Single Review: Freddie Atlas – Vain

May 24, 2013 | Link | 0 Comments

Freddie Atlas - VainFreddie Atlas is a singer, songwriter and accomplished pianist. Born in 1988, Montreal native Frederic Casimir began playing the piano at a young age, and by the age of eight, he was already playing along to Elton John and early 90s pop ballads. It is evident, while listening to “Vain” that this piano-led style of songwriting most definitely struck a lasting chord with Freddie.

However, it wouldn’t be correct or fair to restrict Freddie’s music to the same genre as Elton John, or the piano ballads from the 90s. It is far more than that. Freddie combines elements of 90s pop music with late nineteenth century impressionism, which adds a further depth and sophistication to his sound. The result is something that is remarkably original, and very moving.

“Vain” is the first single from upcoming EP Dreams and is, at its heart, a piano ballad. Freddie says that “Vain” is a social commentary on the “American Dream” and the path to self-fulfillment. It deals with the confusion between pain and pleasure when it comes to the ideal of success. The subject matter is deep, and Freddie’s melodic choices and accompaniment are a perfect compliment to the story being told.

“Vain” is an incredibly atmospheric track; opening to the sound of rain, the layered harmonies, the piano/strings accompaniment, the haunting vocal delivery, the faultless falsetto… the list could go on. It is a track that devours and captivates you, and really triggers an emotional response. Despite there only being thirteen lines of lyrics, once “Vain” ends, it feels like you have been on a real journey with Freddie. It is so rare for a single track to have such an impact, and this is a true testament to Freddie’s talent as a songwriter and performer. This is a stunning track, and if this is anything to go by, Dreams is definitely going to be one to watch out for.


Album Review: Maxim Cormier

March 30, 2013 | Link | 0 Comments

maxim-cormierMaxim Cormier is a solo guitarist, composer, producer and freelancing accompanist, currently based in Halifax. Cormier flatpicks Scottish fiddle tunes and composes his own contemporary music for fingerstyle guitar, piano and small ensembles. His father, Gervais Cormier, is also a musician and plays guitar and mandolin on some of the tracks on this self-titled album (“Fathers Know Best,” “Tunes with Dad,” “Hornpipes for Uncle Joe,” “Morisson’s”).

Cormier’s takes on traditional Scottish tunes, are inspired and breathe a new, modern life into something so traditional and culturally rich. They are blended together perfectly, with “Tunes with Dad” being a particular standout.

Cormier’s own compositions, while still most definitely Celtic in nature, sound more contemporary than the traditional tracks on the album. The contrast between the styles is very interesting and showcases a young artist who is capable of composing something which has one foot firmly in tradition, and the other in a more contemporary place. His flatpicking ability is incredible, and adds a unique spin on the more traditional folk tunes. It is also refreshing to hear fiddle tunes being played in this way – it really adds a new perspective, and makes the music more welcoming to those who perhaps would not normally listen to folk, particularly more traditional folk.

When combining his own original compositions with traditional songs within the same track, Cormier demonstrates just how versatile a musician, and how talented a composer he is. “Fathers Know Best” is a perfect example of what Cormier does so well; blending the old with the new and creating something which fans of both contemporary and traditional folk music can enjoy.

Maxim Cormier features Grammy Award winner Gordie Sampson on Rhodes and piano (on Cormier’s own composition: “Le Grand Boulanger de L’Est”), Scott Macmillan (additional guitar on “Fathers Know Best,” “Hornpipes for Uncle Joe”), Colin Grant (fiddle on “Fathers Know Best”, “Morisson’s”), Jason Roach (piano on “Fathers Know Best”, “Morisson’s”), Ben Marmen on cello (“Morisson’s”, “Big Sample’s Reel”) and Rankin MacInnes on electric bagpipes (“Big Sample’s Reel”, “Morisson’s”). Production on the record is well balanced and very clear, and deserves a definite nod of approval in the direction of Cormier himself, and Mark Shepherd.

All in all, Maxim Cormier is a stellar debut from a musician who is incredibly good at what he does. Anyone who is looking for a modern twist on traditional Celtic folk won’t be disappointed here.


Album Review: Helen Shanahan – Driftwood

March 28, 2013 | Link | 0 Comments

Helen Shanahan - DriftwoodDriftwood is the debut album from singer/songwriter Helen Shanahan, and is the eagerly anticipated follow up to her Girl in Love EP, which firmly established her as a serious and soulful musician. Shanahan is based in Perth, Western Australia and has a sound which could easily capture hearts worldwide. Shanahan is a recent graduate of the Western Australian Academy of Performing Arts, with a major in voice.

On Driftwood, Shanahan writes about the joys and sorrows that come with the ups and downs of life, her words accompanied by rich layers of harmonies and acoustic instrumentation. The end result is an incredibly warm, contemporary album that certainly has commercial appeal, and would be very well suited for use in film and TV soundtracks.

There is a undeniable purity to Shanahan’s voice, and she performs with a great deal of conviction, without ever sounding contrived or forced. Her voice shows hints of fellow Aussie, Missy Higgins, at times, (which can probably be attributed largely to the slight Australian twang at the end of some of her phrasing) which is definitely a positive comparison. Stylistically, Shanahan’s music can most accurately be described as contemporary acoustic-based folk-pop. Charlie Young’s production on Driftwood is of an incredibly high quality, and while the instrumentation is sparse for the most part, it never fails to sound rich and always allows Shanhan’s crystal clear voice to shine, bathed in lush harmonies at all the right moments. The songs are well crafted, and could stand up just as strongly if they were performed with just a single vocal and guitar – they’re that good.

Shanahan has receiving some deserved industry praise and recognition in her native Australia; “Driftwood” was nominated in the folk category in the Western Australian Music Industry ‘Song of the Year’ competition. “Driftwood” has also earned International acclaim as it won the International Song of the Year contest in the folk category – and listening to it, it’s easy to hear why.

Other standouts include opening track “Close to You,” “Lonely Room” (featuring cello from Elise Chong) and “He Says” (which was also nominated for in the WAMI Song of the Year Competition in 2010), however, all of the tracks are solid.

Shanahan ticks all the boxes; her writing is top notch, vocals are close to perfection, and she knows exactly who she is as an artist. The only question is…when can we hear more? Driftwood is the beginning of a great career from a supremely talented up and coming artist. Charming, authentic, introspective… the list of adjectives could go on. Don’t miss this one.

 


Terra Naomi featured on Mantas Last Dance

March 1, 2013 | Link | 0 Comments

Terra Naomi‘s live version of “If I Could Stay” from her Live and Unplugged album is featured on Shawn Heinrich’s video, Mantas Last Dance. It’s a beautiful video featuring underwater dancer, Hannah Fraser. The video is doing its part to raise awareness of the dangers that manta rays are facing at the hands of human greed.

Visit Blue Sphere Media to find out more about the video and the campaign.