"Tasquin brings in contemporary composition to balance the nostalgic aspect of her music."
- Jen Dan, Indie Music Review
"...a creative tour de force."
- Tony DuShane, Bandwidth, SF Gate
"Future Telephone is a message the world could do with hearing."
- For The Rabbits
"Tasquin is definitely one to watch on the indie pop scene... For interestingly arranged, high quality vocal tracks, it really doesn’t get much better.."
- Lalya Marino, Ellenwood EP
"Getting into music by Madeline Tasquin, there’s definitely a lot of beautiful work to slowly dive into."
Accompanying herself on piano, guitar or ukulele, often with an excellent band behind her, BC-born singer-songwriter-performer Madeline Tasquin delivers her intricately-crafted music with a radiant stage persona, with spontaneity, humour and vulnerability in all the right moments, guided by a voice that doesn’t seem it could possibly emerge from her small frame.
She was raised by the creeks, rivers and lakes of the Cariboo-Chilcotin region of BC in a home where there was always a song being sung from the kitchen, or a Joni Mitchell record being played at full volume, or tipsy party singalongs at the piano, her two younger sisters holding the melody while she practiced harmonizing. After abandoning a successful career as a soprano performer in London, Madeline’s mother (née Patricia Schreiber) toured across Canada with her then-project Sarabande, toting baby Madeline along with her. Madeline’s father, though not naturally musical, is a performer and storyteller around the clock. Werner Streicek found his way from a poor upbringing in post-war Austria to the BC gold fields after traveling the world as cargo ship-hand (and learning how to talk his way out of trouble along the way). It’s no wonder that, after a 6-year detour to Sydney where she completed a degree in architecture, Madeline was drawn back towards music and the stage.
Madeline’s sound is distinctly her own; each song having its own life, and the story that gave birth to it. Whether it be a Joni Mitchellesque jazz-folk song on piano about losing the log cabin home her Dad built to the bank at age 5, or a playful prog-pop tune “written at the best picnic ever,” or bilingual waltz on ukulele about a dangerous brush with a wind god, its all woven together with a nimble and powerful voice, her gentle harmonic and rhythmic twists and turns, and a palpable presence with her audience.