Ghost Notes is the title of a brand new full-length record by Toronto singer-songwriter Matthew Barber. Produced by Barber himself, it stands as his most mature collection of songs to date. Over the course of the lean, ten-song album Barber presents us with a collage of intimate, first-personal stories about love, hope and fear, while always managing to be evasive enough to keep the listener guessing as to what is really going on.

Recorded in six gray November days at the rustic and secluded Bathouse Studio, the songs on Ghost Notes were cut mainly live-off-the-floor and entirely to analog tape. The result is a sound that tips its hat to many of the records of the 1970’s that Barber adores. While no attempt was made to sound specifically “retro”, it was a conscious decision on the part of Barber and veteran engineer Ken Friesen to avoid computers and the modern “pro-tools sound” as much as possible. In keeping with this approach, the arrangements are deliberately sparse and purely supportive of Barber’s vocals which, prominently mixed, carry the tunes and tell the stories. What emerges is a rich, natural-sounding record with classic touches that serve to embellish an honest core of songs that transcend eras.

Singing his vocals live-off-the-floor, Barber kept his own parts simple by playing acoustic guitar on every track but two, on which he plays piano. The sparkling rhythm section consists of Kieran Adams (drums), who has played in Barber’s live band for over two years, and Paul Mathew (bass), who also plays with Barber in the Toronto band Live Country Music as well as handling the bass duties in indie-faves The Hidden Cameras. Hamilton keyboard-wizard Jesse O’Brien adds a delicate touch on the fancier piano and organ parts, and Toronto scene-veteran Dean Drouillard expertly handles the lead guitar. A handful of other guest musicians appear throughout the record, most notably Matthew’s sister and acclaimed singer-songwriter Jill Barber who lends her beautiful voice to two tracks.

All in all, Ghost Notes is more of a traditional singer-songwriter record that Barber’s two most recent releases – 2005’s Sweet Nothing and the 2004 e.p. The Story Of Your Life (both on Warner) – which leaned more towards the rock and power-pop end of the spectrum. In this sense it is somewhat of a return to the essence of his acclaimed debut – 2003’s Means and Ends (Paper Bag) – but with more thoughtful songwriting and more subtle production. This record also marks Barber’s return to the increasingly exciting world of Canadian indie music after a two-record romance with Warner. Ghost Notes was released in Canada on the much-respected Outside Music label on March 4, 2008.