Communion between past and present is found through nature.
The current musical landscape is so incredibly vast that it can be overwhelming at times. Internet, rather than providing a platform for talented unknown artists to reach global audiences, has buried them in a deluge of what is often referred to as “content”. This is why finding a new voice, an artist in the first stages of what is sure to be a long and promising career, can feel like a stroke of luck. This is the case of the Saskatoon-born songwriter Steph Cameron and her latest record, ‘Blood Moon’. John Raham is the co-producer of what is described as Cameron’s first band album, after the release of her previous works, ‘Sad Eyed Lonesome Girl’ (2014) and ‘Daybreak Over Jackson Street’ (2017).
‘Blood Moon’ opens with ‘Rain’, the album’s catchy, upbeat lead single. Despite the eclectic quality of the record, this first track sets the tone for what’s to come by introducing some of its defining characteristics: constant references to the natural world and the mysticism that surrounds it, a powerful folk-rock sound reminiscent of the 60s and 70s, overlayered vocals that create rich textures, and a pop sensibility that results in catchy melodies articulated within solid instrumentals. But this is just a first taste. ‘Blood Moon’ is a thoroughly enjoyable experience from start to finish, one derived from listening to great musicians playing songs that feel timeless.
The songs are written from the perspective of someone attuned to nature’s every detail and how sunshine, wind, water, and birdsong accompany us throughout the day, even if we’re not always inclined to pay attention. In reality, we’re all greatly influenced by this, whether we realise it or not. Cameron offers a welcome reminder. In ‘Blood Moon’ all that nature has to offer is used to set the scene for the human stories that breathe life into each song.
Track 6, ‘Gone’, is another of the album’s highlights, a song of sparse instrumentation but great emotional power. The chord progression anticipates the feelings to come even before the lyrics reveal the track’s themes. And even then, there’s enough space for each listener to colour the words with their own interpretation. ‘Gone’ is a song that asks to be revisited, even if to relive the painful beauty waiting in each note.
Towards the end of ‘Blood Moon’, Cameron strays slightly from nature to broach themes of social importance. In ‘Come to Find’, she touches upon patterns of abuse and their acknowledgement, while ‘Seventeen’ denounces the shooting of a teenager by the police. These are ways of connecting past and present, in which these traumas must be confronted, whether to make peace with the resulting pain, condemn injustices for which there was no reparation, or simply to try to avoid their repetition. Music is the instrument that allows us to directly address these tricky issues and, hopefully, find some healing.
There’s something about Steph Cameron that is impressively effortless. Her music flows as part of the current of tradition without feeling derivative. Every song is imbued with a life of its own, simultaneously familiar and new. If you weren’t aware of the release date, you might wonder what year these songs were written in. Their sense of reverence towards the natural world resonates in a timeless way.
If you have a chance to see her live, don’t miss out on the opportunity to attend the concert of an artist who is sure to leave her mark.
