The project, spearheaded by his sister Linda Kee alongside producer Evgeniy Bykovets of Sargeant X Comrade, even includes a guest feature from legendary New York emcee Kool Keith. While the album is rooted in funk, its creation became something much larger: a community-wide effort to complete the work of an artist whose influence stretched far beyond any one band, genre, or scene.

“It was almost as if the first thing on all of our minds was to pick up where he left off,” Linda recalls.

That instinct emerged immediately following Marvin’s passing in 2023. As tributes flooded social media and stories circulated among friends, collaborators, and family members, another conversation began taking shape behind the scenes.

“People came together very quickly. Very quickly for the music, really,” she says.

Musicians who had recorded tracks with Kee reached out. Producers began sorting through hard drives and session files. Friends offered photographs, notes, unfinished recordings, and studio archives.

“I got so many messages saying, ‘I have this whenever you’re ready,’” Linda says.

Those fragments eventually became Weapon of Mass Creation.

The record draws from material Marvin had been developing across the sprawling creative network he spent decades building, preserving the sound that made Flytrap a fixture within Calgary’s music scene. Equal parts funk, soul, hip-hop, punk, and acid jazz, the project reflects the eclectic taste that defined Kee’s creative output. His guitar and bass playing remain the core elements of the album, while collaborators helped complete arrangements, record missing parts, and shape unfinished ideas into polished tracks.

For Linda, the process wasn’t simply about safeguarding Marvin’s work. It was about honouring his own process.

“Whether it was a puppeteer, a musician, a singer, or a sculptor, he would always amplify other people’s work,” Linda notes.

That philosophy appears everywhere on Weapon of Mass Creation. The record is less a solitary artistic statement than a gathering of voices connected through a shared relationship with Kee. Many of those involved had already spent years collaborating with him, while others contributed remotely from across Canada, Europe, and the United States.

“We’ve had to piece things together and figure out what was there, while also adding our own contributions, which I know is what Marv would have wanted,” she adds.

The resulting record feels fitting for an artist who spent decades moving fluidly between social circles, projects, and disciplines. Although best known as a musician, Kee was equally passionate about filmmaking, illustration, design, sports, and visual art. His nickname, “The Fly,” reflected both his love of funk culture and his tendency to oscillate between worlds.

“A fly kind of hops from one thing to another thing,” Linda explains.

That ability to connect people became one of his defining qualities. Even now, it remains the thread most often cited by those who knew him.

“If he met you, he would find out what one of your goals was or what you were passionate about, and he would encourage you to keep doing it,” Linda says.

For many in Calgary’s creative orbit, that encouragement became transformative.

“The guests at his celebration of life were such a diverse group of people—from babies to 100-year-olds, each from different cultures, careers, jobs, and industries,” she recalls.

Weapon of Mass Creation functions like an extension of that celebration of life. More than a collection of songs, the album stands as a testament to the relationships Kee spent decades cultivating.

“I think it would bring a tear to his eye, for sure, to know that people have come together,” Linda says.

The project’s long gestation speaks to the realities of independent arts. Between touring schedules, day jobs, grant applications, funding challenges, and personal commitments, completing the record became a labour of love undertaken largely in spare hours. No one was drawing a salary. Everyone simply kept showing up.

The album will finally be celebrated with a release event at Sweet Loretta on June 21. Alongside live performances, attendees will be able to purchase vinyl copies of the record and experience the music in the kind of shared setting Kee valued most.

This release closes a chapter that began in the aftermath of Marvin Kee’s passing, but it doesn’t close the book. More recordings and unfinished projects remain. More nodes of an inspired life that stretched across music, film, design, and community.

For Linda, the work isn’t finished. More recordings remain. More ideas are waiting in hard drives, notebooks, and forgotten sessions.

“I’m going to keep going through the archives and seeing what we can build upon from the seeds he left behind,” she says. “Even though it’s been three years, I still feel like I have yet to discover so much.”