Album Notes

The Ottawa Sun has called Sarah Hallman “One of the city’s best kept secrets” (Stephen Flood, 06/05) – but it won’t be for long. Not with the release of her self-titled debut album with Busted Flat Records.

Sarah Hallman contains twelve original tracks with Hallman on guitar and piano, framing her stripped down melodies charged with vulnerability, passion -- and nuance. Hallman’s vocals conjure up quick comparisons to Aimee Mann or an arty Kathleen Edwards, but there is no mimicry or pastiche here, but a truly original contribution to the altrock/altpop scene from a voice that is good enough for such steep comparisons.

An early review in Ottawa Xpress says of Sarah Hallman that it is, “an album of immediately memorable beauty that comes as an early Christmas present for all those with ears to hear, and hearts to feel... Exhibiting a stunning level of musical confidence, the album's lyrics cover the gamut of human emotions in a way that is both refreshing and deeply affecting.”

The album also contains a who’s who of indie musical success stories. It was recorded with Dave Draves (Kathleen Edwards/Wooden Stars/Gentleman Reg) at Little Bullhorn studios, and features Arcade Fire’s Jeremy Gara (drums) and Wooden Stars’ Mike Feurstack (lapsteel), Clark’s John Tielli (backvoice), Adam Fogo (bass) and Brian Simms (lead guitar), along with well-known singer-song writer Shannon Lyon (Busted Flat).

You may already know Sarah Hallman from her guest vocals on the Hilotrons track, ‘Oh My’, and her magnetic appearance in the recently released video for the same song, available on youtube: . Hallman has also previously made available a limited self-released CD of some of her early songs, entitled, The Hollowings (2001).

Tracks on Sarah Hallman include the catchy and upbeat ‘Snowballin,’ as well as the more mellow ‘Longshot’ and the somewhat melancholic ‘Show’ or ‘Sadness,’ but on the whole there is a careful balance between nostalgia and hope as she sings through themes of love, devotion, obsession and self discovery. As the Ottawa Citizen says, “Sarah Hallman oozes nostalgia, coming across like an old scratchy record, wonderfully sad-eyed and oh-so emotive...[with] sweetly introspective, darkly funny songs” (Fatima Sayani).

But there’s no wallowing self-reflection here, but a mature overture to lived experiences of loving. As Wavelength Magazine has said of Hallman, “File next to: A tapestry woven in threads of sadness, clarity, insight, retrospect and beauty.”