By Andrew Judd, News Correspondent

You probably haven’t heard of Hannah Georgas. I don’t say that to give off the “indier-than-thou” vibe of musical superiority but because she’s a veritable phantom of a musician. Her debut record, This is Good, was released April 27, but it is still nearly impossible to find in the United States. Georgas, a Canadian singer/songwriter, has already garnered high praise from CBC3, a popular Canadian radio station, among other reputable music media outlets. Her song “You’ve Got a Place Called Home” was featured in a WalMart commercial. Starbucks has licensed her single “The Beat Stuff” to play in all North American cafes. So why is it that until recently most people had never heard of Hannah Georgas?

Georgas hasn’t been doing this for all that long. She released her first EP, The Beat Stuff, in 2008. It featured only six songs, but helped get her name out there. Now, with the release of her first full-length album, Georgas faces the difficult task of riding the razor-thin line between retaining her cult following and exploding into mainstream success.

Throughout the album, the focus is on Georgas’ vocals, which are smooth and playful. Like other solo artists, Georgas relies on the use of layering to achieve a full-bodied sound. This is perhaps no more apparent than in the title track “This is Good.” In the song, Georgas sings the tale of two lovestruck partygoers to a chorus of faint “ooh”s underneath. Though this may not be as immediately as likable as selections such as “The Deep End” or “Bang Bang You’re Dead,” it is the type of song that will end up stuck in your head for days on end.

Each of her songs straddles the barrier separating contemplative indie rock from bouncy, vocally-driven pop. This is a quest often attempted but rarely fruitful. Success stories include Regina Spektor, Imogen Heap and Ingrid Michaelson. In fact, after the release of The Beat Stuff, Georgas was already drawing comparisons to popular indie darling Feist. With praise like that, it can be only a matter of time before she starts getting attention.

This is Good may sound like a cocky name for an album, but it may not be strong enough assessment. The album is about as musically accessible as they come. Georgas explores a variety of sounds, moods and tempos. The music ranges from the beat-driven and undeniably catchy “The Deep End” to more brooding, introspective songs such as “Thick Skin.” There’s a lot to like in this album, whether it be bouncing melodies, catchy lyrics or memorable rhythms.

This is one of those rare albums that gets its sound production just right. The guitar and drums all sound crisp and clean, without heavy use of distortion. Also, the album avoids the use of heavy electronics in many modern pop albums. The album was co-produced by musician Ryan Guldemond, and the album’s heavy use of off beat syncopation and heavy beat structure bear resemblance to the style of Guldemond’s band, Mother Mother.

All in all, it would seem that This is Good is a very solid album. It shouldn’t be long before Hannah Georgas starts getting noticed, and when she finally does, only time will tell how she handles it.