Rituals of Mine

Rituals of Mine
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Hailing from Sacramento, Rituals of Mine is the immersive, hybrid R&B-electronic project of Terra Lopez. Formerly known as Sister Crayon, the project led by Lopez and musician Dani Fernandez changed their name to Rituals of Mine after the then-duo signed to Warner Bros. Records in 2016. After parting ways with Fernandez in the fall of 2017, Lopez reclaimed Rituals of Mine as a solo project. Now, Lopez as Rituals of Mine is set to release her first album as a solo act, HYPE NOSTALGIA.
In 2015, Lopez’s life was turned upside-down by grief and loss: Her father took his own life and six months later her best friend passed away in an accident. Still, Lopez kept working even as her emotions went into overdrive. She went from being a high-functioning depressed person to dealing with the most crippling mental health experience of her life. But by 2018, she began the healing process and found therapy and medication that worked for her.
After leaving Warner Bros. Lopez signed to Carpark Records in April of 2019. Six months later, she shared a taste of what listeners will hear on HYPE NOSTALGIA with the release of the EP, SLEEPER HOLD. Filled with emotional intensity and self-reflective songwriting, the three-song project confronted the emotional rollercoaster that she’s been riding for the past five years, head-on.
With HYPE NOSTALGIA, Lopez didn’t want to solely focus on the heaviness of her life. Instead, she opted to create an album written from a pre-loss perspective. Dark moments and devastation glimmer throughout Rituals of Mine’s latest record, but they don’t dominate it. What does transpire is Lopez’s ability to reconcile with her emotional trauma by reimagining her past in a way that isn’t shrouded in total darkness, but glimmers of light and hope.
Between St.Augustine, Florida and Los Angeles, Lopez collaborated with producers Wes Jones and Dev the Goon on what would become HYPE NOSTALGIA. The result is a self-assured 13-track LP interspersed with future R&B, electronic and pop and layered with the softness of Lopez’s ethereal vocals. From tackling what it’s like to be a woman of color in the music industry to exploring intergenerational trauma, HYPE NOSTALGIA is an all-encompassing look at Lopez’s personal growth and resilience.

Isabeau Waiaʻu Walker
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Bright gloom, a single duality of the many that define Isabeau Waia’u Walker. Songs that are soothing and soft while powerful, accessible while complex, sweet but aching. The tension of the contradiction that she holds nest in her core and reverberates through the layers of her product: storytelling, collaboration, presentation, music. Culture, race, and language surface in her work; half a life in her native Hawaii, the second in Oregon. For over a decade of being a high school teacher, she made music, slowly amassing an impressive YouTube subscribership. She orchestrated an early retirement from education to redirect attention to music, allowing her to tour as a member of Y La Bamba and to record her EP, Better Metric. “Woman,” a track off the EP, making OPB music’s Oregon’s top songs of 2020. She is now working on an LP to be released at the beginning of 2022.

Chibia
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Fronted by singer/songwriter and violinist Chibia Ulinwa, Chibia thoughtfully pairs deep, meditative vibes, introspective musings, inventive melodies, and lush productions to realize her uniquely soulful sound and bring life to her carefully crafted compositions. Graduating from Portland State with a Masters in Music Education, Chibia Ulinwa tirelessly balances her budding music career and artistic vision with her role as an orchestra director in public schools across the river in Vancouver, Washington, inspiring younger generations of musicians. She and her band have created spaces for listeners to gently head nod and sway at many of Portland’s most beloved venues including Revolution Hall and Doug Fir.
Her track ‘Honey’ has been featured in Marvel’s She Hulk as well as Queen Sugar on the Oprah Winfrey Network. It has also been voted one of KMHD’s best singles of 2020, quoted as “not a second of its 4 minutes land[ing] flat— and as soon as it’s over, you put it on again.”