Author Archives: Femoir Admin
I recently had the chance to chat with Montreal music journalist Rick Keene! Have a listen to the interview here; RICK KEENE MUSIC SCENE
Join us at Chateau-du-Lac in beautiful Hudson, Quebec for a special soiree of incredible talent in support of a very special young man ~ tickets are only $20 and are available at the door!
More information is available here; www.chateaudulac.ca
Thanks to Ted Bird for having me into the station this morning! Listen to our chat below!
“Books saved me from despair: that convinced me that culture was the highest of values…” ~ Simone de Beauvoir
It seems that most days I have at least 5 different books on the go, everything from fiction to bio to self-help to poetry and beyond… though I rarely consider the gender of an author, these particular female voices stand out. Check them out for some wicked women’s wisdom..
Simone De Beauvoir
Patti Smith
Irène Némirovsky
Miriam Toews
Sylvia Plath
Charlotte Brontë
Marianne Williamson
Maya Angelou
Nelly Arcan
Anna Kavan
Guitarist J. Rimbaudelaire remains an integral part of the Femoir family.
What are your own roots?
Je suis Montréalaise. I started playing guitar as a teenager, inspired by punk and metal. My tastes and playing have both evolved over time, and these days I listen to everything. I can’t play everything, mind you…lol…but it is fun and exciting to stretch out as a player.
Who are your favourite guitarists?
There are so many that I love and listen to – Jeff Beck, Hendrix, The Edge, Marc Ribot, Prince, St. Vincent, Carlos Santana, Jimmy Page, Tom Morello, Buddy Guy, Frank Zappa, Johnny Ramone, Jack White, Ani DiFranco, Joe Walsh, Keith Richards, Jonny Greenwood, Thurston Moore, J. Mascis, Sister Rosetta Tharpe, Duane Allman, Andy Summers, Joe Perry, John Frusciante, PJ Harvey, Johnny Winter…these may seem all over the place stylistically, but there is a thread that weaves them all together; feel, guts, and soul. If I had to choose one, however, it would be Pete Townshend. No one has ever used the guitar so masterfully to craft and orchestrate music.
What guitars did you use for Femoir?
For the electric stuff I used a ’75 Gibson Les Paul Deluxe for the heavier tones, a ’76 Fender Telecaster for the lighter edges and a 2012 Squier Telecaster for the stuff in between. There is a 2016 Gibson Les Paul Standard on there also, as well as a ’78 Gibson Firebird. The acoustic parts were done with a 2009 Takamine SE – a stunning instrument with rich and robust tones. For amps I varied between a Fender Blues Deluxe and a Marshall Class 5 – both are tube-driven and bring extra warmth to the album. For effects, I kept it simple with only a Boss Blues Driver and an old, well-worn EH Memory Man.
What other guitars are you playing these days?
My main guitars are a pair of Gibson Les Paul Traditional models – one is ebony, the other is a Bourbon Burst. Along with the ones I listed in the reply above, I also play a newer PRS hollowbody, a newer, modified Fender Stratocaster, an older Ibanez hollowbody, an older Epiphone Sheraton II, a Gibson Hummingbird acoustic, and a few others.
How essential was the guitar to the writing and recording of Femoir?
It was important in terms of the structure and architecture of the songs. I think it was Bruce Springsteen who said that if a tune can stand on its own with just a voice and a single instrument then it will stand the test of time. So, the original songs on Femoir were crafted on an acoustic guitar and then ornamented with the other instruments, like flesh over a skeleton or leaves upon a tree. Really, a lot of what I ended up doing was about getting out-of-the-way – allowing the songs to breathe on their own. That is something that I learned over time – when not to play. As Miles Davis said, “music is the space between the notes.”
What was the process like for you?
Along with being incredibly professional, Karen is very personable and made all of us feel welcome and a part of the project. She knew what she wanted but gave us the space to do our own thing. Because of that, each of us was able to bring a unique voice to the recording. Make no mistake, however, it was Karen’s vision that brought the whole thing to life – Femoir is her baby.
What has it been like playing with her new band?
Awesome. Mitch, Chris, and Nick are great guys and incredible players – they bring a dynamic and uniquely creative mix of experience, energy, and enthusiasm to the songs.
Do you have any advice for younger guitarists?
Play. Play for joy and for yourself. The only guitarist you must be better than is the guitarist you were yesterday. And listen – not just to other guitar players but also other great musicians. A real turning point for me as a player was reading Zen Guitar by Philip Toshio Sudo, which is a must-read for any musician. The revelation was that I didn’t have to be the best or flashiest player out there, or sound like anyone else – I only had to be myself and be true to my own voice.
Montreal-based guitarist/keyboardist Mitch Alisyn is the newest member of the Femoir team.
What are your own musical roots?
I am a very eclectic player and listener because – to me – there is a certain type of music for every mood so why box yourself in? I do find myself playing a lot of blues, rock, and jazz though.
When and why did you start playing music?
Growing up with musically inclined parents, music was always around the house, and there was always a lot of singing and dancing going on. They brought me to many rock/blues concerts as a kid but the one that left the deepest impact on me was watching performers play at The Mont-Tremblant Blues Fest. It was then I realized I needed to be on that stage.
Are they the same reasons you do it today?
Back then it seemed I wanted the stage time to show people what I could do but once that happened, I realized that striving to take people on a trip with me is a more meaningful objective. As you mature and gain experience, it changes your outlook on music and the whole meaning of it all.
How have you evolved as an artist over that time?
I have my teacher Nick Di Tomasso to thank for my biggest breakthrough. He was a tough teacher, but it sparked a fire in me that I never knew I had. Through him, I realized that if I wanted something, I had to go get it. Consistently being open to new concepts and understanding how to learn are probably the 2 pillars that keep me evolving to this day.
What are the challenges of the vocation?
The learning curve and making something beautiful. Although beautiful is subjective, it takes some time and patience to wrap your head around what music is all about.
What are the rewards?
An endless pursuit of discovery. While others get bored with TV programs and video games, music has no finish line. Also knowing how much discipline and dedication it takes to be able to play something and seeing it all manifest right before you.
What have been some career highlights?
Nothing too crazy compared to some other musicians but I got to play Club Soda with my band one time. Was really fun to play on a big bill. I played a couple of open blues jams to stay on the scene, nothing out of the ordinary.
What makes a good song?
Is it effective? If yes, then it is a good song. Whether it’s a radio hit, a death metal mess, or a cliché country tune, if it serves the purpose well and gets across to the listener, it is a good song.
What makes a good live show?
Stimulation of all the senses. You need to stimulate the viewer not only sonically but visually as well. Live music should always remain a unique experience. It should never be exactly the same twice or else it doesn’t feel natural or special. I never liked bands that kept to the script for every city they were in.
What are your first impressions of Femoir?
Very mystical. I knew I had to listen to it a bit more to really understand what the message was. The music is 3-dimensional, it has depth. It’s not your typical linear timeline with a rise of intensities at the choruses, there are more elements to discover.
What’s on your musical agenda for the rest of 2022?
I love to practice (call me crazy). So, I shall keep developing my craft and discovering new things. I love playing shows and playing with people, but I enjoy my solitude and discovering things in my laboratory/practice room.
Montreal-based percussionist Nick Baddeley recently joined the Femoir roster.
What are your own roots?
I grew up in the city of Windsor, down in southern Ontario. Although my early childhood years were spent in the city, my teenage years were spent in the surrounding county before moving back to the city to study music at the University of Windsor.
When and why did you start playing music?
I grew up with music lovers. My mom was who got me into classic rock at an early age. I initially thought that I wanted to play guitar just like my older cousin, but after I just kept tapping rhythms on the pickguard, my teacher suggested that I try the drums. It wasn’t until I was 12 years old when I started learning how to play the snare drum in my grade 7 music class. Idolizing the very idea of music itself, I wanted to be a part of it beyond just listening.
Are they the same reasons you do it today?
I believe I still hold the same values from when I was younger, but now I have a performance bug. I love performing. I originally pursued a career in teaching highschool music but after performing at higher levels, I knew I found my passion. I love every aspect of performing. From the beginning of the creative process – to the event – and to the after-gig reflection.
How have you evolved as an artist over that time?
Every note I play is in service to the music. I’m not just playing drums to play drums anymore; I play to serve a purpose to each song. A lot of that comes from now understanding music fundamentally and figuratively.
What are the challenges of the vocation?
The one that sticks out for me is that not a lot of people truly get what I do. Some don’t understand that there is more than just touring the world with a rock group. To be fair, I do a lot of different types of projects. Between corporate function gigs to being in the pit for a musical, my work is spread out.
What are the rewards?
The job itself is a reward. After all the practicing, networking, brainstorming, and failures, performing music is a reward in itself.
What have been some career highlights?
Most recently I played on an album that came out earlier this year. “Marimba Collage: Open Score Works by Jordan Nobles” was something my professor and mentor from university put together. He had all his students, past and present, play on this album and I was honoured to be a part of it. It might not be considered a true “career highlight” but for me, one of my top favourite gigs was when I played at a winery on Pelee Island (Ontario). I was called in to sub on the gig, we played three sets starting with jazz standards and finishing it off with funk and pop. Each set had the crowd dancing their hearts out. Laying down Michael Jackson and Stevie Wonder never felt so good. That was one of the biggest rushes I’ve had as a musician.
What makes a good song?
Melody. Of course, a good beat is the cherry on top but a melody that you end up singing to yourself afterwards is always a good one in my opinion.
What makes a good live show?
Good music but most importantly, good musicians!
What are your first impressions of Femoir?
The groove first and foremost. The rhythm section complimented Karen’s melodies every step of the way and vice versa, making a complete cohesive unit.
What’s on your musical agenda for the rest of 2022?
I’m looking forward to joining Karen on her Montreal debut! Other than that, doing some writing and arranging and planning for 2023!
“Absolutely stunning! Mesmerizing…” ~ Cassandra Wilson
Carlos Ruiz Zafón wrote that “Every book…has a soul. The soul of the person who wrote it and of those who read it and lived and dreamed with it. Every time a book changes hands, every time someone runs his eyes down its pages, its spirit grows and strengthens.” Perhaps this is why I am so enchanted by local bookshops when visiting a new place; a book may be the perfect souvenir ~ a sliver of the city’s soul. Click on each to learn more!
Shakespeare & Co ~ Paris, FR
Charlie Byrne’s Bookshop ~ Galway, IE
Libreria Giorni ~ Florence, IT
Strand Book Store ~ New York City, NY
Trident Bookseller ~ Boston, MA
My SIster’s Books ~ Myrtle Beach, SC
Buxton Books ~ Charleston, SC
Argo Bookshop ~ Montreal, QC
John W. Doull Bookseller ~ Halifax, NS
Sellers & Newel ~ Toronto, ON
Ernest Hemingway said “all you have to do is write one true sentence” ~ when it comes to lyrics it is usually a single line that sticks with me and makes me fall in love with a song, as if the whole piece just branches out from that one phrase that spoke directly to my soul. I like to think that many of us have that specific moment within a song that speaks to us in a very intimate way and is the reason we go back to it time and time again. Here are my top ten favourite one-liners ~ click on each to have a listen!
People don’t know when they’re lookin’ at soul
~Paul Westerberg
How strange the change from major to minor
~Cole Porter
Then it was one more shot poured out in the parking lot
~Bruce Springsteen
There’s a chapter on God that I don’t understand
~Sting
I must be an acrobat to talk like this and act like that
~U2
Show me slowly what I only know the limits of
~Leonard Cohen
It’s your gradual descent into a life you never meant
~Rilo Kiley
Stop worrying if your vision is new – let others make that decision, they usually do
~Stephen Sondheim
First you need endurance, first you’ve got to last
~Rush
A symphony of sympathies
~J. Rimbaudelaire
One of the best parts of travelling is exploring different cultures through food, and I am grateful to have experienced a variety of cuisine from around the world. Here are my top ten favourite restaurants. If you find yourself in one of these cities…do yourself a flavour!
Primo in the St Lawrence Gap, Barbados
Cafe Ferreira in Montreal, Quebec
Taboon in New York, New York
Villa Romana in Myrtle Beach, South Carolina
Poogan’s Porch in Charleston, South Carolina
Ristorante Rinaldi in Rome, Italy
Le Petit Machon in Paris, France
Andalucia in London, England
Casablanca in Halifax, Nova Scotia
Cupan Tae in Galway, Ireland
Missing live music? Me too. But I am so grateful to have witnessed so many shows that choosing my top ten live concert experiences is very difficult. This list is those that first come to mind as ones that have changed, inspired or purely entertained me (thank you Paul Stanley)! So many more on the bucket list but if you have a chance to see any of these artists live, do NOT miss it. Click on each name for a sample!
Roger Waters
U2
Rush
Ghost
Cassandra Wilson
The Who
The Rolling Stones
Iron Maiden
Bettye Lavette
Kiss
If you are like me, you may find yourself daydreaming about visiting some of your favourite or yet-to-see destinations. After all, if you’ve been there in the mind then you’ll go there in the body. The best way to take in a city is by sitting and sipping as the locals do. In fact, that is how Femoir was born! Take a look at my top ten trips n’ sips and add them to the bucket list. Click on each for more info!
Spritz in Florence
Tea in London
Cafe in Paris
Guinness in Dublin
Mojito in Havana
Bourbon in Charleston
Sweet Tea in Savannah
Cott Black Cherry in Montreal
Coconut Water in Barbados
Manhattan in…
It is nearly impossible to narrow down my favourite female voices of all time – this list could easily be doubled or tripled. However, these ladies of song have provided the soundtrack for my life, and their souls shine through with every note. Click on each name for more info.
Sarah Vaughan
Billie Holiday
Nina Simone
Julie London
Aretha Franklin
Judy Garland
Edith Piaf
Cassandra Wilson
Janiva Magness
Bettye Lavette
Honoured to be interviewed by Bill Roach for CBC Radio’s East Coast Music Hour! Listen below!
Ralph Waldo Emerson said that “the mind, once stretched by a new idea, never returns to its original dimensions…” Here are a few of my favourite inspirational quotes. Live long and prosper!
“There is a crack in everything, that’s how the light gets in.”
~ Leonard Cohen
“Always be a first rate version of yourself, not a second-rate version of somebody else.”
~ Judy Garland
“Our deepest fear is not that we are inadequate, our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, Who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small doesn’t serve the world.”
~ Marianne Williamson
“The future depends on what you do today.”
~ Mahatma Gandhi
“The best time to plant a tree was 20 years ago. The second best time is now.”
~ Chinese Proverb.
“We think we understand a song’s lyrics but what makes us believe in them, or not, is the music.”
~ Carlos Ruiz Zafón
“I disapprove of what you say, but I will defend to the death your right to say it.”
~ Voltaire (Evelyn Beatrice Hall in The Friend’s of Voltaire)
“Avoidance of the shadow dampens the personality.”
~ Carl Jung
“I’m happy to be here. I’m happy to be anywhere.”
~ Keith Richards
“Don’t try.”
~ Charles Bukowski
Honoured to be included in the latest Jam Sessions podcast! Listen below!
Inspiring, motivational and sometimes hilarious, each of these books and their author’s voices have had a significant influence on my day to day life. Highly recommended to start your new year! Click on each title for more info.A Return to Love by Marianne Williamson
You Are A Badass By Jen Sincero
Irving Berlin’s White Christmas nearly made it on my top ten films of all time, I love it that much! It kicks off this list of Holiday films that always get me in the spirit of the season, many thanks to their beautiful musical soundtracks! Click on the titles for more info!
White Christmas (1954)
The Polar Express (2004)
It’s a Wonderful Life (1946)
Meet Me in St. Louis (1944)
A Charlie Brown Christmas (1965)
How the Grinch Stole Christmas (1966)
Rudolph the Red-Nosed Reindeer (1964)
Frosty the Snowman (1969)
Elf (2003)
The Nightmare Before Christmas (1993)
Bonus!
Paul Reid’s The Littlest Angel (1974)
While music expresses that which cannot be put into words (yet cannot remain silent), books about music and musicians speak to songs and songwriting. Here are a few that I have enjoyed and recommend. Click on each title for more info.
JUST KIDS ~ Patti Smith
LADY SINGS THE BLUES ~ Billie Holiday/William Dufty
HAPPINESS BECOMES YOU ~ Tina Turner
HOW TO WRITE ONE SONG ~ Jeff Tweedy
ZEN GUITAR ~ Philip Toshio Sudo
GOLD DUST WOMAN The Biography of Stevie Nicks ~ Stephen Davis
FROM CRADLE TO STAGE ~ Virginia Hanlon Grohl
GIRL IN A BAND ~ Kim Gordon
MORE MYSELF ~ Alicia Keys
BROKEN MUSIC ~ Sting
The first reviews of Femoir are in and I couldn’t be more grateful for all the fabulous feedback from some fantastic people!
“Absolutely stunning! Mesmerizing. The arrangement compliments her lush and soulful contralto. Well done!” ~ Cassandra Wilson, Vocalist
“With Femoir, Karen Myatt is making music great again. She is, far and away, the best new artist to emerge from Atlantic Canada in recent memory, and this is the finest and most important album to come from Canada’s east coast in a generation.” ~ ArtsEast
“Soulful, smart, spirited, sexy, and sassy…bold and beautiful, Femoir is a masterful and meaningful work of melodic art and Myatt is a musical tour-de-force.” ~ Celtic Life International
“Beautifully produced. Karen has a great vocal. A jazz influence with hints of Kate Bush! Highlight tracks – Another Country, Dancing Barefoot, Femoir, and Jezebel. Sister Moon is also fab!” ~ James Zada, Welsh Producer
“Wow! This is stunning!! Love it! It has everything from moody Celtic soundtrack to smoky jazz feels. I even hear some David Gilmour-esque guitar in there too. Wonderful vocals!” ~ Steve Gibbs, Guitarist
“Wow! What a great achievement! Karen’s voice is strong, clear, and full of color and passion! The arrangements are terrific! The singing, the harmonies, instrumentals…Great! Great! Great! ~ Janice Jackson, Vocalist
In many ways, Femoir was inspired by the rich history of influential women. Here are my top ten “Femoir Fatales” – all informed the writing and recording of my new album. Click on each name to learn more.
Hedy Lamarr
Vandana Shiva
Mary Morello
Ruth Bader Ginsburg
Rosa Parks
Maya Angelou
Patti Smith
Simone de Beauvoir
Angela Davis
Marianne Williamson
I have had the good fortune to have enjoyed many incredible music documentaries over the years. Here are a few that inspired the writing, recording, and presenting of Femoir. Click on the titles for more info.
Amazing Grace
20 Feet From Stardom
It Might Get Loud
Stewart Copeland’s Adventures in Music
Summer of Soul
Sonic Highways
What Happened, Miss Simone?
The Punk Singer
From Cradle to Stage
Rush: Beyond the Lighted Stage
They are the voices behind the voice on stage this Friday night for Karen’s ‘Femoir’ release concert, but both Becca Guilderson and Dominique Leblanc are musical powerhouses in their own right.
What is your own background?
BG: I was always interested in singing and performing. I left high school to attend Mount Allison University for vocal studies, before coming to Halifax where I participated in the first year of Neptune Theatre’s Music Theatre Performance Program. I have been based in Halifax for the past 11 years as a singer/actor/musician and have been fortunate to work with many local companies, including Neptune Theatre, Shakespeare by The Sea, and The Chester Playhouse. I also spent many years working at the Grafton Street Dinner Theatre as both a performer and as Music Director.
DL: I grew up in a very musical family. My dad plays every instrument under the sun and my mom plays the jukebox. So naturally, I love to pick up instruments and start jamming. Since I travel a lot for work and rarely stay in one place for a long time, wherever there is music it feels like home.
How long have you been singing?
BG: For as long as I can remember! However, I started studying and contemplating working in music seriously as a teenager in New Brunswick.
DL: My parents joke that I started singing before I could talk. In fact, I sang so much as a child that they had to make rules for “when and where Dominique was allowed to sing in the house.” As the years passed, I began training and even attended post secondary school for music and theatre. The house rules, however, still exist to this day.
What inspired you to start?
BG: I have always loved telling stories and being able to communicate with an audience through song.
DL: It was definitely ingrained in me from the beginning, but neither the spark nor love ever disappeared. I always knew that I wanted to work in the music and film industry, and so I made sure I worked hard to learn from the best.
Are they the same reasons you continue to sing today?
BG: Yes! It makes for such a unique and beautiful shared experience.
DL: Absolutely. What I love most about this field is that you are constantly learning. Whether it is technique, genres, songs, or meeting new people. Age doesn’t matter – I am always learning from the people around me.
What have been some career highlights?
BG: Pre-COVID-19, I was lucky to work in musical theatre a few times with Neptune Theatre (Cinderella and Peter Pan), and I have also spent lots of time over the past five years working with (singer/songwriter) Ian Sherwood, who is always such a treat to work with!
DL: I have been fortunate to have been involved from a very young age and have worked with some of the industry’s best people in both Canada and the USA. Keeping in touch with those who I have learned from and connected with is so important. I just returned home from performing in Toronto and it was an awesome show with even greater people, so that was pretty fun.
How do you know Karen, and in what capacity have you two worked together previously?
BG: Karen and I first worked together at The Theatre Arts Guild on The 25th Annual Putnam County Spelling Bee and then got to keep the train rolling professionally on a show at The Chester Playhouse called The Marvellous Wonderettes. I am a huge Karen Myatt fan, and it is always a joy to be asked to perform with her in any capacity. Only the best experiences to report!
DL: Karen and I met when I was about 13 years old doing a show at Neptune Theatre where we played sisters. Naturally, we got along super well and ended up working together again when I was older. It is always a joy to work with good people that can make you laugh until you cry, especially during the long hour days. Karen is definitely one of those people.
What are your musical plans for the rest of 2021 and for 2022?
BG: I have started the ball rolling on some on my own solo music projects and there are whispers of theatre in the wings!
DL: Over the pandemic, I have been working on my (travel friendly) home recording studio. I also love writing in my downtime. In the new year, I will be expanding that and recording lots of new music.
Karen Myatt has her grandmother to thank for her love of music.
“I grew up in a musical home, and I have been singing for as long as I can remember,” shares the singer. “My grandmother, Madeline Joudrey – who is now 102 years old – played the piano daily and still plays entirely by ear. I was raised on the music of Gershwin, Porter, Berlin, Ella Fitzgerald, Billie Holiday, Judy Garland, and Rosemary Clooney to name but a few.”
While she remains inspired by her family matriarch, Myatt found other influences after leaving her hometown of Halifax, Nova Scotia.
“I studied music in New York City, discovering the rich culture of jazz, blues, and Broadway. Today I find inspiration in all musical styles and art forms. Music has always been both a physical and spiritual experience for me, so I still sing for the same reasons that I did as a youngster. What changed was my yearning to share ideas that may reach someone in some small but important way.”
Much of that desire evolved out of sheer life experience.
“I have had the great fortune to visit some of the greatest cities in the world and be touched by various cultures. This, along with a passion for novels, films, and music, led to my development both as a person and as an artist. The result has been a deeper connection to the world, its history, and the amazing array of art there is to be consumed and created. Expanding my mind and heart awakened my creative spirit.”
That artistry came to full fruition with her recently released sophomore recording, Femoir.
“It is tough to pinpoint exactly when the idea for the album planted itself in my psyche, but it definitely had something to do with a cappuccino and a cannoli at a café in Rome. That afternoon, it occurred to me that many of my favorite countries, characters, and cultures share a common theme; the preservation and promotion of beauty, sensuality, intuition, and creativity – all eternally feminine traits.”
A musical melange of original compositions and contemporary standards, the 14 songs on Femoir explore the transcendent feminine spirit through a fusion of soul, rock, jazz, and worldbeat.
“Without sounding too abstract or ethereal, everyone and everything has this divine connection. It is a story that has been told throughout history and will continue to be told into the future – women, female archetypes and figures, but also the presence of the feminine spirit in all people, places, and things. The theme of a universal, infinite narrative is present throughout the album, however there is another motif of mystery, a sort of unseen, unspoken spirit. It is incredible how this little idea sort of whipped itself into being – the seed was planted, though it was the many voices and souls that came together that really allowed it to grow and become a living, breathing expression.”
Some of Canada’s most renowned musicians appear on the new album, including Chris Mitchell (saxophone), Matt Myer (trumpet), Lisa MacDougall (keyboards), J. Rimbaudelaire (guitars), Adam Fine (bass), Geoff Arsenault (drums), Shimon Walt (cello) and Jennifer Jones (violin).
“The recording process allowed me to discover a new voice, and being surrounded by world-class musicians and technicians made the experience all the more inspiring. It was magical. The time and the team were just right, and it all fell into place. A “let go and let God” sort of experience. There were moments where I would say, “there – what is that whirring? That hum? Who’s playing that – it’s so cool!” But there would be no related track, no decipherable instrument, and so it was chalked up to the frequency that was created when sounds blend and a new sound emerges – the ghost in the machine – and it whisps in and out all over the album. I like to think that is the Femoir spirit.”
Myatt believes that most people relate to a song as it rings true in their own lives and memories.
“A really great piece of music can tell many stories through one narrative, so the listener has the freedom to interpret, fill in the blanks, find themselves in the song. Perhaps the most important thing is knowing what not to say – leaving a space between the notes, where the spirit of the song can live – like little secrets that are whispered amongst the words and melodies.”
With the album launched – along with a video for the title track – the coming months will see Myatt and her band touring across North America.
“It is a very exciting time, and I could not be more grateful. This journey has been beyond fulfilling. My grandmother is very proud.”
Designer Diane von Furstenberg once mused that “Style is something each of us already has, all we need to do is find it.” Femoir was as much influenced by fashion as it was by music, literature, and travel. Below are my favourite fashionistas. Click on each to learn more.
Coco Chanel
Donatella Versace
Diane Von Fürstenberg
Mary Quant
Elsa Schiaparelli
Vivienne Westwood
Thierry Mugler
Christian Dior
Giorgio Armani
Alexander McQueen
Heather McGuigan is the founder and director of HopeTotes, a national not-for-profit organization that provides everyday essentials to women in need.
When and why did you start Hope Totes?
I started HopeTotes in 2005 after working a promotional gig at a trade show. I saw a lot of booths giving away/throwing out a ton of beauty products and thought, “Something could be done here to really help people. Something low cost, something with a direct impact and something lots of people could be a part of.”
What are your roles and responsibilities there?
At the moment…everything! Over the years I have had the privilege of working with some incredible people who have elevated and expanded this organization. What I love are these kinds of joint projects – where people take the experience or opportunity they have and use it to help those around them.
What are the challenges involved?
One challenge that I have recently faced is getting our Totes to a few remote communities where they are desperately needed. Trucking routes, available space and scheduling has been tricky. I am still working on it!
What are the rewards?
The reward is knowing that someone, at a critical point in their lives, knows that we care. To provide the basic hygiene items that not only improve self esteem but helps to alleviate a financial burden when money is so tight. The other part is uniting communities to volunteer in simple ways. Sometimes volunteering can be hard to commit to. Where do I start? How much time can I give? A project like HopeTotes is simple, direct and proves that small acts of kindness can change the world.
Who are your clients?
Our clients are typically the residents of women’s shelters across Canada. As women arrive, fleeing abuse and poverty, they receive a Tote with everything they need to feel clean and cared for as they embark on the difficult recovery process.
How can the public get involved?
Information on volunteering can be found on our website. The holiday season is the biggest for giving, and we invite people to make some Totes with their family and friends and donate them to a local shelter. We provide you with a how-to sheet and some of our beautiful, handmade Totes to fill!! Financial donations are also greatly appreciated.
What does the organization have on tap for the rest of 2021, and going into 2022?
My hope for 2022 is to get our wheels churning again! A lot of restrictions were put in place in terms of in-kind donations, so I am excited to begin filling and assisting HopeTote donations across Canada.
While it is true that “the journey is the destination,” I have had the good fortune of visiting some of the most incredible places on the planet. Here is my list of top-ten travel spots (so far!). Click on each to explore!
Rome, Italy
Florence, Italy
Paris, France
London, England
Derry, Northern Ireland
Montréal, QC, Canada
New York City, NY, USA
Charleston, SC, USA
Havana, Cuba
Saint Lawrence Gap, Christ Church, Barbados
Guitarist J. Rimbaudelaire was an integral part of the writing and recording of Femoir.
What are your own roots?
I am originally from Montreal. However, I have lived in Halifax for the past 20 years. I started playing guitar as a teenager, inspired by punk and metal. My tastes and playing have both evolved over time, and these days I listen to everything. I can’t play everything, mind you…lol…but it is fun and exciting to stretch out as a player.
Who are your favourite guitarists?
There are so many that I love and listen to – Jeff Beck, Hendrix, The Edge, Marc Ribot, Prince, St. Vincent, Carlos Santana, Jimmy Page, Tom Morello, Buddy Guy, Frank Zappa, Johnny Ramone, Jack White, Ani DiFranco, Joe Walsh, Keith Richards, Jonny Greenwood, Thurston Moore, J. Mascis, Sister Rosetta Tharpe, Duane Allman, Andy Summers, Joe Perry, John Frusciante, PJ Harvey, Johnny Winter…these may seem all over the place stylistically, but there is a thread that weaves them all together; feel, guts, and soul. If I had to choose one, however, it would be Pete Townshend. No one has ever used the guitar so masterfully to craft and orchestrate music.
What guitars did you use for Femoir?
For the electric stuff I used a ’75 Gibson Les Paul Deluxe for the heavier tones, a ’76 Fender Telecaster for the lighter edges and a 2012 Squier Telecaster for the stuff in between. There is a 2016 Gibson Les Paul Standard on there also, as well as a ’78 Gibson Firebird. The acoustic parts were done with a 2009 Takamine SE – a stunning instrument with rich and robust tones. For amps I varied between a Fender Blues Deluxe and a Marshall Class 5 – both are tube-driven and bring extra warmth to the album. For effects, I kept it simple with only a Boss Blues Driver and an old, beaten-up EH Memory Man.
What other guitars are you playing these days?
My main guitar is a 1996 Honeyburst Gibson Les Paul Standard. I also have a newer PRS SE Hollowbody, an older Ibanez Artcore Hollowbody, and an older Epiphone Sheraton II.
How essential was the guitar to the writing and recording of Femoir?
It was important in terms of the structure and architecture of the songs. I think it was Bruce Springsteen who said that if a tune can stand on its own with just a voice and a single instrument then it will stand the test of time. So, the original songs on Femoir were crafted on an acoustic guitar and then ornamented with the other instruments, like flesh over a skeleton or leaves upon a tree. Really, a lot of what I ended up doing was about getting out-of-the-way – allowing the songs to breathe on their own. That is something that I learned over time – when not to play. As Miles said, “music is the space between the notes.”
What was the process like for you?
Along with being incredibly professional, Karen is very personable and made all of us feel welcome and a part of the project. She knew what she wanted but gave us the space to do our own thing. Because of that, each of us was able to bring a unique voice to the recording. It was a real honour to play with Chris, Matt, Adam, Lisa and Geoff – they are incredible musicians and amazing people. Make no mistake, however, it was Karen’s vision that brought the whole thing to life – Femoir is her baby.
Do you have any advice for younger guitarists?
Play. Play for joy and for yourself. The only guitarist you must be better than is the guitarist you were yesterday. And listen – not just to other guitar players but also other great musicians. A real turning point for me as a player was reading Zen Guitar by Philip Toshio Sudo, which is a must-read for any musician. The revelation was that I didn’t have to be the best or flashiest player out there, or sound like anyone else – I only had to be myself and be true to my own voice.
Most people relate to a song because the story or narrative sticks with them – it rings true in their own lives or memories. A great song can tell many stories through one narrative, so the listener has the freedom to interpret, fill in the blanks, find themselves in the song. The most important part is knowing what NOT to say – the space between the notes is where the spirit of the song will live. Not just the lyrics, but the musical story is also important here. My favorite songs have melodic phrases or specific solo instruments that share their own voice in the story, like little secrets being whispered between the words. Here are my top ten favourite songs – click on each to listen.
The Rain Song ~ Led Zeppelin
Us & Them ~ Pink Floyd
Mercy Mercy Me ~ Marvin Gaye
Moonlight Motel ~ Bruce Springsteen
Love Is Blindness ~ U2
God Only Knows ~ The Beach Boys
Lilac Wine ~ Jeff Buckley (by James Shelton)
Ghost on the Canvas ~ Glen Campbell (by Paul Westerberg)
De cara a la Pared ~ Lhasa de Sela
The Garden ~ Rush
It takes skill and an experienced ear to bring all the sonic elements together into a cohesive recording. Audio technician Christian St. Germain brought Femoir to another level.
When and why did you first get involved with music?
I did not grow up in a very musical family, so it is hard to pinpoint where the love of music originates from. I do remember, though, when I realized the power it has and when I really got hooked. Back in the mid 70s I used to get to school by bus and of course, back then, the older and cooler kids got to sit at the back of the bus. One day, I boarded the bus with my ping-pong paddle on which I had drawn the logo of the band Yes. The moment the cool kids from the back of the bus noticed I immediately became cool as well and was allowed to hang out with them! In my teenage brain music now equalled being accepted and part of the gang! I then heavily got into listening, discovering, talking about and sharing all the music I could get my hands on. I was also always drawn to the technical side of things. So being an audio technician made a lot of sense to me and that career happened quite naturally.
What are the challenges of the vocation?
The main challenges of this vocation are, of course, the financial instability and the unpredictability of the workload (or lack of it). On the other hand, those challenges can also become the rewards. You never know when a really well-paid gig might come up or when a not-so-busy period turns into an amazing time touring the world…anything can happen! Or nothing! But life has a way to even everything out and, looking back, it all turned out quite well for me.
What have been some career highlights?
If I was to pick one career highlight, I would have to choose a period of time. I was extremely lucky to experience what I think were the last “unreal” years of the music industry before the internet made the selling of a physical support for music obsolete. At the time, I was the full time, “everything audio” guy for French artist Lara Fabian. She had just signed a huge record deal with Sony New York to do an English album and we got to travel and produce it in all the great American studios (Hit Factory in NYC, Larrabee in LA, the Record Plant in LA, Capitol Studios in LA, etc) with top producers (Walter Afanasieff, Pat Leonard, Glen Ballard, etc) the most amazing engineers (Mike Shipley, Mick Guzauski, Ross Hogarth, John Kurlander, etc) and amazing top musicians (Steve Lukather, Mickey Curry, Vinnie Colaiuta, Bruce Gaitsh, etc.). Once the album was released, we got to promote it doing live performances on US television, including The tonight Show with Jay Leno, Good morning America, and The View. Those were my “I can’t believe I got to experience this” years!
How was your experience with the Femoir project?
As a professional audio technician, the “gigs” I enjoy the most are the musical ones. So, when the Femoir project came my way, I was thrilled. I knew from the beginning that this project would be one of high standards. Great songs, great musicians, and a world class singer…what more could I ask for?
What stood out to you?
What stood out with this project – besides the quality of the song writing (which is the most important element) – was the sense of cohesiveness and purpose behind this collection of songs. The whole process was well thought out and it leaves the listener feeling that he or she is being taken on a musical journey with meaning. We now live in a fast-paced world and today’s popular music reflects that as well. But, thankfully, not everything has to be that way. Femoir is proof that the “concept” album – listened to and enjoyed as a whole – is a worthwhile and inspiring experience for both creators and consumers alike. I know Femoir will find its way through the sea of noise…because anything made with love and passion can only be met by love and passion.
Femoir was inspired by an array of arts ~ music, theatre, dance, literature, fashion, painting, photography, and more. Certainly, cinema informed the writing and recording process. Here are my top-ten films of all time. Some are obvious choices, while others might come as a surprise. See for yourself ~ click on each title to watch the trailer.
Goodfellas
West Side Story
Cinema Paradiso
The Lives of Others
La Dolce Vita
Manhattan
Rear Window
Roman Holiday
Betty Blue (37.2 le Matin)
Down By Law
One of the finest musicians in Atlantic Canada, Halifax bassist Adam Fine lent his grit and grooves to the recording of Femoir.
What are your own roots?
I’m Jewish with my family roots in Toronto and Yarmouth NS, and with ancestors in various places all over Central and Eastern Europe. I grew up in Toronto, and I’ve been in Halifax for 21 years now.
When and why did you start playing music?
I played piano and French horn as a child and was terrible at both. Based on very little knowledge, I decided I wanted to learn electric bass at age 15, and it swept over me like wildfire. I played in all the school bands, skipped non-music classes to I could play more, and just hung out in the band room every second I could.
Are they the same reasons you do it today?
Not at all. Through public performances, playing music was a thing that provided access to ‘cool’. Now it’s more like a daily meditation and a thing to do with friends. Even more so with Covid making performances rare and extra special, I feel like the practice IS the goal.
How have you evolved as an artist over that time?
Well, my listening habits have certainly changed: Prog rock --> Pure-laine jazz snob --> open-minded world-music dilletante --> smooth Jazz and Yacht rock. I can get around my instrument pretty well, but I’ve never really been much of a technician. I think playing with other humans has always been my focus, and I think my ability to react and respond to what’s going on has gotten better with age. I hope that continues.
What are the challenges of the vocation?
Other people will give more interesting answers, but they’ll be embellishing. Scheduling and carrying heavy gear are the two greatest challenges to being a professional musician.
What are the rewards?
For sure: good friends and a sense of accomplishment. Actually, my favourite thing about music right now is that it happens so quickly—you get together with some nice people, you make something you essentially get to enjoy immediately (even if it’s in a half-finished state like a record or workshopping material in a rehearsal), and then you all go home! I work as a city planner in my other life, and things take years to come to fruition. Music is so fast and so fun, and you get to enjoy the choices you make right away, and if things go wrong: no big deal!
What have been some career highlights?
Playing all the jazz festivals in Canada with Gypsophilia I think were my highlights, we had such a good time on the road, and audiences were really good across the country. Getting from gig to gig was stressful—lots of late nights combined with early morning flights—but the performances were among my favourite.
How was your experience with the Femoir project?
Karen’s a very talented singer, she’s got a really hot band, and the material is fun to play. What could go wrong with that?! I’m sorry that Covid has slowed the record’s release, but I’m sure it’s going to make a splash. I’m very excited to play with the band again at the Cohn.
What makes a good song?
I don’t have an answer to this really. I think I could find exceptions to just about any rule I make up about songs!
What makes a good live show?
Variety for sure. And at my advanced age, it shouldn’t be too long.
What are your thoughts on the current state of Atlantic Canada’s music scene?
I’ve been so disconnected from the scene lately; I’m going to decline to answer. I’m sure there’s solid music being made, but I don’t know what it is right now.
What’s on your creative agenda for the rest of 2021?
I’m setting the bar low—now that things are opening up, I’d just like to keep adding some regular performances and rehearsals to my schedule. Next year maybe I’ll think a bit bigger!
Books are conveyors of ideas and emotions. Engaging, entertaining and educational, literature of any genre is a vessel of human drama. Call me old-fashioned (and I do acknowledge the importance of eBooks), but I still love the feeling of holding an actual physical work of fiction or non-fiction in my hands. Here are a few works that I have enjoyed over the years and that informed and inspired Femoir. Click on each title for more information.
Skinny Legs and All ~ Tom Robbins
Suite Française ~ Irène Némirovsky
A Moveable Feast ~ Ernest Hemingway
Trinity ~ Leon Uris
The Bell Jar ~ Sylvia Plath
Devotion ~ Patti Smith
The Alchemist ~ Paulo Coehlo
Jane Eyre ~ Charlotte Brontë
Flâneuse ~ Lauren Elkin
The Greatest Miracle in the World ~ Og Mandino
As the man behind the mixing board at Sonic Temple Studio in Halifax, audio engineer Darren van Niekerk brought Femoir’s 14 tracks to life.
When and why did you first get involved with music?
I’ve always been surrounded by it. My Dad is a guitar player and singer with the church choir, and when I was growing up, he owned a record store that shared a space with a musical instrument store. I’d go in to “help out” when I was a kid so I could monkey around on all the keyboards they had in stock. When I was 10 Dad showed me a few chords on the guitar and that became my obsession. Fast forward a few years and I had dropped out of Aerospace Engineering at Ryerson University, returned home and was about to chase my girlfriend from our band out to Nova Scotia where she had applied to MSVU when I decided I needed to find something to do with my life once I got there. I wasn’t confident enough as a guitar player to chase that dream professionally so she asked if I’d ever considered the studio. I applied to Nova Scotia Community College, got my work term at The Sonic Temple, married the girl, and the rest – as they say – is history.
Are they the same reasons you do it today?
I guess so, yes. Music was the only thing I wanted to spend my time on. It was one of the few things that felt natural and comfortable to me, tapped into an energy that I didn’t find anywhere else. It still is; when you lock in with your clients and that energy comes out, it’s an unmatched high.
What are the challenges of the vocation?
I think working with people. I’m a very shy person by nature, but I do enjoy this. You work with so many different personality types, often during the same session. It’s important to be able to connect on some level with everyone around you in that space, keeping everyone’s energy drawn into the creative circle. Also, maintaining your cool, which I think I handle well enough! Particularly when working in a studio built around vintage analogue equipment, things don’t always go as planned or things break down. And this also bridges back to the different personalities, learning how to work with the difficult ones as well, because we all have our quirks! I need to keep the ball rolling and make sure the upsets don’t become upsetting. Life happens, sometimes you just have to make sure to flow through it all so the clients stay comfortable and inspired. And after all that, just being a dad – I have 4 children at home, some with higher needs and work in an industry that demands so much on a personal level in terms of time and energy that it’s hard not to drop a ball now and again with that kind of juggling act.
What are the rewards?
When you’re in a session with a bunch of capable and inspired musicians and creativity starts flowing, time disappears. And it becomes so personal when you share these experiences with the artists – I feel like I leave the studio having created something beautiful with friends. It’s a connection that stays with me and fuels the next projects that come through because the experiences shape you on both a professional and a human level.
What have been some career highlights?
There have been so many; recording drums for Bryan Adams (we still have his toaster!), recording strings for K-Os, working with and learning from respected producers like Don Smith, Tony Doogan, Gavin Brown, Eric Ratz…Tony and Eric – in separate phases of my career for each – ended up feeling like mentors, as I had the opportunity to work on several albums with each. They were great opportunities to steal all their tricks! Their individual styles though both felt in tune with what I wanted to bring out in my own work going forward as an engineer/producer, so I have a great deal of appreciation for the time I got to spend with either of them.
How was your experience with the Femoir project?
Thoroughly enjoyable, inspiring. The musicians chosen for the project were all such amazing players and really wonderful humans to be around in the studio. How easily they all worked together, fed off one another for ideas and inspiration, and how well they locked in to bring it all together on a take honestly makes for some of the most memorable moments in any recording career. I quickly discovered early on that this was my favourite way to record, and this project fit the bill pretty nicely!
What stood out to you?
There seemed to be a great deal of clarity with what Karen intended to do with the album, how she wanted the music to be conveyed emotionally to how the ideas and concepts within the music would be flow into the imagery, the marketing, the promotion…ideas and inspiration were invited, but the intention of the album was always kept forefront. It was a wonderful process to see unfold.
What makes a good song?
Haha! This is so subjective to me. There are songs with beautifully complex arrangements, sonic and harmonic textures and deep multifaceted lyrics that draw me in but go over other listener’s heads…Then, there are songs with no apparent depth, no real complex meaning or structure, but something in them – be it rhythmic, a quick lyrical hook, a barrage of guitars – grabs you, digs in to you and forces you to listen because it “just feels right”. A good song grabs you and transports you in some way, and that’s so personal. I think that’s beautiful.
What are your thoughts on the current state of Canada’s music scene?
I’m not sure I have a formal opinion on it as I’m not sure I’m up to date enough on it all! I mostly see so many of us chomping at the bit to get up and going again, to get out and live again, make a livelihood out of it again…One thing I can say, watching the money dry up, the sales dry up, the shows disappear…it was inspiring watching artists take to their online communities to keep creating something, keep engaging with fans and people in general. It was beautiful to see the will to survive and the desire to create bloom out of something that looked so bleak. That obviously goes beyond our own country to the rest of the world throughout these last 19 months or so, but it was beautiful watching how our maritime artists not only pushed through this particular struggle but also how they helped push others through. To me it drove home a sense of community that binds all of us together. I’m very interested to see what Canada’s music scene becomes on the other side of this.
What’s on your agenda for the rest of 2021?
Balance. Being a father of 4 and largely being the one responsible for the home front, I’ve decided to build out my facility at home to accommodate small recording projects. I’ll still be on deck at the Temple for projects, but this gives me some options post-Covid (whenever the hell THAT happens!) to get back into what I love doing most now that everyone is in school while still being able to be the at-home parent as much as I can for them. Balance.