#Alexa Tarrayo

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MEKEL: HOW TO FORGIVE (AND LET GO)

How to Forgive (and Let Go) – mekel Release Date: February 3rd, 2023

Track Listing:

1. TEETH 2. Not Good Enough for the Truth 3. SICKWISHES 4. HOUSEPARTY 5. Would-Be Memories 6. DROOLING 7. Fragile Fragility 8. How to Forgive (and Let Go)

How to Forgive (and Let Go) is self-described by singer-songwriter mekel. The Edmonton-raised, now Montreal-based artist debuts her first album with an impactful punch, laced with traces of pop, girl-punk, and r&b. mekel is exceptionally talented at capturing the story of love and the loss of it; bitterness, truth and acceptance are all themes explored in this album with a rawness and dramatism that feel authentic. It is perfect for when you’re mourning your shitty ex, and all of the emotions that come with being in and out of love.

Right away I’ll call out my favourite part of the album: the lyrics. mekel reads poetic by nature. Her lyrics are entrancing, with a mixture of metaphor and storytelling contrasting very simple and blunt lyrics. For example, in the opening song “Teeth” mekel sings, 

"Is it my teeth or the way that I speak that makes you question “why?”

Wasn’t I skinny enough to fit into the void that was in your heart?”

The style reminds me of early Paramore and Avril Lavigne — women that knew how to sing about how love (and breaking up) are ultimately nothing in the journey of self-worth and emotional expression. Paired with her dreamy synth-pop production and guitar, mekel should be listened to alongside new faces like Olivia Rodrigo and Willow.

I think mekel’s artistic vision for the album shines through in her darker songs. “SICKWISHES,” “HOUSEPARTY” and “DROOLING” all feature the constant thrum of a deep guitar, snare, or drums and bass juxtaposed with mekel’s haunting, airy vocals. These vocals are treated with reverb or autotune to give the songs a chilling quality to it, amplifying the feelings of betrayal and rage. It provides the album with the right energy emphasizing that How to Forgive (and Let Go) is “not a linear process” (mekel, 2023). Nobody wakes up after hardship and gets better everyday. We slip up, get angry, and sometimes find ourselves in the same place we started. mekel is here to remind us that it’s okay, and there’s feminine strength in that.

Speaking of the album’s narrative, I feel it does a good job of guiding the listener through this non-linear process in a way that is not jumbled. It still feels very cohesive, and it is songs like “Fragile Fragility” – my favourite on the entire album – that remind us of the pain and remorse that come with heartbreak. “Fragile Fragility” also highlights mekel’s production in a way that the other songs do not. It features mekel’s lullaby-esque vocals layered on top of each other accompanied by a haunting, minimal piano progression. It is different from the rest of the songs and makes for a striking track.

Each track searches for something that is either explicit — when can you leave that awful houseparty? — or something that the listener can uncover and find for themselves. The ending track, “How to Forgive (and Let Go),” is different for a reason. Not donning most of the pop inspiration the rest of the album has, this track is quiet and focused on the soft strumming of a single guitar and mekel’s vocals. mekel describes this track as “finding the answer” and I think it is a beautiful way to conclude an album about processing, expression, and healing.

Written by: Alexa Tarrayo

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CONCERT REVIEW: MAGDALENA BAY AT FORTUNE SOUND CLUB - SEPTEMBER 28TH, 2022

Synth-pop duo Mica Tenenbaum (lead singer and songwriter) and Matthew Lewin (producer) dazzled the stage at Vancouver’s Fortune Sound Club on September 28. Working together since their high school’s music program, the pair formed Magdalena Bay. Although they’ve been making music for quite some time, this is the first tour to celebrate their debut studio album, Mercurial World. On their opening night of tour, they performed a beautifully curated show and performance.

Fortune Sound Club is an intimate venue; small and known for hosting more ‘underground’ artists. They may have underestimated Magdalena Bay’s cult following though, especially after the rise of their song “Killshot.” The song reached viral success — more on that later. A packed club held space for Negative Gemini to open with an energetic performance, drawing influences from early 2000’s punk rock, glitch-core, and hyperpop. Her high-pitched voice and engaged stage presence had the crowd going long before Magdalena Bay even came out, which was great.

The entire show was a highlight. Magdalena Bay is known for their ironic self-awareness and kitschy visuals, but I was not expecting such a complete show. They did not come here just to perform, they came to give us a concert. I feel like this is something a lot of artists lose on their music journey. However, Magdalena Bay started with “Secrets (Your Fire)” and did not hold back on taking us on a vapourwave / future funk nostalgia trip in sound and stage.

Mica’s voice is breathy and delightful, perfectly matching the whimsical airiness of the band’s sound. Her flowery, “dancing freely in your room” stage presence was also charming and fun to watch (and mimic). The entire crowd swayed with her, especially during the cutesy-pop song “Hysterical Us” and funky “U Wanna Dance?” She – and the band’s overall live demeanor – reminded me of Kero Kero Bonito’s Sarah, or even Charli XCX, and I consider these singers to be experts in riling up a crowd.

After the first few songs, the band took a pause to introduce what made the show so special — Chaeri! Chaeri, as represented by a floating holographic head, is an AI that is learning how to become more human. Mica primarily interacted with Chaeri by giving the AI a few poignant yes or no questions, followed by the conclusion that the AI could become more human by learning other people’s secrets (and thus, their emotions). Chaeri’s motivation became the narrative for the entire show, with each song relating human experience and emotion.

This storyline was so intentional that they played pre-recorded ‘secrets’ — shown as tracks on their album — throughout the show for Chaeri to react to, letting Mica and Chaeri banter further. I felt that this gave the concert meaning, like an arc. By the time the dreamy “Halfway” came on, I was invested in Chaeri’s storyline. A secret about having a crush came on, and the band performed “You Lose!,” which not only showcased Mica’s vocal range but also Lewin’s instrumental prowess in production. The way each instrument gave a new layer of texture to contrast Mica’s reverbed voice was a joy to experience live.

Toward the end of the concert, Chaeri commented on the crowd’s “bodies moving rhythmically,” to which Mica explained was dancing. This was after “How to Get Physical,” a groovy disco-inspired number. During the instrumental interlude of the song, Chaeri commented on wanting to join, and in order to do that, Mica said she needed a body. After encouraging the crowd — “Body! Body! Body!” — Mica pulled off a cloaked robot body with Chaeri’s head now attached to a screen “head.” It was incredible. Like, the way the crowd went ballistic for this fictional AI becoming human was amazing.

The band encored with their most famous hit, “Killshot.” As if I wasn’t impressed by the story they just gave us, part way through the song, they paid homage to the ‘reason’ for their sudden increase in popularity: anime fancam edits. Mica said, “here's some sexy anime!” and suddenly, a bunch of TikTok edits using the “slowed + reverb” version of “Killshot” appeared on the screen. I recognized a handful and it just felt so personal and sweet, much like the rest of the concert.

I hope that Magdalena Bay keeps their charm, artistic vision, and unique sound. I also hope that they stay closely informed about their audience, as well as music trends! I am so excited for them to come back.

Written by: Alexa Tarrayo

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CONCERT REVIEW: EMOTIONAL ORANGES W/ TKAY MAIDZA AT THE VOGUE THEATRE - NOBEMBER 7TH, 2021

With concerts trickling back into Vancouver’s night scene, Emotional Oranges with opener Tkay Maidza performed a concert worthy of months of live-music deprivation. Their November 7th show at the Vogue had the crowd unified in both artists’ energy and enigmatic stage presence. You know it’s a good show when one of the artists say they want to move to Vancouver; hopefully this marks the slow return of sharing music with stride.

Tkay Maidza welcomes the audience by pumping them up in a stylish graphic mini dress, bouncing and dancing at the edge of the stage. The crowd lights up under her delivery; the Vogue's elegant interior is now a thin backdrop for “Grasshopper,” the opening song. Tkay’s delivery is punchy, raunchy, and passionate. Despite working with a fully-seated show, the audience is fully engaged from the vigorously dreamy R&B harmonies in “24k,” to the eerie beauty of crowd favourite “Where is My Mind?,” a cover of the popular Pixies song.

After an intermission, the stage is set for Emotional Oranges. The R&B duo is shrouded in elusive mystery, affectionately going by “A” and “V” and maintaining their anonymity not just in names, but in careful lighting production. Their silhouettes are lit by a bright orange spotlight that warms the room like a sensual sunset—and acts as an important tool in disguising both performers’ identities. Said to be the pairing of Adele’s vocal coach and Drake’s sound engineer, Emotional Oranges swathes the audience on a love-induced magic carpet ride of smooth tunes.

Each song is accompanied by brilliant art direction. Looped retro clips or cheeky typography are projected through each song, especially enhancing the opening song from their 2019 album The Juice: Vol. I, “Motion.” Although never a confirmed couple, the pair’s effortless chemistry transfixes the crowd as they push, flirt, and pull away from each other to match the narrative of the song. Their delivery is electric, taking an already captivated audience and crooning sweet nothings about love and heartbreak coated in sugar-sweet vocals from V and deep lurid tones from A.

There are two highlights of the show. The first is “Your Best Friend is a Hater” from The Juice: Vol. II. While they call out the chorus of the song, A and V split the crowd into men and women to call the chorus back to them louder than the opposition in a sing-battle. This is a nice change from the slow, swanky beats prior. Suddenly, the audience is whisked into a different fantasy narrative of two perspectives on a night out.

The next highlight marks another shift in energy – something the duo does very well. Following groovy R&B beats on one instance, V tells the audience the next song is a good one because it always makes her cry. The song is “Corners of My Mind,” a painful ode to the end of love. The propulsive beat is accompanied by a slow guitar and lyrics that outline the pining of two broken hearts.

The concert ends with crowd favourite “West Coast Love,” a nostalgic blend of 90’s R&B slathered with a groovy snare and warm harmonies. It is a perfect closer, with the audience dancing the entire time. As mysteriously as they entered, the pair makes a quick-but-cool exit, leaving the crowd drooling for more.

Written by: Alexa Tarrayo

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ANNA KATARINA: DAISYCHAIN

Daisychain – Anna Katarina Release Date: October 14th, 2022

Track Listing:

1. If You Were 2. December 3. Golden Days 4. Gracie 5. People Games 6. Summertime Gone 7. For Ellie

There is something so relatable about feminine rage, remorse, and discovery. She is you, she is also your friend, and the woman across the street. It’s rare to come across an album that takes these feelings and encapsulates it so well. Canadian/American singer-songwriter, guitarist and vocalist Anna Katarina draws out a story of her experiences through her debut solo album, Daisychain. Bittersweet, earthy, and real — this is definitely an album for your sad girl playlists.

Katarina’s vocals are made for groovin’ or wallowing in your own sorrows, nothing in between. Her vocals possess a soulful rumble that is kin to early Adele, as well as her influences of Kacey Musgraves, Taylor Swift, and Phoebe Bridgers. Like these other artists, Katarina lets her vocals take the forefront of all of her songs. I think her vocal range is especially showcased in “Golden Days,” a bouncy, rebellious track about reclaiming “a good day.” Then again in slower, acoustic, folklore-esque “Gracie” – a melancholic track about heartbreak and knowing that you bring yourself happiness, not past lovers.

Another note to praise is Katarina’s lyricism. Her lyrics are narrative, often painting a landscape or storyboard of the events happening in the song. At the same time, many of her choruses and hooks are repeated in an impactful metaphor — not to mention a catchy way. I think the song that does this best is “December,” which goes:

“We’re an old car driving down the highway, Slipping out, Going sideways, Right now I’m running out of gas, Keeping up with you brings up the sadness.”

The lyrics aren’t complex, but there’s something poignant and charming about it. It feels retro and nostalgic. I can see Taylor Swift’s influence here and I think it works well because it feels relatable, but simply meaningful at the same time.

Daisychain should also be praised for its diverse array of compositions. Each song feels a little bit different, but Katarina’s voice manages to unify them all. I do feel that some of it is experimental, and if you’re the kind of person to enjoy tracks that all sound the same, this might not be for you. Daisychain is for the girl with a variety of emotional highs and lows. From folky, airy, and whimsical “For Ellie” to rambunctious, vengeful, drum-heavy “People Games,” Katarina sings songs about womanhood in an earnest, real way.

I think the instrumental behind these tracks is also really compelling, drawing inspiration from mainstream pop, folk and country, and soul ballads. Wrap it all up together with some eclectic keys and plenty of synth, and you’ve got the sound of Daisychain. This is one of those albums that can blend seamlessly with other esteemed singers in Katarina’s genre, as well as stand out due to Katarina’s vocals and textual mixture of the aforementioned sound.

Overall, Daisychain is a great debut album for Katarina. It possesses the perfect balance of bouncy, selfless, empowering tunes, as well as somber, lonesome tracks you can reflect to. I thoroughly enjoyed this album and I’ll definitely be taking a track or two to add to my singing-in-the-car playlist.

Written by: Alexa Tarrayo

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UNDER THE RADAR: JANUARY 2023

Our inaugural Under the Radar of 2023! Don’t sleep on these releases from eachothersmothers, Sindy Hoxha, Fritz Hager, joss lockwood, Other People, and Ariana Fig.

1) eachothersmothers - “Dead Daddy Disco”

A lack of a chorus doesn’t hamper “Dead Daddy Disco,” instead offering a more free flowing dialogue. In your face and impulsive vocally, I love how abrasive yet groovy it sounds as whole. The lyrics take a darker tone and speak of finding companionship with others after trauma and tragedy; recovery and reprieve is a journey that can be shared, but is ultimately personal (“Distrust takes a toll on your soul / There’s some things you can’t control”).

The band was inspired by disco and “a slight country twang,” but you can still hear their always eclectic mishmash of punk, electronic and funk. Their raw energy is perfect for their informal talk of reaction, guilt, friction, and fate. While things aren’t always well and dandy – sometimes it can be easy to release some tension, relate to good music, and just dance.

Dead Daddy Disco by eachothersmothers

Written by: Chloe Hoy

2) Sindy Hoxha - “feeling blue”

The latest single from Albanian singer and songwriter Sindy Hoxha is an alluring, deeply emotional pop-ballad akin to early Adele and recent Billie Eilish. Now based in Brooklyn, New York, Hoxha creates music regularly, seeking to bring together her cultural background with “the sad pop genre.” I feel like these influences are definitely present in “feeling blue,” a refreshing take on the genre as it strips down the production to let Hoxha’s voice pull at your heart.

Hoxha’s vocals are the star of this track with her vibrato creating a rich rumble to each line she sings. If you’ve just experienced heartbreak or loss — especially if things ended bittersweet — this song is the perfect addition to your playlist. Passionate chords on the piano are the only thing that accompany Hoxha’s harrowing lyrics and raw vocals. The single does a sad pop song well, and sings about the encompassing feeling that is releasing the sadness in a way that’s familiar.

Written by: Alexa Tarrayo

3) Fritz Hager - “Caroline”

Fritz Hager is one of my favourite American Idol contestants in recent seasons, and he’s certainly coming into his own as an artist.

On "Caroline," the narrator sheepishly pieces together the events leading up to a one-night stand—the woman’s name, too. Hager's tone is soft yet has a lot of power behind it. The guitar riffs are fun and the backbeat sunny. Our protagonist does get his happy ending – albeit humorously with a little help from the local barista (Hager’s red and blue striped Idol sweater also makes a cameo in the video!). “Caroline” is catchy, crunching pop rock with butterfly feels.

Written by: Natalie Hoy

4) joss lockwood - “lucky”

British Columbia-based vocalist, joss lockwood, explores a foray into the R&B genre with her latest decadent single, “lucky.” The song adds some diversity to lockwood’s already impressive musical palette that features pop and hyperpop. It’s a sensual track drawing comparisons to the holy trifecta of mellow girl R&B: Summer Walker, H.E.R., and SZA.

The song kicks off with atmospheric synth notes and lockwood’s vocals crooning in just before the bass hits. The beat to the song is something you’ve probably heard before, but that does not take away from the integrity of the track itself. The synth, bass, and snare create a dark but playful soundscape that compliments lockwood’s sultry vocals, making this single one for late night playlists.

Written by: Alexa Tarrayo

5) Other People - “Burning”

Vancouver post-punk outfit Other People released their new single, “Burning,” in December. Its crux is one of human nature: learning, loving and loss, always in debt to each other (“If you leave it, it’ll curl up and die / Try to have it just to say goodbye”). Frontman Mark Crickmay’s vocals are decadently ominous, while new wave synthesizers and spry angular guitars forge a rather hopeful melody. The mix of traditional and alternative sounds is humbling; melancholy, yet clinging to daylight breaking through the overcast.

Burning by Other People

Written by: Natalie Hoy

6) Ariana Fig - “Punchline” 

"I can play pretend / even though you never asked / Don’t have those type of friends / cause they never seem to last.”

Fig has a smoky, contemporary feel in “Punchline,” a song of self-sabotage and deep emotion. Its power is layered in desperation and longing. While it details not wanting to be the “brunt of someone’s joke,” the attention coveted is well-intended; I see it as a lack of a healthy relationship, with needs and attachment styles that don’t align at a given time.

Her voice is rich and compelling, a depth both remorseful and soured reaching for reality and true connection. The single is an aching alternative pop, pleas understood and of importance—increased by the harsh drum beats. I like the dramatic air that follows, one that is anxious and empathetic towards the main character. Maroon is out now.

Written by: Chloe Hoy

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AN-TING: SONGS FROM MY ROOM

Songs from My Room – An-Ting 安婷 Release Date: July 13th, 2022

Track Listing:

1. London Night 2. Plaque Time 3. Ping Pong Dance 4. Last June 5. Hoxton Street 6. Past Tense 7. Purple Dream 8. The Jolly Frog 9. Option 7 10. Midnight Whisper

It never fails to amaze me how music has the ability to carry complex narratives. Even without visual feedback, a powerful instrumental can transform everyday landscapes into something else; movies, memories, and feelings. Songs from My Room is the first original album by London-based pianist and composer An-Ting 安婷, and it does just that. 

The album is transfixing and touching as it explores An-Ting’s experience living during the pandemic. As the title suggests, each piano solo feels like sitting with her, sharing moments in time, looking out from her window. London comes to life — and comes to a halt — through her passionate artistry. Originally from Taiwan and now based in London, An-Ting has a multitude of accreditation to her name, including being the current Artistic Director of Chinese Arts Now (CAN), which supports a variety of Chinese artists experiencing diaspora.

The power of storytelling comes through especially in the two feature songs, “Last June”  and “Purple Dream.” “Last June” is a beautiful yet haunting composition that focuses on keeping the same melody and chords throughout, only to be accompanied by the twinkle of piano in the background. It revels in mundanity and feels uncertain as it progresses, but still hopeful, much like the day-to-day lifestyle of quarantine and current events happening during this time. In contrast, “Purple Dream'' sounds more joyful with the piece reaching a crescendo in the middle that reads content and peaceful.

A personal favourite of mine is “Hoxton Street,” and perhaps it’s because I’ve never been, but An-Ting does an incredible job of illustrating what it could be like there through her music. The piece is sorrowful, dreary, but at the same time evokes a feeling of wonder and exploration. It really feels like I’m walking there, contemplating life – watching people go by as I think about my own, and think about theirs. This piece especially feels like an all-encompassing landscape.

Another highlight is the piece “Ping Pong Dance.” It is a rag-time, saloon-esque piece that was composed in a very fun way. There is a video outlining the silliness and playfulness of the number, where ping pong balls dance across the piano (literally) as An-Ting plays the tune. She states that she “entertained” herself with this number, and I think it’s incredible that someone can entertain themselves in such a talented way!

Songs from My Room is truly a soundscape of An-Ting’s personal time of living in London during the pandemic, and then some. It is an insight into her skillset as a composer and pianist. If you want to catch her live, An-Ting performs at various concert venues regularly—though you might have to travel to Europe to see her! For those that do, I am envious. I hope I can see her brilliant mind live one day.

Written by: Alexa Tarrayo

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TRYSTAN CLIRONOMOS: SHORT TERM LOAN

Short Term Loan – Trystan Clironomos Release Date: March 25th, 2022

Track Listing:

1. Short Term Loan 2. Barstools 3. On My Back 4. Fish Song 5. Good On My Own 6. Ashley 7. Walking The Dog 8. Tradesman 9. Flock To Fly

Short Term Loan is the powerful culmination of a desire to not just write, but escape into music. Vancouver’s own singer-songwriter Trystan Clironomos debuts his first album with the loving collaborative efforts of his childhood friends – David Thomson (studio, recording, mixing), Colin Spratt (accompaniment, co-recording, mastering), and Charlie Van (accompaniment) – to bring listeners on what feels like a slow drive in the summer’s beating heat.

Clironomos’ sound is authentic and raw, reflective of the album’s intention of being a collection of stories through his lifetime, or a “time capsule.” Crisp acoustic guitar, coupled with the lightest tap of a snare and a steady drum beat is a common instrumental theme through the entire album, and it works well as a cohesive sound. Clironomos’ vocals are twangy and charmingly rustic; personable. There is obvious intention behind the soundscape of this album to not overproduce, but rather provide an in-room listening experience.

I find the album and overall sound to be nostalgic, and perhaps heavily inspired by 60’s-70’s folk rock and country – which is hard to do memorably among the resurgence of vintage-influenced sounds these days. Clironomos’ voice is like a slow burn; even faster songs like “Fish Song” and “Walking the Dog” make for easy-listening. It lends itself well to the sound, and I found myself thinking of old names like Lead Belly and Johnny Cash despite Short Term Loan not being an exact genre match.

A stand-out song for me is “Barstools,” for two reasons. First: it’s catchy. It’s got a blues-type quality with the backing vocals and the rhythmic up and down cadence of the melody that is great for driving with the windows down. Second: the story it tells. The lyrics are cheeky and narrative, which I find integral to Clironomos’ mission to facilitate conversation with oneself and others. The song features a guitar interlude between each verse—lonely, but peaceful.

Highlighting Clironomos’ lyrics once more, two songs to bring forward are “Ashley,” which features a somber storyline accompanied by campfire-esque, jaunty instrumentals, and “Good on My Own.” Clironomos states that he ventured in solitude to write this album – “finding a paper and pen” – and that is reflective in the lyrics of his songs. Sometimes the lyrics are metaphorical, but I find that the verses where he sings simply about his journey are the ones that feel intimate.

The album ends with “Flock to Fly,” which is a song that features the comforting strum of an acoustic guitar and Clironomos’ vocals. I think it is a great way to end the album, bringing that serene quality back to it like a concluding chapter. If you’re ever in need of warm company on a long drive alone, I think you’ll find company in Short Term Loan.

Written by: Alexa Tarrayo

Short Term Loan by Trystan Clironomos

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REVIEW: MORAG, YOU’RE A LONG TIME DEID AT THE RUSSIAN HALL - JUNE 18TH, 2022

Morag, You’re a Long Time Deid (MYALTD) had its world premiere from June 10-19th at the Russian Hall in Vancouver’s cozy Strathcona neighbourhood. Claire Love Wilson & Peter Lorenz co-created the show in association with Touchstone Theatre, with the story, concept, and lead by Wilson themselves. Morag, You’re a Long Time Deid is an experimental, theatrical experience that goes beyond just a musical. It explores the question “what do we do with broken things; pianos, people, and traditions” through the story of a queer protagonist, the grandmother they never met, and Celtic song and folklore.

We follow Sam as they reconnect with their culture through a piano mysteriously gifted to them. The piano belonged to their great grandmother, Morag. Through the piano, we see the connection between Sam, their Scottish background, and Morag come together. We also see how Morag’s story and sexuality unfolds as Sam explores their own. The play is a touching tale of longing, diaspora, and the desperate need to uncover all the parts of themselves — cultural roots of the past, the image of oneself in the future, and perhaps more importantly, who you are at present.

These ideas are presented in a quirky, almost conversational format. There is much to tell, and the production does this by having Sam monologue certain scenes, building rapport with the audience. However, the show shines best when it is showing us what is going on. An array of props are used: clothing to represent different characters, microphones dropping, and a clunky piano that wheels around the stage. Another key in the scene is Wilson’s use of live sonic looping, which sets the tone by creating a soundscape environment. 

These loops don’t just act as the backdrop for the scenes in the play — they are clever in their use to layer sound and allow the characters to interact with it, or sometimes act against it. The use of percussion, for example, started as a way to invite the audience into a forest walk with Sam. A steady tempo builds and loops while other noises are added in, shifting non-diegetic to diegetic. Without even noticing, it becomes the instrumental for a somber ballad number.

This practice is something unique to Wilson, and it shines through the play as its musical “treat.” This kind of looping allows characters to facilitate conversations with each other, while still having Wilson ‘play’ them. It is refreshing, and while it may not create the most catchy of songs — it feels more like spoken word, or reciting poetry at times — it possesses a certain musical technical quality that is unique and contemporary.

That is not to say, however, that MYALTD is void of catchiness. Quite the opposite for a fan of folk songs. One of the production’s draws is its attention to Scottish cultural roots, and most of that lies within the reciting and remixing of Celtic ballads. There is a lot of detail in how each of these songs are sung that go beyond pronunciation and vocals. Sometimes they are sung acapella, or with hushed backing vocals that crescendo with the climax of a scene. Other times, they are sung to invite the audience to dance. These ballads are also used to carry on modernity — each melody inspires the present world that Sam is living in, like the synth playing at the lesbian bar.

Compared to the Gaelic ballads, there are few original songs. However, the ones sung are fun karaoke-esque tunes: a bit corny and absolutely joy-infused. Most notably, the ending song is a treat. It reminds me of the show tune era of indie music with jangly instrumental and on-the-nose lyrics. 

One thing to highlight is the amount of care that went into the production. Prior to the show, audience members were on-boarded to the show’s experience in relation to accessibility and disability justice; low light, the ability to always exit and go outside “to breathe,” and a claim for no strobe effects among many. This careful consideration, albeit introductory, set precedence to the mindset one should have while watching the show. A powerful land acknowledgement by performer and guest, knowledge keeper Xwechtaal Dennis Joseph of the Squamish peoples, also preceded the show.

Overall, Morag, You’re a Long Time Deid is a special show that breaks the barrier between concert, performative art, and musical theater. It is new and experimental, and definitely knows that. It may not be for everyone — it does rely a lot on telling and monologue — but don’t be too quick to dismiss it as just a feel-good theater piece. Wilson is a mindful creator. This shows in both the story and the show’s music treatment, making it a feast for production nerds and a good time for story lovers.

Performed by: Claire Love Wilson, Steve Charles, Rob Thomson, Sally Zori & Dennis Joseph

With the support of ‘Morag’ production crew.

Written by: Alexa Tarrayo Photo credit to: Pedro Augusto Meza

[thepermanentrainpress]

CONCERT REVIEW: REX ORANGE COUNTY AT PNE AMPHITHEATRE - JUNE 8TH, 2022

After days of gloom and rain, the sky’s clouds parted ways for Alexander James O’Connor, better known as Rex Orange County, to brighten up the gloomy Vancouver weather. It feels like the WHO CARES? tour – his second time coming to Canada’s west coast – coaxed the sun out for one day and provided the perfect backdrop to a fashion-studded crowd at the PNE Amphitheatre on June 8th, 2022. The concert was as playful and colourful as Rex himself, and you could tell it was one not to miss.

Apparently a lot of people were lined up for 8 hours prior to the show. I was not one of those people, but it shows the kind of fanbase Rex has garnered over the years — dedicated, loyal, and eclectic. Someone even brought a Nintendo DS to record the show, which received a shoutout of approval from Rex himself. As an all-ages show, there was a mix of younger, rowdier fans at the front and in the pit, and more chill folks in the back. Overall, Rex playing his most popular tunes against a setting sky provided the perfect atmosphere for everyone to enjoy. 

The PNE Amphitheatre is not everyone’s favourite venue for a multitude of reasons; parking, location, price, and sound quality are just a few gripes I and others share. However, I think Rex was able to perform a show that was perfect for an outdoor concert. His three opening songs of “Making Time,” “Keep it Up,” and “Amazing” all share the same whimsical dance quality that makes you want to fall in love, especially with his crooning vocals. If you wanted to dance outside of the pit — and people did dance, in wide spinning circles, in salsa-esque coupled pairs, and in little secluded groups — you definitely could, and that felt pretty special. 

One thing to highlight is Rex’s vocals. Many have praised Rex’s smooth vocals as the unique ‘thing’ he brings to all of his music, and after seeing him perform live I would definitely agree. His voice carries stage presence, even when the set is just lights and his band. It has a twang that rumbles beneath the creaminess of his voice, and this especially comes through in his rendition of Minnie Riperton’s “Lovin’ You” and “Untitled” from his Apricot Princess album. During these songs that feature more raw singing, the crisp, quirky instrumental of Rex’s accompanying band is delicious to hear as well.

Rex also played “Corduroy Dreams” from his 2015 album, Bcos U Will Never B Free. He made a point to introduce the song as ‘one for the fans that have followed him for a long time,’ and I thought that was pretty sweet and personable for such a packed setlist of a show. Actually, Rex was pretty interactive with his fans for a larger concert, asking everyone to put their phones away and ‘be human with him in the moment,’ also joking that ‘if your friends didn’t get a ticket, they don’t get to share this with us.’

In contrast, for his most recent album and the feature of the tour, WHO CARES?, the stage transforms and so does Rex’s energy. The stage featured a backdrop of rainbow letters, flashing colourful flowers, and even more strobe lights to set the mood for some of his bouncier songs. Rex encouraged (and even challenged!) the crowd multiple times to cheer, jump, and sing along as he played popular hits like “Open a Window,” his single with Tyler, the Creator, and “If You Want It,” a funky, jazzy number.

The best part of the evening – and I think most people would agree as it’s popping up on TikTok everywhere – is “Loving is Easy.” For this song, WHO CARES? beach balls were released into the crowd and bounced around for as long as the crowd allowed it, filling the sky with child-like joy and energy. Against an already dim sky, I could see the silhouette of raised hands trying to keep the balls in the air, and just a bunch of people playing in the crowd. I saw a few lucky folks leave with them.

I think Rex Orange County lived up to the hype. At least in my peripheral circle, there was a lot of buzz about this concert. He is extremely beloved and you can tell his music is very important to a lot of people. The concert made for a memorable, dance-filled night despite the venue, and we have Rex to thank for bringing sun to what looks like Vancouver’s rainiest June in a while!

Written by: Alexa Tarrayo Photographed by: Rachael Buckoski

[thepermanentrainpress]

WINDMILLS: WHAT NEED IS THERE TO WEEP?

what need is there to weep? – Windmills Release Date: January 28th, 2022

Track Listing:

1. as Within, so Without 2. mercy 3. pareidolia 4. surrender (so feel) 5. it won't be the same again. & it shouldn't 6. the ocean 7. vicious//virtuous 8. mosaic (everyone i've loved) 9. sympatheia 10. as Without, so Within

Windmills – a Canadian-born instrumental artist and composer – has released his first full-length since the critically acclaimed Death of a Ladies’ Man in 2017, the dreamy what need is there to weep? The album is a celebration of the artist’s resurgence to the music scene after an extended hiatus. With haunting airy vocals and chilling instrumental, the album explores love, loss, and grief in a triumphant declaration back to the Canadian music scene. 

A deviation from his well-loved ‘moody indie swoon pop,’ what need is there to weep? is a masterpiece of Windmills’ technical prowess. Each song is a study in texture, playing with layered melodies and tempo. Perhaps the most intentional example of this is the contrast in mono and polyphonic texture in the opening and closing songs. “as Within, so Without” ends with Windmills’ single vocal melody layered over a harrowing piano, while “as Without, so Within” crescendos to two perfect chaotic lines accompanying a frantic, rapid beat before diminishing to quiet.

Not only a master in musical artistry, the album’s themes of love, mourning, and heartbreak come through in the atmosphere. The album creates a strong narrative from start to finish, suspending you in Windmills’ poignant snapshot of what he went through during his absence, as well as what many others can relate to as we live out our lives. 

“pareidolia” stands out to me in particular, because of the intention behind the name and also because of the song itself. It carries a constant pattern of notes through the entire song, much like the definition of the word itself — “the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern.” This feels especially meaningful as the song's lyrics depict a love that has come to an end, but is maybe still very much alive.

The album features 4 instrumental interludes which feel like moments to pause; a sense of lingering loneliness. “surrender (so feel)” does this by sprinkling piano over a weeping violin. “sympatheia” is my favourite, being a swirling, soupy, and soft blend of synth, maybe some string, and other instruments and sounds. It has a light yet gentle timbre that cuts abruptly before the end song.

what need is there to weep? is a successful foray back into the music industry for Windmills’ Cory Myraas. His love and passion for music show up not only in his skill and technicality, but also the intention behind each of his songs and lyrics. The album is truly an exploratory landscape for themes that many of us can relate to, and it is a poetic, evocative listen. 

Written by: Alexa Tarrayo

what need is there to weep? by Windmills

[thepermanentrainpress]

CONCERT REVIEW: MXMTOON AT THE VOGUE THEATRE - MAY 13TH, 2022

It is always exciting to see someone rise to stardom. It is especially exciting if they have roots in content creation and internet fandom spaces so a follower can watch them go from small, to big. mxmtoon, pronounced M-X-M-toon, is a product of the internet in all the best ways. Maia – the 22-year-old Chinese-American Youtuber, songwriter, and “ukelele-girl” – performed at The Vogue on May 13th to celebrate her rise to stardom, and the upcoming release of her album Rising.

She started strong with “Falling for U,” a jazzy, low-fi hit that had the crowd immediately swaying. One thing to note is that although mxmtoon did not have much by way of stage decoration, her presence made up for it tenfold. Coupled with strong vocals, a bubbly personality, and the cutest black-mesh puff dress, I don’t think anyone needed anything more than Maia prancing around the stage to “sad disco.” 

mxmtoon’s fans are an exciting group of young people that clearly love her very much. For what could be considered a “smaller” concert, the fans made it seem like Vancouver’s biggest event of the night. There was signage (most notably a Twilight reference sign, which mxmtoon acknowledged and loved), singing along, and active banter from the audience. mxmtoon handled all of this with a warm, natural energy. 

You can tell that mxmtoon performs with so much care; at one point she pulled up opener Chloe Moriondo to the stage to sing “ok on your own,” ending with a huge hug and a gracious pause for Chloe to exit the stage to a loud crowd of cheering. I found that I looked forward each time mxmtoon spoke, because she went beyond the normal “what’s up Vancouver?” and showed so much of herself to her audience. She joked about playing Valorant all day before the concert, and took selfies with the crowd. She clearly loves her fans and wants them to have an incredible, unique night.

Following a strong set of opening songs, mxmtoon prepared us for the next by introducing it as “for when Mitski doesn’t hit hard enough” and transitioned into “learn to love you,” an electric bedroom-pop song about being a badass. I thought it was fantastic that mxmtoon was able to showcase the side of her that makes her someone to watch in the indie-pop genre – but she also changed her instrument to a ukulele halfway through to provide a whimsical, quirky performance inspired by folk and poetry.

A huge highlight was the acoustic segment of the concert, as the crowd was encouraged to sing along to mxmtoon’s unwavering voice and plucky ukulele. Everyone held up their cellphone lights in unison to “i feel like chet,” “cliché,” and “feelings are fatal.” The last is a personal favourite of mine, and I felt that it was done so well with mxmtoon standing under the spotlight, stagnant with her ukulele; such a grounded presence that differed from earlier.

The concert really did feel personal, and whether or not mxmtoon says the same thing each night doesn’t matter. I found the way she spoke to the audience very confident and engaging, and it is really refreshing to see an artist that involved with their fans. It felt like witnessing a garage concert; intimate and fun. I think what helped was that mxmtoon provided a lot of context as to why she wrote certain songs. This was especially interesting when she spoke about “victim of nostalgia” and “coming of age” – two songs inspired by her immigrant mother and father.

mxmtoon is definitely someone to watch, and someone I can see becoming a huge sensation in the future. I think she has the right relationship with her fans that will keep her going strong with support and love. Not only that, but she is an incredible performer, singer, and skillful songwriter with a knack for capturing the eclectic nature of love, teen and young adulthood, sexuality, and family. The concert ended with the crowd screaming for “Maia!” to come back on the stage, and she could not have ended it better with TikTok hits “prom dress” and “mona lisa.” To anyone that saw the show that night: I hope you felt heard, and I hope you had as fun and unique an experience as I!

Written by: Alexa Tarrayo

[thepermanentrainpress]

EMILY BEST: LIGHT UP THE DAWN

Light Up the Dawn – Emily Best Release Date: April 8th, 2022

Track Listing:

1. Selfish Heart by Emily Best 2. Suits // Light Up the Dawn 3. LOVE // in progress 4. Aria 5. Easier 6. If You Were Dead

Singer-songwriter Emily Best entrances the ear with their sophomore album, Light Up the Dawn; a musically technical piece of art layering pop, folk, orchestra and jazz. The album is a tribute to Best’s knowledge and study of music and mastery of different instruments, as well as their passion for the intricacies of human connection. Light Up the Dawn is an acknowledgement of love and its many forms—unrequited, manipulative, whimsical, and selfless.

What is interesting about Best’s sound is that while it is influenced by the likes of Elton John, Fiona Apple, Tom Petty and more, it sounds entirely original. The entire album feels like walking through a city; eclectic and curious, new and old at the same time. Best’s sound is nostalgic like retro Americana-rock, but feels fresh with bouncy melodies, fuzzy harmonies, and sprinkled instrumental accompaniments. It reminds me of indie stars like Tennis, Belle and Sebastian, and Cults.

The first song of the album, “Selfish Heart,” is a bluesy track with crooning vocals that almost feel like they are yearning for something. Best’s lyrics:

"But it’s a selfish dream, cracked and broken bursting at the seams You know I hold it down so hard I want to scream So you don’t know about my selfish dream” 

Both feel like a cry for a life they wish they had, as well as a reminiscing about a life once lived. The lyrics, combined with the constant lullaby of the harp and the smoky guitar and violin make the listener feel a sense of deep longing, while also lamenting themselves for doing that very thing. It is the perfect opener for an album about love – especially the “whimsy” complicatedness of unrequited love as Best describes.

The title song, “Suits // Light Up the Dawn,” is a layered, textural experience that follows the same melancholic jazz blueprint as the rest of the album. Best’s vocals really shine through in this song, with their voice complimenting the crash of the cymbals and guitar each verse. Best’s style is almost operatic, most definitely taking in their inspiration for folk and retro jazz.

“Aria,” another track to highlight, seems like a tonal shift from the rest of the album in a good way. It starts off with dreamy, low-fi audio of someone telling their child to love themselves, and that they are beautiful. The song feels like an ode to loving oneself; fun, enchanting, and hopeful. I also have to compliment Best’s vocals again, as each riff in the song is a treat to the ears. It sounds fairy-like and magical.

I also want to bring out the number of people that worked on this album with Best. Their acknowledgment to uplift and support those that supported them creating the album is refreshing to see – especially when the credits include so many talented and skillful folks from the local Vancouver music scene. Best’s songwriting and vocals are complimented by their own skill in the Wurlitzer and piano, and the rest of the credits include: Gavin Youngash (guitar), Peggy Lee (cello), Meredith Bates (violin), Elisa Thorn (harp), Paul Rigby (pedal steel), Alison Gorman (trumpet), Ellen Marple (trombone), Dominic Conway (sax), Robin Layne (marimba), Max Marceau-Ley (drums), and Rob Thomson (bass).

All in all, Light Up the Dawn is everything I personally love in an album. Smooth, playful vocals overlaying a textured, bouncy soundscape. The theme of the album is also relatable, and while the subject of love – especially unrequited – is always talked about, this feels like a fresh take with multiple perspectives and experiences. Best possesses a care for their craft and their music, as well as the people that listen to it. It is definitely making an appearance in many of my future playlists!

Written by: Alexa Tarrayo

Light Up the Dawn by Emily Best

[thepermanentrainpress]

MELROSE: ORDINARY THINGS

ordinary things – melrose Release Date: July 17th, 2021

Track Listing:

1. little yellow house 2. my heart will not stop thumping 3. brighter ships 4. old friends, new apartment 5. turns the flour 6. blahblahblah 7. snail mail 8. olivers song 9. i hear fingers on the keys 10. some days are lonelier than others 11. smoke stacks 12. maybe thats all this needs to be 13. museum, entertaining guests 14. yards beyond my window 15. grew 16. a place where longing gives 17. writing letters for loved ones 18. washing dishes 19. 5.13.17 20. someone more than anything

ordinary things is the self-described passion project of Melrose, or Samuel Wells – a collection of sounds, songs, and significance compiled over the last five years from the ages of 19 to 24. Recorded entirely by handheld cassette and a cellphone voice memo app, the melancholic mix is both nostalgic and eclectic. It is a reminiscent look into a life that is not your own, but could be.

I found a fascination with the song “old friends, new apartment,” due to the stark title. It starts off with a lonely piano solo, which, after some murmuring voices, picks up with guitar and happy reverb. We hear just a sliver of muffled conversation in the background as a nonsensical tune plays, and the overall vibe is excited but nervous. Many of the songs reflect the little twinge in your stomach, signaling that your life is changing. 

While much of the album consists of instrumental pieces and exploratory sounds, it is a pleasure to hear Melrose flex their vocals and sing. “turns the flour” highlights Melrose’s airy, calming head voice over a steady acoustic guitar, stating, 

"I make my bed, Same as I always do, Rearranging shelves again, Singing sure I think, I guess, Nothing sure, nothing certain.” 

This song is my personal favourite and seemingly the audience’s as well, and perhaps it is because it encapsulates the album’s mission of embracing the beauty in mundane while lulling us away to a soothing soundscape. “smoke stacks” does this expertly as well, though unlike the former, “smoke stacks” feels suffocating and somber as the guitar contrasts Melrose’s vocals.

Melrose blends soft instrumentals – from piano, synth, drums, to guitar – with the environment around them to create not just music, but powerful soundscapes that remind me of the likes of Youth Lagoon and Air. “my heart will not stop thumping” is a dreamy mixture of seemingly diegetic and nondiegetic sound. First, we are introduced to the end of a song, then it cuts jarringly to the rain, then music in what sounds like the background of the city, and the crashing thunder against the microphone; is that not what the chaos of a thumping heart could be equated to? Another favourite track of mine is “some days are lonelier than others,” which combines rhythmic xylophone percussion against constant acoustic guitar to create a harrowing, lost experience.

The full collection is around 37 minutes long, and I hesitate to call it an album – although it very much is – due to the fact that it reads as so much more. It is a glimpse into the many feelings someone goes through as they navigate aging and new experiences, and reads like a memory book. It is a treat to listen to and apply your own experiences to, which is definitely what I did. Melrose themself puts it best when they say ordinary things is meant to convey “moments that surround you like a warm blanket.”

Written by: Alexa Tarrayo

ordinary things by melrose

[thepermanentrainpress]

UNDER THE RADAR: JULY 2022

July’s Under the Radar brings new releases from Josh Bogert , Burning Juniper, Madame Daley, mekel, Fairything, and Jonah Ocean.

1) Josh Bogert - “Dreams”

Bogert is my local go-to fix for fresh pop/electronic that makes me want to dance, and “Dreams” is no exception. It is a reflective piece after the loss of a partner – “about finding a happy moment within a more tragic story.” Details of moments from time together that seem insignificant (“you’re still getting ready in my bathroom mirror”) draw empathy towards the narrator; we’re privy to the love shared. Self-produced, his use of keys, guitar and production is uplifting while beckoning to days past. His tone is excellent in carrying the song’s ebb and flow, and while amplified by the final cut’s production, I can also see it being performed well in a stripped down acoustic setting.

The music video (directed by Mark Gustov of Creation Station) was shot in Tofino, the perfect west coast, lush scenery for Bogert’s dialogue. “Dreams” is about a special location, person, and chasing a feeling that can never be replaced.

Written by: Chloe Hoy

2) Burning Juniper - “She Changes The Weather”

Feel lost in starry and downcast eyes, it’s not a difficult feat in “She Changes The Weather.” Like an ode to growing apart and the deviation that can’t be ignored in a relationship, out emerges the bittersweet indie rock cut. It’s reminiscent in few words, a tad lethargic but oh so sentimental in sound. Framed by “guitar-driven, post-punk hooks,” it is well-paced with hollered vocals that swell in anticipation. The impact of another is felt beyond a separation, continuing to alter our environment and the way we see the world. I sensed both resentment and appreciation, although the former may take precedent. 

I can hear the reproach in the words – a connection to the music and each other years beyond the band’s young tenure. An impressive debut and showcase of awareness, there’s much promise for the South East London rockers.

Written by: Chloe Hoy

3) Madame Daley - “Annie, Sing Your Heart out Anyway”

What do you get when you mix a theatrical show-tune approach to music, with the gut and heart of a voice like Duffy or Pat Benatar? You get Madame Daley, the intersection of glam, rock, and feminist empowerment. Celebrating the release of Classic, her first EP, comes the release of the track “Annie, Sing Your Heart out Anyway.”

Daley’s vocals are alluring and deep. Accompanied by a constant thrum of the guitar, and slappy, punchy drums, this song is a lesson in pop-rock. It’s a rumbling, heart-felt romp in music. A joyful ode to her “badass” and tone-deaf grandmother, “Annie, Sing Your Heart out Anyway” feels like dancing in your bedroom, screaming your favourite retro tunes at the top of your lungs without a care in the world. The track is so fun to listen to, and possesses a quality I value when it comes to music—the ability to sing along to it. It’s actually a rarer quality than you’d think!

Written by: Alexa Tarrayo

4) mekel - “Would-Be Memories”

Caught in the thick of heartache, and the opportunity to rediscover oneself. mekel – the moniker of Montreal-based Mickey Green – co-wrote “Would-Be Memories” with Eli Garlick after ending a long-term relationship marred by infidelity. Her soft vocals glide over playful electronics, accentuated at just the right moments and easy to get lost in.

The lilting pop tune has a confident delivery despite a bittersweet pulse: “You take the sting out of every lie, then fake a smile for the last time / I’m like a kid waving goodbye to a clown.” It recognizes that some connections are best left in the past. Buy yourself a bouquet of roses and promise yourself forever, instead.

Written by: Natalie Hoy

5) Fairything - “Desperate & Dazed”

Are you addicted to the playful, sing-song tracks from cartoons like Steven Universe and My Little Pony (Generation 4, obviously)? Then you need to listen to this tune from Fairything. It highlights the best of the bitpop genre, bringing forward simple yet impactful lyrics enveloped with jingly synth and omnichord progression.

I think “Desperate & Dazed” is exactly what folks into this genre will love. It is a relatable piece about, from my perspective, manic manipulation and love-ridden submission. Although the track doesn’t address anyone in particular, it feels like a cry for help against love or life itself. Even so, it's swathed in a cutesy, innocent soundscape that adds to the chaos and hopelessness of the track’s narrative. The track also feels raw and not overproduced. You can tell that this piece means a lot to Fairything as an artist. Those are the best tracks to get stuck in your ear—and trust me, with this one, you will.

Written by: Alexa Tarrayo

6) Jonah Ocean - “Demons”

There’s an alleviating quality in “Demons” despite the darker subject matter. Playing with the concept of duality, the artist finds space to pull in mythical folklore steeped in corruption and death—whilst invoking wonder in an oscillating soundscape. Inspired by his own experience with mental health and isolation during the pandemic, there is an enduring fear and desperation felt (“I just wanna feel alright”). Sonically, the layered synths, vocal harmonies and percussion textures are transcendent together; an effervescent quality that almost made me forget of the pained origins. I like the creativity in an alternative meets electronic genre that is fast-paced and constantly innovating.

"Demons” surrenders to the light and dark, allowing a certain relief in its alluring wake. The Vancouver-based artist’s self-produced debut EP Swimming is due for release this September.

Written by: Chloe Hoy

[thepermanentrainpress]

CONCERT REVIEW: HIPPO CAMPUS AT THE VOGUE THEATRE - APRIL 6TH, 2022

Watching a band grow with their music is a vivid, vibrant experience—especially when that band produces catchy indie rock tunes and delivers premium vocals. Minnesota band, Hippo Campus, came to The Vogue for their fifth performance in Vancouver on April 6th and they did not disappoint. The fivesome of Jake Luppen (lead vocals/guitar), Nathan Stocker (lead guitar/vocals), Zach Sutton (bass/keyboard), Whistler Isaiah Allen (drums/vocals) and DeCarlo Jackson (trumpet) treated us to a jumpy, dancey, energized show.

This time around, Hippo Campus toured their newest album, LP3. The album itself honours their roots of strong vocals, jangly indie-pop rock, and textural instrumental. However, it feels fresh as the band experiments with autotune mixing and vocal layering. Perhaps that is why, when they started with the first song on their latest album, the crowd was ecstatic. “2 young 2 die” exemplifies their new sound, and started the show off with people in the audience already singing along to the chorus.

I have seen Hippo Campus twice already and have followed them through their last two ‘eras,’ so this time around was a treat. The band mentioned on social media that the Covid-19 pandemic had them experimenting with new sound, and I have already mentioned that being true. However, it is worth noting that their single from 2021, “Bad Dream Baby,” is the perfect marriage of their upbeat ambience, cynical lyrics, and new mixing of their sound.

Another highlight was “Boys,” which is the lead single from LP3. This song, symbolizing the shortness of life and spending it hung over and being at your lowest, is a special song and is treated with seemingly special care. “Boys” is performed with so much enthusiasm and it worked so well, making it a huge stand-out. The energy of Luppen’s vocals combined with the guitar, and topped off with Jackson’s trumpet solo right as the song reaches a crescendo was so special.

I felt especially proud as this song complemented their stage dressing well. Hippo Campus is back with a new flavour of aesthetic, which is a combination of minimalist Swedish and brutalist-inspired design. Behind the band was a glitchy pattern of circles and semi-circles. This also matches the vibe of LP3, and made the distorted chime of “Scorpio” and “Bang Bang” all the more experiential.

That is not to say Hippo Campus neglected their older songs in favour of their new album. The audience lit up with dancing and singing for the band’s zealous performance of fan favourite and perhaps their most popular song, “Way it Goes.” The same can be said for “Baseball”—as a personal favourite of mine, I can say that they made long-time fans happy.

The encore was one of the best parts of the concert. Their new sound, stage presence, and polished aesthetic brought so much life to old favourites like “Bambi” and “Buttercup.” It seemed like the band performed them in a slightly fresher way, and the audience was nothing but receptive as they sung along to the end of “Buttercup” to end the concert. 

As my first non-seated concert since the Covid-19 pandemic hit, Hippo Campus was such a delight. The perfect introduction back to the pit and all the dancing, drinking, and hopping around that comes with it, Hippo Campus delivered a show that showed us they plan on sticking around for awhile. The freshness of their new sound, in combination with the band’s consistent ability to perform, made for a memorable experience that felt both new and nostalgic.

Written by: Alexa Tarrayo Photographed by: Rachael Buckoski