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Now an independent, French has released one of the most interesting Canadian albums of the year, Shadows. The disc is an incredibly theatrical venture—the 11 songs that make up this CD all have a cabaret feel, employing rising and falling crescendos, concertinas and lyrics that evoke Brecht. Moody and intense, Shadows has a slightly sinister feeling that draws the listener in, demanding full and absolute attention.

Songs like “Alive,” “Sincere,” “Descending and “Drowning” have titles that reflect their emotional content—a thick, rich mixture atypical of most pop music. On these tracks French sounds like fellow westerner Veda Hille. The production is solid but if there are any singles here, they don’t leap off the disc. However, French may be the kind of artist that other musicians look to when considering featuring the work of others on their own projects.

Well worth a listen.

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Large Bird Leaving is Cori Brewster’s fourth album, appearing almost 10 years after her critically acclaimed 1998 CD, Stones. In the meantime, Brewster, who became a mother along the way, has matured considerably as an artist. The 12 songs that make up Large Bird Leaving, notably “What Casanova Told Me” and “Broken Compass” have a tone reminiscent of Mary Chapin Carpenter’s gentle yet compelling storytelling. More country than folk, the string-heavy arrangements on Large Bird Leaving are pure roots. Born in Banff, Alberta, to one of the area’s long-established families, Brewster has always made the Rocky Mountains her home. This rich and dynamic landscape is as much a character in her songs as the people who populate her tunes. For example, on “Look for the Sun” she writes: “The magic of these mountains/Are nowhere to be found/When the clouds circle around them/The wind howls a ghostly sound.” Large Bird Leaving is an incredibly well produced album, with credit in that area being shared by Brewster and Murray Pulver. Pulver is an exceptionally talented producer whose previous projects include the Wyrd Sisters’ Sin and Other Salvation and Dominique Reynolds’ Coming Home. Like most country-folk-roots albums, Large Bird Leaving yields no obvious singles, but it does make for satisfying listening. Recommended.

Link: http://www.coribrewster.com/

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I wouldn’t be surprised to find out that Jill Barber’s record collection has everything from brooding torch singers to alt-country twangers and indie rock hipsters. And on her latest album, For All Time, she draws on all those influences to create a beautifully cohesive listening experience.

Born in Toronto, Barber decided to pursue her career from the small but strong music scene of Halifax. And though she’s still an independent artist—her brother Matthew has already snagged a major-label deal—Jill did manage to attract some high-profile help in the studio. Jim Cuddy and Bazil Donovan of Blue Rodeo turn up, as do Luke Doucet and her brother. But despite the guest vocalists and musicians, the production on For All Time really relies on Jill’s strengths as a singer and storyteller. There’s a real authenticity in her lyrics and a sincerity to her vocals that have attracted attention, garnered airplay and won her awards.

Over the course of the album, Barber shows her playful side on “When I’m Making Love to You,” gets meditative on “Ashes to Ashes” and is plaintive on “For All Time.” Her emotional range is what makes this album such a great listen.

There’s no shortage of popular and talented Canadian women recording and touring these days, but if you haven’t discovered Jill Barber yet, consider yourself tipped off.