CONCERT REVIEW: FAOUZIA W/ CARMEN DELEON AND GEORGEE AT RIO THEATRE - NOVEMBER 17TH, 2022
Faouzia took to the Rio Theatre to end off her “CITIZENS” tour. The Moroccan-Canadian pop star’s sold-out performance was mesmerizing and magnetic. A culmination of catchy lyrics, powerhouse vocals and Arabic stylings. Faouzia has honed her talent and released an album where each song is worth savouring–and belting out loud.
georgee, the first opening act, brought smooth R&B and funk. He had a chill and humorous demeanor, cracking self-deprecating jokes with the audience before moving into sensual vocal runs. From the lofi-esque “split” to the ironically energizing “sad” and bouncy “baby4u,” georgee’s passionate vocals and playful lyrics instantly drew listeners in: “I’m a baby for you / When you leave me I get nervous / I stay up waiting for you / And I think that I deserve it.”
Next up was Carmen DeLeon, who brought joyous energy and a mighty stage presence. DeLeon, who sang mostly in Spanish, had a soft but fierce voice, always maintaining a Latin elegance. She moved seamlessly from the electro sway of “Mariposas” to the determined “Mala Memoria” and darker, post-breakup anthem “BBB.” DeLeon cultivated an infectious atmosphere, quickly getting everyone out of their seats to dance. She pulled her father, who was also on stage, into a tango and spontaneously ran into the crowd to dance–much to their collective delight.
Faouzia started her set with “Puppet,” a bold celebration of independence: “Little did you know / I’m my own Geppetto / And now you get to watch me go, go, go.” Her strong and angelic vibrato echoed throughout the chorus. Beautiful reassurance followed with “Thick and Thin.” Faouzia had incredible control over her voice and navigated complex vocal runs with ease. A fan favourite, “Born Without a Heart” was also performed. The crowd sung along to lyrics that celebrated boundaries reset.
Faouzia wore a purple shimmering outfit that matched her dreamy persona and was accompanied by a keyboardist, guitarist, and drummer. She moved fluidly on the stage. At one point, she took an audience member's phone and recorded herself singing on it. Faouzia’s newest single, “HABIBI (MY LOVE),” was sung. Its romantic and opulent nature put the audience in a trance.
Her signature Arabic trills shined in the gentle “SoLie” and the fearless “RIP, Love.” Of course, Faouzia performed “Minefields,” a tragic and passionate tune. Lyrics described the strain of forbidden and scarred love: “Now this might be a mistake / We’re broken in so many ways / But I piece us back / together slowly.” One of the last songs of the night was “Tears of Gold,” another classic to mend a broken heart. Faouzia’s fiery vocals complemented clever wordplay: “Don’t you know that I cried tears of gold for you? / I sit here poor for you / Collect my pennies and my dimes / That’s why you love it when I cry.”
Faouzia’s show was a pleasure to experience. Vibrant and interesting opening artists and a captivating main performance. Faouzia has built herself a stellar discography that was elevated on the stage. And while she has racked up millions of streams on Spotify and Youtube, she still remains a relatively underrated talent. Faouzia has flourished on her “CITIZENS” tour and will certainly continue to do so.
CONCERT REVIEW: PURITY RING W/ EKKSTACY AT HOLLYWOOD THEATRE - JUNE 5TH, 2022
Red velvet fabric adorned the walls of the Hollywood Theatre, a venue tucked away on a trendy Kitsilano street. Icy blue neon lit up the wall behind the bar, and strips of golden lighting guided concertgoers down towards the stage. The atmosphere was intimate, comfortable, and visually appetizing.
It felt like a perfect fit for the beautiful and elaborate musical stylings of Purity Ring – an electro-pop duo comprised of vocalist Megan James and producer/multi-instrumentalist Corin Roddick, hailing from Edmonton, Alberta.
Purity Ring holds a special place in my heart. When the COVID-19 pandemic first hit, the group released Womb, an album that granted me peace of mind amidst the chaos. From cover art to lyrics, beats and melodies, everything is so ethereal and gorgeously synced together.
The show kicked off with opening act EKKSTACY, who delivered passionate and captivating indie punk-rock. Joined by piercing electric guitar and intense drums, EKKSTACY’s setlist included the dimly upbeat “it only gets worse, i promise,” the dominating and dark “I GAVE YOU EVERYTHING,” and the intensely disinterested “f*ck everything!”
EKKSTACY moved with devotion and purpose, often clinging onto the mic stand like his life depended on it. His vocal tone was magnetic, strong, and crisp, while still maintaining a textured indie flair. Red stage lighting painted a bold contrast with the band’s all-black attire.
“I’m actually from here,” said EKKSTACY, a little bit shyly. “I was born in Surrey.”
“You escaped!” yelled someone from the crowd. It was clear that EKKSTACY’s hometown had been sleeping on massive talent.
Purity Ring began their setlist with “pink lightning,” a song swirling in dainty electric sparkles and waves of deep bass. James entered the stage wearing a large, hooded jacket and Roddick produced behind on what looked like a chunky organ.
“Warm water rises / It still feels like I can’t stop crying / Hold me inside it / It still feels like a storm not dying.”
Next up was “soshy,” a track off the duo’s newly released album graves. Cute industrial sounds accompanied James’ elegantly processed vocals. Green abstract projections danced in the background, as golden spurts of lighting lit up Roddick’s instrument. The sound quality was exquisite.
Purity Ring played through a mix of songs from different albums, including the snappy and heavy “Obedear,” along with the slower and cinematic “i like the devil.” They also played “push pull,” “repetition,” and “Lofticries.” Each song was an enchantment that put the crowd in a trance.
“Green, green thunder / And the loud, loud rain / Lead our woes asunder / ‘Neath the proud, proud veins”
James danced lightly and gracefully, almost skating all over the stage. Her hair cascaded in the wind as colourful lighting assortments rotated, and firefly-like projections flickered in the dark. A wardrobe change during the concert had James standing on a tall chair in an extremely long dress, creating a sharp silhouette.
The musicians wore masks the entire performance and thanked those who wore them at the event, advocating for keeping each other safe.
Purity Ring’s last songs included the otherworldly pop number “bodyache,” the light-hearted “Fineshrine,” and the strikingly inspirational “graves.” Coming full circle, Purity Ring ended their performance off with “begin again.” Heavy dramatic bass contrasted with James’ gentle vocals, as the crowd joined in on the chorus.
“You’ll be the moon / I’ll be the earth / And when we burst / Start over, oh darling / Begin again”
Purity Ring’s concert was a sight for sweet eyes. It was a marvelous, magical spectacle that nurtured ears, eyes, and soul.
Written by: Jenna Keeble
Photographed by: Moe Yang
1. Life of the Cursed (Intro)
2. Have a Good Time
3. Paradise
4. The Calisthenic Dirge
5. Babylon
6. Here I Am
7. Little Bit of Blood
8. I’ve Earned Everything I’ve Got
9. Wage Slave Hymnal
10. Bottle Street
11. Keep On Walking
12. Life of the Cursed (Outro)
13. End of the World
Walker & Wylde bridge soulful, feel-good folk-punk with dark realities in new album, Secondhand Existential Crisis. A working-class mantra of an age marked by violence, anxiety, and radical optimism. Warm, comforting lyrics resonate with collective concerns. Dynamic melodies make it a nuanced listen that will leave you feeling energized and understood.
The album carries an endearing, grassroots sound, drawing comparisons to AJJ and Violent Femmes. The Montreal-based band wrote the album on a west-to-east coast journey to find the “answer to life.”
“My feet caught the walking need when I was but a twig / So I take only what I need and I need nothing big / Except for the keys to everything, the answers to our life”
Blue Jay Walker and Ixc Wylde deliver catchy and charismatic vocal melodies in “Paradise.” Joyful stomping drums support lightly layered strums. A playful and lively beat jumps and jigs while lyrics describe the bliss and blues in the pursuit of happiness.
“Babylon” shifts into reluctant power. Walker and Wylde’s voices remain strong and clear, pleading for climate justice: “The weeping willow trees have been cut down by disease / To build a thousand towers where they fell / The river’s on its knees / Begging mercy, please.” Rich backup vocals from Sky Coombs strengthen the somber and spirited message.
“Build your towers tall / Never will Babylon fall”
Wylde’s harmonica melodies shine beautifully in the slow burner, “Here I Am.” Strings rise and fall in delicate and dynamic waves. Tender tavern music – with a smart lyrical edge.
“Here I stand, old and bitter / My wicked fingers ache and creak to pull the old strings taught / How could I beat a higher bidder / I gave to you my best years and you told me they were naught”
“Little Bit of Blood” strikes with funky bass, bouncing drums, and snapping strums. Fun, boisterous con man vocals perform stellar satire: “I’ve got everything / I just need you to believe / Buy in, eat it up / I’ll fix it all with a smile / And a little bit of blood.” The tune soaks in its villainy, revealing populist power dynamics with wicked appeal.
This message is further reaffirmed by the “I’ve Earned Everything I’ve Got” interlude featuring a soundbite of Richard Nixon.
A stand-out track from the album, “Bottle Street,” follows the plight of the unhoused: “What do you mean that it ain’t our home / Take our tents, our tarps, our hope / Make up signs so the tourists know.” Injustice interweaves with Arya Nasr’s vibrant saxophone. Walker and Wyldes’ vocals deepen with determination.
“A beacon shining hope for more than / A brief respite, just a moment / We all wondered could it last then / I saw by-law roll through heaven”
Secondhand Existential Crisis is an ambitious and exciting adventure. Walker & Wylde pair potent societal commentary with heartfelt, energized folk-punk. Persistence, honesty, and vulnerability pay off for diamonds exploited in the rough.
Sculpt yourself from the past and go beyond death with Metamortality, the latest album from The Evan Williams Project.
Told in a sequence with immersive interludes, the collection of songs tells the story of a person who undergoes self-hypnosis to release themself from painful, intrusive memories. It’s hard rock chiseled into sharp curves, and this time, clearly influenced by religion.
The mind behind the music, Scott McGowan, works as an audio broadcast technician for his church. It’s compelling to hear how he brings his faith into the lyrics and melodies of the tracks. The album cover depicting crying stone angels is gorgeous.
The Evan Williams Project has improved sound quality and production with Metamortality, compared to previous album HATEMACHINE (check out our review of the latter here). This makes sense since the project started as a way to create backing tracks for live performances from previous songs.
Title track “Metamortality” aggressively demands answers to escape a cage of emotions. The drums and guitars are heavy, galloping along charismatic vocals reminiscent of a preacher. Layered background vocals add determination and desperation – softening white hot rage.
“Anabasis” throws you into the deep end. It’s dreary but hopeful. Slow plucks of guitar accompany piano, as lyrics lament about a metaphorical self-death that leads the way for a transformative rebirth.
“The pain turns to ache, and the next thing you realize / The wound isn’t healing, you’ve been desensitized.”
The next songs – “Tear Down,” “Hatemachine,” “Blood for Blood” and “Crush Depth” – are all remakes of songs from his previous album HATEMACHINE. “Baptism” and “Neophyte” are also remakes, coming from Take Two, the first full demo The Evan Williams Project created.
McGowan is a firm believer in failing miserably to learn how to succeed and has more plans to remake songs to improve them.
A 32-voice choir and full orchestra congregate in “Mindbreak,” the last track on the album. It’s an epic, cinematic finale as the protagonist decides how to deal with the thoughts that torture them. Starting off slow in pace, the song builds up mystery and suspense.
“May be time to let go / What the hell do I know? / I came from Zero.”
The callback vocals are crystal clear and remind me of sea shanties. This is my favourite song off the album; it’s catchy and strangely uplifting.
Metamortality is about molding your memories to self-actualize. It encourages listeners to dig into darker aspects of their psyche and create motivation from within. Inspiration is around us all the time, even in the darkest of moments, and McGowan argues the secret to closure is nestled in there as well.
To live is to learn.
I’m excited to hear what The Evan Williams Project learns next.
1. Ferns
2. Stars and Shells
3. Salome
4. Slumbering Man
5. The Inferno
6. Darkness Fell
7. The Vagrant
Shadowfax’s Orpheus is whimsical folklore. Shaped by ancient metaphors and calming melodies, the album burrows and nestles its way into your heart. It holds your hand as you wander through a forest at the mercy of the elements.
Vancouver-based Shadowfax has a fresh, crisp sound, existing in the same vein as alternative folk bands like Lord Huron and Of Monsters and Men. At the same time, the band doesn’t shy away from non-traditional instruments including pedal steel, banjo, trumpet, and theremin. These instruments help differentiate Shadowfax’s sound which, at times, ventures into jazz and country territory.
The first song of the album, “Ferns,” comforts listeners with sweet, warm fiddle and rich imagery: “Lay me down in the shady grove where the nesting starlings go / I'll make no sound, but I'll take ample care that the wild ferns may grow.” Jeremy Fornier-Hanlon’s delicate indie vocals contrast with country flares. Slow, melancholic tones emerge in “Stars and Shells.” Cascading prose adds drama, while harmonious singing folds listeners into a gentle embrace. Natural lyrics paint a lush landscape: “As the wind kissed the air and the sun / And I landed on clouds and I started to run / And the rain and the trees all combined into one.”
“Salome” binds a spell with dazzling trumpet, keyboard, and electric guitar. Cheeky microphone vocals recount a seductress’ visit to town: “Well she danced into our town just like a storm in late July / She had some heat, was oh so sweet / You know she caught a couple eyes.” Spunky percussion feeds a festive but tense energy, reminiscent of Hozier’s “Dinner & Diatribes.” Deep, sorrowful strings accompany rustic layers in “Slumbering Man.” The song stiches an impressive orchestral patchwork with blocks of despair and beauty. Words mark the passage of generations: “While the breeze blew softly you slept through the years / And young hearts went bankrupt from borrowing tears / And the lake dried to nothing, where life had once sprung / The old were once young.”
“The Inferno” cries for the climate: “Fragile life so fleeting, forestry receding / We lit the match, now watch it all turn black / Ancient trees are falling, industry is calling.” Its meaningful message secured with plucky acoustic and edgier electric guitar. Musical notes soar and wrestle with morality. Peaceful and soothing sounds blossom in “Darkness Fell,” a track dealing with rage, aggression, and the perpetration of harm: “With raging darkness in your hand and careless evil in your heart / You cut a swathe from town to town and tore young families apart.” This duality shifts into a softer place near the end, confronting inner wounds with caressive drums and melodies full of twang. The collection ends with “The Vagrant,” a bittersweet send-off. Steady sunset strings pluck away to reflective lyrics: “Well I'm a road-weary wanderer and I'm out for to roam / And it may not seem much but this road is my home.”
Cinematic, creative, and everlasting on the ears, Orpheus by Shawdowfax is an album worthy of adoration. Cohesive, clear, and skilled instrumentals immediately command respect. The songwriting is a feast for the mind, nurturing stunning scenery and emphasizing shared, interconnected relationships.
Immolation – Britt A.M.
Release Date: March 24th, 2023
Track Listing:
1. Bless the Moon
2. Ode to Grey
3. Reconstruction
4. Suffer the Bruise
5. Friends in the DM’s
Like all great punk, Britt A.M.’s Immolation is lyrically fierce. But its star power comes from its organic embrace with the natural world and memorable reflections on personal growth, climate change and social media. The album is an enriching brew of acoustic strings, electric melodies and soothing punk vocals. Recorded live off the floor at Pulp City Music in Prince George, BC on Lheidli T'enneh territory, Britt A.M. brings listeners a much-needed taste of the northern music scene.
“Bless the Moon” speaks to the witchy and wise. Slow, textured guitar sways with soft, rustic vocals. The song is a reinvigorating chant suspended in a cool breeze. Lyrics grapple with the existential: “Often I feel nostalgic for times that are yet to come / Yearning for when I look back and appreciate all I’ve done.” Curious melodies linger in “Ode to Grey.” Light beats softening a depressive narrative about the climate crisis: “Is the grey from the smoke or the rain? I guess we’ll see when I breathe in the breeze.” Britt A.M.’s voice is crystal clear and fleshed out by sharp harmonies.
“Reconstruction” dives into a colder tempo but still maintains an inviting warmth. Unpacking creative blockages and personal evolution, the music traverses a dusty, rugged road: “Then the years pass by and you leave yourself behind / Sloughing rough stuff, while it thickens you up / And if you land with your feet underneath you go collect those bits / And reconstruct yourself.” Vintage guitars are expertly layered in heavy and gentle strands, as subtle and supportive percussion cushion glassy vocals.
“Suffer the Bruise” is the epitome of punk. Beachy synths bridge into a sturdy, grungy chorus. Marinating in emotional anguish and societal pressures, Britt A.M.’s writing washes through like a powerful river: “To be awake without taking the whole world’s pain to make it my own / So that when I’m alone, I distract, and I scroll and I scream at the void / And the stress that comes back leaves me picking my scabs ‘til they bleed.” “Friends in the DM’s” encapsulates the audacity of men. Bouncy, call back electric melodies recount an all-too-common narrative of random online requests and unsolicited judgements. It’s an unexpected and funny surprise. A theatrical vocal performance and release of rage, in which the only option is to “BLOCK BLOCK BLOCK BLOOOOOOCCCCCKKK.”
Socially conscious with masterful song writing, Immolation strikes a resonating chord in our modern environment. Britt A.M.’s enticing vocals flow through like the fresh forest wind. Listeners trudge through despair, but find comfort in the promise of an enduring earth and determined spirit.
CONCERT REVIEW: HOTEL MIRA W/ DUST CWAINE AT HOLLYWOOD THEATRE - JUNE 24, 2023
We are big fans of Hotel Mira here at The Permanent Rain Press. From the Sharkweek EP to Perfectionism, the band’s sound has consistently developed over the years, surviving new members and name changes. A stunning punk-rock essence is maintained, and an emphasis on live performances has cultivated a loyal fan following.
The audience was first treated to a riveting cabaret performance by the established drag icon Shanda Leer. He belted out the beautiful “That’s the Way It Is” by Celine Dion and had the audience laughing about the bisexual lighting in the venue.
Up next was Dust Cwaine, a non-binary singer-songwriter and drag artist. Bringing along the River Children band for support, they put on a humorous, bubbly, and nuanced show. Touching upon important topics such as fatphobia, body positivity, and queer identity, Dust Cwaine quickly created a safe and inclusive atmosphere.
They played through 90’s punk-pop influenced tracks including the spiritual “Hearts in Atlantis,” and the dejected “To Be Okay.” Acoustic notes accompanied sturdy vocals and earnest lyrics: “Tell me what it feels like to be okay / tell me what it feels like to love your body.” Dust Cwaine captured the pain of heartbreak with “Seventeen.” They healed and reclaimed inner peace with steady strings and catchy lyrics: “Am I too old to stop believing in destiny / I wasn’t enough but I gave you the best of me.”
Hotel Mira kicked off their setlist with the intense and electrifying “Everything Once.” A song written about the loss of a friend. Charlie Kerr’s voice showcased its unique animation. The band played through recent releases, including the beachy, on edge “Fever Pitch,” the racing, romantic “Eventually,” and the adrenaline-inducing, metallic “Dancing With the Moonlight.” The latter was partly produced at Bays’ Tugboat PI. facility in New Westminster. Clark Grieve’s guitar hooks are razor sharp, and the song gives off a gritty, ELO-esque vibe. Lyrics of discomfort and self-doubt document the inner struggles of chasing your dreams in the Mecca of entertainment: “I’m thinking of changing my name / A private life that I would trade / For blinding lights and an early grave.”
Perfectionism songs featured heavily on the setlist. “Jungle,” a lively and bold tune, benefitted from Cole George’s dynamic drumming. The audience loudly sung its iconic lyrics: “I can’t wait to lose it ‘cause everyone cool is a head case / My mind got polluted by rock stars and suits and a new wave.” Hotel Mira also played sweet and cheery “The Eyes On You,” the epic and cathartic “This Could Be It For Me,” and the reflective, downcast “Speaking Off The Record.” Mike Noble’s reliable, rich bass reinforced raw words: “15 of my closest friends / Walked me right up to the ledge / ‘Everyone loves you,” they said / So why do they leave me for dead.”
Kerr had a beaming stage presence, alternating between snappy movements and gracefully dancing across the stage. He whipped around the mic, tore off his tank top, held the hand of an audience member, and jumped into the crowd on the floor. His genuine interest in building a rapport with the crowd stood out. Kerr asked the audience who experienced a breakup and got everyone to curse the ex-lover out. F*ck you, James!
Older releases played included the fiery and frantic “Ginger Ale,” voltaic “Circulation,” and urgent and passionate “Southern Comforting.” These fan favourites evoked a storied local history.
Fun, playful and authentic, Hotel Mira’s live concert flew by. Seductive synths and punk-rock unleashed vibrant melodies. Charlie Kerr’s stage persona is wildly entertaining–something not to be missed. The night ended with nurtured bonds and musical satisfaction, as anticipation grows for Hotel Mira’s sophomore album.
Brass – Brass Camel
Release Date: September 9th, 2022
Track Listing:
1. First Contact
2. Dinger’s in the Back
3. I’ve Got the Fox
4. Pressure Cooker
5. King for a Day
6. Last Flight of the Vulcan
7. Easy
8. Shaking in my Boots
9. Only Love
Brass Camel’s LP Brass is an electrifying, retro smoke show. Its invigorating rock, jazz and blues blend gives listeners a scorching spectacular soundscape. Animated melodies and lyrics make the tracks a feast for the mind. The music is expertly mixed, producing a magnetic and cohesive collection that feels equal parts familiar and fresh.
“Dinger’s in the Back” is distinctive and fun. Daniel Sveinson’s classically sharp rock vocals pierce strong electric guitar riffs, as atmospheric lyrics pump up the party: “From the Hindenburg to the Albert Hall / the man won’t stop until he’s rocked them all.” “I’ve Got the Fox” is a funky pedal to the metal. Heavy guitar riffs and glossy synths rev up in a tune perfect for street racing. Curtis Arsenault’s electric bass is marvelously murky and thick, while Wyatt Gilson’s drums strut in a confident stride. Rich imagery is ignited by the lyrics: “Five litre demon cleaner rolling down the block / Burnt rubber one hundred metres shows you what it has got / Feeling like Jackie Stewart when I pull up to the spot.”
Galactic grunge settles in “Pressure Cooker.” Melodies dig in deep, as Sveinson and Arsenault harmonize in a colourful contrast. A heroic story marred by confrontation and retribution: “The fighting out in the streets / Of cities built on lies and deceit / Now we're really feeling the heat / Feels like we're living in a pressure cooker.”
Standout track on the album “King for a Day” is splendid satire; a fascinating musical interpretation of political power. “A legacy of spite and subjugation / Of wretched acts far beyond redemption / Was never in the plan when it all began / But the road to hell is paved with good intention.” Kaleidoscope-like call backs are scattered throughout the song, twisting and turning complex synths and electric guitars. The drums are quick, jumpy and bold. In a similar vein to Marvel’s Guardians of the Galaxy-use of iconic rock ballads, “Last Flight of the Vulcan” is a captivating retro-futuristic Star Trek homage. Sveinson’s electric guitar solo is impressively epic with shards of electric notes quickly building on top of each other. The lyrics transport you into interstellar ambience: “Tireless travels belting through the night and day / Outline of a delta that you can't mistake / Cratered fields reminders of the trails blazed.”
“Easy” is wickedly groovy. “If only it had been easy / Could have been a real bad man / A calculated evil doer / A night-stalking saboteur.” An undercurrent of menacing piano and agile saxophone add elegance to a gothic scene. While the song still maintains the album’s classic synth pizazz and overall electric sound, the darker tones of “Easy” make it a remarkable experience.
If you’re looking for an energetic surge, Brass Camel has you covered. With charismatic vocals, striking guitar, cosmic synths and pounding drums, Brass is a stylish and slick reverence to the rock gods.
