check out some reveiws....

http://ottawa.cbc.ca/bandwidth/discofweek.html
http://pre.sympatico.ca/en/music/stories/reviews/alt_indie/reviews_indie_2002040511.jsp
http://www.demodiaries.com/
http://www.swinghammer.com/love-connections-T-Z.html
http://www.chartattack.com/road/reviews/1999/19990612-williamson.html

Tamara appears also on Do Make Say Think's latest record also King Cobb Steelie's May Day and The Rheostatics, Blue Hyisteria. She also is the voice of Microbunny who won the CBC big Break competition in 2002.


Here's Tamara's Bio:
Tamara Williamson

Recently Tamara has has her music released in Europe on Ocean Music (www.ocean-music.com) touring with Feist and Shannon Wright on the French tour "les femmes s'en melent".She also played live on French nation radio on the "black sessions'.

On her fourth solo release, And All Those Racing Horses, Tamara Williamson continues her unique brand of looping, stereoscopic wizardry. Trumpet, cello, violin and mouth organ are woven together with ambient samples such as a surprisingly musical modem, making a listen on headphones (be it ever so cliché to advise somebody to do so) an almost spiritual experience. Though the tracks on the album reveal a palpable pop-sensibility, the chord progressions never quite go where one might expect.
Indeed, Williamson’s music has the unique ability of blending traditional song-writing approaches with textures coaxed from an array of foot-pedals, effectively turning herself into a one-woman choir. Her idiosyncratic technique adds so much depth to her music that audience members frequently look around to see where the rest of the band is. One might say that listening to one of her solo shows is something like listening to folk music on acid.
Horses is permeated with a sense of melancholia, manifesting itself in such songs as “Secura,” which explores the grisly death of John Secura, who, while being embroiled in intrigue with then Ontario Premier Mike Harris, died when his car mysteriously exploded. “The News,” meanwhile, was inspired by Neil Peart’s book Ghost Rider, a poignant travelogue detailing a man’s attempt to come to terms with the deaths of his daughter and wife.
Biography as the constructive principle of her song writing comes to the forefront with “5ive,” a track that looks at the life of Wallace Simpson, the woman for whom King Edward the Fifth gave up his throne. For this song Williamson conducted extensive research in which she hoped to answer why people loved to hate Simpson—the Yoko Ono of the royal family.
Since moving to Toronto from England in the early 90s, Tamara has been a mainstay on the Canadian alternative music scene. She has also worked on several occasions with trip-hop sensations King Cobb Steelie and fronts Toronto’s Microbunny, the atmospheric noise-rockers whose work has been featured on Dutch TV, HBO films, PSI Factor and others. To date, she has been the only voice to ever grace a Do Make Say Think album, And Yet and Yet (2001).
Her first solo album came about after being involved in a string of Toronto outfits. In 1998 Tamara recorded Nightmare on Queen Street on a four-track in her basement. Produced jointly by Kurt Swinghammer, Michael Philip Wojewoda, Ken Myhr and Peter J. Moore, Tamara promoted Nightmare in New York, England and the U.S. West Coast. Drop D Magazine called this freshman effort a future “milestone for Canadian music.”
Whereas her first album was highly autobiographical, on her next two albums, 1999s Unconscious Pilot and In the Arms of Ed (2001) shifted the focus onto the lives and stories of other people. On the latter of these two LPs one finds a tribute to comedian Andy Kaufman, and a track about the life of Sir Oswald Mosley, Britain’s fascist politician of the 30s.
Ed was in fact available feely over the Internet. After a debacle or two with various record companies Williamson grew tired of dealing with label politics. The thought of Ed, an album of which she was extremely proud, not getting the exposure it deserved motivated her to distribute it as widely as possible.

Being a producer herself (Rachel Smith, Barzin), Williamson has a defined recording philosophy that advocates what more mainstream musicians might call underproduction. Rather than do ten takes of a vocal track, she would rather bring a sincerity to the track, often leaving breaks in her voice in order to bring a sense of intimacy to her records. And that ends up being one of the most powerful aspects of her music: every track leaves one with the sense that something profound is being imparted, something of import being asked.