native students and families?
A: The mission of the Anchorage School District’s Indigenous Education Program is to create a support structure that fosters culturally sustaining environments within schools, nurtures learning, and builds community. By leveraging federal funds, district resources, and various grant opportunities, we work to strengthen cultural identity and awareness, improve attendance and graduation rates, expand Native language instruction, and provide additional support for at-risk students.
In practice, this means we walk alongside students and families to ensure they feel connected, valued, and heard. We provide cultural opportunities that celebrate and affirm Indigenous identity, create spaces where students can see themselves reflected in their education, and offer academic and social-emotional support as needed. Through partnerships with families, schools, and community organizations, our goal is to create meaningful opportunities that help Native students thrive both in and out of the classroom.
Q: What are some exciting new initiatives or programs happening this school year for Indigenous students?
A: An important initiative this year is strengthening student voice by creating more spaces for Indigenous students to share their perspectives, take on leadership roles within their schools, and feel connected to their identity and community. At the same time, we are increasing targeted academic support and mentoring for students who need extra guidance, ensuring they feel supported both culturally and academically.
A key part of this work includes the Gui Kima grant, which centers cultural identity through culturally inspired lessons led by Elders and cultural bearers. This past summer, we hosted a Gui Kima intensive where high school students spent three nights and four days on a college campus. During this time, they experienced what campus life could be like, explored different academic programs, and connected with community members who shared their knowledge and experiences. The intensive allowed students to deepen both their cultural identity and their academic readiness, and we look forward to offering this opportunity again next summer.
Q: How does ASD work with Elders, culture bearers, and community partners to keep Indigenous languages and traditions alive in schools?
A: The Anchorage School District recognizes that the expertise of Elders and culture bearers is essential to keeping Indigenous languages and traditions alive. Within our department, we hire culture bearers through our Alaska Strong and Gui Kima grants, which allows us to bring their knowledge, stories, and practices directly into schools. Their presence gives students authentic opportunities to learn from those who carry the traditions of our communities.
We also partner with Indigenous authors and artists, such as the creators of Chickaloonies, who have led workshops with students from elementary through high school, inspiring them to explore identity, storytelling, and creativity through an Indigenous lens.
Q: How can families and the wider community get more involved with Indigenous Education programs?
A: Families and community members can get involved in a variety of ways. Volunteers are always welcome, especially those who can share cultural knowledge and lessons, whether in classrooms or after-school leadership clubs. The new Alaska Studies curriculum includes opportunities for Elders and knowledge keepers to visit classrooms and lead activities.
Families can also volunteer at events we host or teach classes that help other families and students engage with Indigenous culture, such as demonstrating how to make items for the annual fashion show. Encouraging eligible families to enroll in the program allows us to support more students and families. Additionally, donations of supplies for cultural lessons—such as fabric, beading materials, art supplies, or books—are always appreciated and help enhance student learning.
Q: What tips do you have for Indigenous students to start the new school year feeling ready, supported, and motivated?
A: To start the year strong, it is important for students to remember that they are not alone. Connecting with an Indigenous Education Student Support Specialist, trusted teachers, or classmates can provide a strong support system. Students are also encouraged to stay grounded in who they are by participating in cultural opportunities, speaking their language when possible, and leaning on the teachings of their family and community.
Setting small goals and celebrating progress along the way helps maintain motivation, and students should feel confident asking for help and advocating for themselves, knowing that their voices are important. Most of all, students should recognize that their identity is a source of strength. Entering school with an awareness of their heritage brings with it generations of resilience and knowledge.
Q: How does the Indigenous Education program use music or the arts to connect students with culture and community?
A: The Indigenous Education program uses a variety of artistic and cultural experiences to connect students with their heritage. This includes the annual Indigenous Education fashion show and accompanying art exhibitions, regalia presentations at graduation, and lessons led by Indigenous authors and artists such as the creators of Chickaloonies.
We also collaborate with community partners like CITC, who provide art lessons, and the district’s Art Department, which has brought in formline artists for large-scale projects, including the salmon display at the mall. The program continues to seek opportunities to connect students with other artists willing to share their talents and cultural knowledge, providing hands-on experiences that strengthen both cultural identity and community connection.
Indigenous pop artist Jessa Sky has returned with Look at Us Now Vol. 2, a six-track EP that blends infectious pop hooks with raw, unfiltered emotion. Released August 15, 2025, the project showcases Jessa’s signature ability to turn deeply personal experiences into universally relatable anthems. From the sultry opener “SIPPIN’” to the aching closer “GRIEVIN’,” each track navigates themes of heartbreak, healing, and self-empowerment, supported by sleek production from collaborator Conor Wharton. The EP’s mix of pop, R&B, and rock elements reflects both sonic growth and a confident continuation of her storytelling journey.
Following the momentum of Look at Us Now Vol. 1, Jessa delivers a follow-up that feels bigger, bolder, and more vulnerable. Standouts like “HEALIN’” and “DEMON(IN)” capture her lyrical candor, while “TOUCHIN’” and “PLAYIN’” keep the energy bright and danceable. Beyond the music, Look at Us Now Vol. 2 reinforces Jessa Sky’s role as a rising voice in Indigenous pop, carving space for cultural representation in mainstream music. The EP is now available on all major streaming platforms, accompanied by visual content on YouTube and behind-the-scenes glimpses on her social channels.
Ya Tseen is back with “Taste On My Lips,” a shimmering, genre-bending single featuring Portugal. The Man, Meshell Ndegeocello, and Sidibe. The track pulses with funk, soul, and alt-pop textures, a euphoric love letter to the dance floor and the connections made on it.
Anchored by Ndegeocello’s signature bass and lifted by Sidibe’s airy vocals and Portugal. The Man’s vibrant production, the song marks the first release from Ya Tseen’s upcoming album Stand On My Shoulders (out January 16 via Sub Pop).
The track’s visual, directed by Stephen Gray, captures the joy and movement at the heart of the song — an anthem for presence, memory, and community.
Following his acclaimed 2021 debut Indian Yard, Ya Tseen’s new era is bolder, brighter, and grounded in generational love. He’ll support the release with a fall tour alongside Portugal. The Man.
The 2025 Arctic Encounter Symposium (AES) wrapped up another groundbreaking year of dialogue and collaboration, gathering policymakers, Indigenous leaders, scholars, and youth change makers from across the circumpolar North. Held in Anchorage, Alaska, the summit served as a vital platform for addressing the pressing challenges, and remarkable opportunities, facing the Arctic in a time of rapid environmental and political transformation.
This year’s AES placed a powerful spotlight on the next generation of Arctic leadership. Among the most dynamic voices were the Arctic Youth Ambassadors, Fulbright Arctic Initiative Scholars, and the Northern Vision Fellows, each offering bold perspectives grounded in lived experience, rigorous research, and cultural insight.
The Arctic Youth Ambassadors (AYA) program brought together a cohort of young Indigenous leaders from communities across Alaska and the broader circumpolar Arctic. Their presence was not only symbolic but essential—highlighting the importance of youth agency in policy and climate conversations that directly impact their homelands and futures. Panels featuring the AYA covered topics ranging from climate resilience and food sovereignty to language revitalization and mental health.
This year’s Fulbright Arctic Initiative scholars added a global research lens to the gathering, sharing interdisciplinary insights on issues like infrastructure, Arctic shipping, health equity, and Indigenous governance. Representing eight Arctic nations, the scholars emphasized the need for collaboration that respects Indigenous knowledge systems alongside Western science.
The Northern Vision Fellowship continued to elevate early career professionals who are committed to driving change in their communities. Fellows participated in high-level discussions with policymakers and industry leaders, ensuring that grassroots perspectives were part of conversations on sustainable development, broadband access, and climate adaptation.
As the Arctic continues to be a focal point for global climate, economic, and geopolitical shifts, forums like the Arctic Encounter Symposium remain crucial. But what made 2025 especially significant was the clear shift in who is leading the dialogue. Youth. Indigenous thinkers. Community-rooted researchers. These are not the future voices, they are the voices now.
Rising Indigenous Voices Radio celebrates the momentum created at this year’s AES and the collective efforts to ensure the Arctic is not just studied, but stewarded with respect, vision, and Indigenous leadership at the core.
Artist, activist, and cultural storyteller Xiuhtezcatl releases his powerful new album “TONATIUH,” a genre-blending project rooted in Indigenous resistance, bilingual lyricism and ancestral pride.
Described by Xiuhtezcatl as “from my heart, through my homelands, to the world,” TONATIUH marks a major new chapter in the artist’s evolution, melding hip-hop, traditional sounds, and poetic reflection into a body of work that feels both ancient and urgently now.
The album’s title, TONATIUH, the Nahuatl word for “sun”, reflects themes of cultural rebirth, environmental justice, and collective resilience. Previously released singles like “HOME” and “SÍGUEME” appear on the album, offering a taste of Xiuhtezcatl’s signature blend of English and Spanish storytelling with sharp political edge and spiritual depth.
TONATIUH is available now on all major streaming platforms. Celebrate the release by listening today, and by sharing the stories carried within.
What began as a childhood spark in a youth media camp has come full circle for an Indigenous filmmaker now launching a new youth documentary film project in partnership with the Alaska Teen Media Institute and Vision Maker Media. Rooted in a passion for artistic storytelling and shaped by early exposure to music, writing, and surreal cinema, the project’s creator is helping the next generation of Native youth find their voice behind the camera. With a focus on community, culture, and creative exploration, the initiative empowers participants not only to craft their own films, but to see their stories reflected on the big screen. Anchorage youth ages 13-21 are encouraged to apply to be part of the team.
What inspired you to launch this new youth documentary film project?
My start in filmmaking actually began with a program like this back in Wyoming. My relative Missy has been holding youth media camps since I was 12, and I’ve felt inspired to take up the cause ever since.
How did your own journey in filmmaking begin, and how does that shape how you work with youth?
My experience in media started out when I was really young. I was interested in music and writing early on, which led to an interest in making music videos. That naturally evolved into a love for cinema. I was inspired by artists like David Lynch and Stanley Kubrick to create art that aims to be surreal and unusual.
What do you hope participants take away from this experience, both creatively and personally?
Not only the experience that it takes to make a film on their own, but also the joy of seeing their film on the big screen among friends and family. I hope it inspires them to pursue a life centered around artistic storytelling. For me, it feels like I’m continuing the cycle and hopefully inspiring students the same way I was inspired.
Can you share a bit about the collaboration with Vision Maker Media and how it supports Indigenous storytelling?
From what I remember, they’ve done tons of work to help boost and promote cinematic Native storytelling since the ’70s. Whether it’s funding programs like the Documentary Film Project or supporting independent short films, they’ve done a lot to help Native films find their place.
Why is it important to you to center Native voices, especially youth, in documentary work?
Our stories need to be told, and more importantly, they need to be told by people who have a stake in representing them. The only way to do this properly is to have our stories told by the people who hold them, and those people are us.
Where can people learn more or apply, and how can the community support this effort?
They can find more information on the Alaska Teen Media Institute’s website. Just search for the Alaska Teen Media Institute Documentary Film Project using whatever search engine you prefer.
