#Jenna Keeble | Explore Tumblr Posts and Blogs

thepermanentrainpress · 1 year

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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.

Written by: Jenna Keeble

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camcantarella · 6 years

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dukemaxwellbeaumont replied to your post “thedepthsremember replied to your post “i feel… so… like…. robbed....”

ngl I actually wrote my name on my desk in multiple ways with different objects so no one can be like "oh I don't see your name here"

(i knew i was forgetting to reply to something lol)

omg this reminds me of that scene in max keebles big move when max’s [much] older LI (jenna i think) approaches his young LI in Band and jenna’s like “you’re in my seat” and young LI goes “I dont see your name on it!” and jenna SASSILY twirls her finger around gesturing for young LI to look at the seat where in big markered letters it says “jenna” and young LI hates jenna all the more lol

ahem but as for an actual response lol... um yeah like i wish i could do that but these fracks who call themselves a university would probably fine me $1500 for destruction of property and vandalism lmao

#dukemaxwellbeaumont #replies #cg answers #choicesgallery

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thepermanentrainpress · 1 year

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CONCERT REVIEW: BRASS CAMEL W/ CHASE THE BEAR AT WISE HALL - MAY 13, 2023

Chase the Bear and Brass Camel performed at the quirky and intimate Wise Hall on Saturday, May 13th. Tucked away in the Commercial Drive area of the city, surrounded by heritage homes and co-operative housing, the venue is a staple of the local music scene. In a world of mass audiences and global stadium tours, both bands showcased the magic of music engaged with the community.

Chase the Bear kickstarted the concert with blazing guitar riffs and Troy Gilmore’s magnetic, raspy vocals. The bandmates sported trendy retro outfits – a homage to their largely classic rock sound with subtle soul and pop. The band played through their setlist, which included the wild, western-flavoured “Five More Minutes,” the determined and desperate “Underwater,” the spunky and empowered “Quit Callin’,” as well as “Wildheart” – a song of energized longing. Connor Brooks’ drums were consistently confident, skilled, and lively; the beats pulsated through the crowd and into the soul. “It feels like we're in a coming-of-age movie,” I told my friend.

Brass Camel took to the smoke-filled stage with glamour and charisma. Daniel James emerged in a purple suit, white headband, and orange-tinted glasses. The crowd watched in awe as the band performed with their signature steely electric melodies, high-pitched vocals, and vintage synths. The whole scene felt massive and intense, despite being in a smaller hall. The band shredded through many of their released tunes, including the rowdy, sci-fi “Last Flight of the Vulcan” and the bouncy and playful “Dinger’s in the Back.” The melodies and notes had such a beautiful dynamic range in-person. While the studio versions of the songs are fantastic, there’s nothing like experiencing the artistry up-close and firsthand. Fingers maneuvered expertly during complex guitar solos. With each new song, the band transitioned seamlessly and with style.

The crowd was quickly wound up, even starting a mosh pit during the dramatic and feisty “King for a Day.” Brass Camel ended on a high note with the cool, catchy “Pressure Cooker” and jumpy and joyful “I’ve Got the Fox.” At no time was the crowd not bopping their heads or flicking their wrists. Eyes were glued to the stage when James brought out a sleek, double-prong electric guitar. Immediately after the show, the band members ran to work the merch table and connect with fans.

Chase the Bear and Brass Camel teamed up for a high-quality, fun, and inspiring concert. The event brought together a talented group of musicians who don’t get enough credit for the bonds they forge in communities across the country. Sparks were quickly and expertly cultivated and lasted the entire show, the heat rivalling the blistering temperatures of the day.

“So... do you feel brassed?” I asked my friend, as wicked guitar rung out and colourful lights faded at the end of the show.

“I feel brassed,” he declared.

Written by: Jenna Keeble Photo credit to: Heather Horncastle

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thepermanentrainpress · 2 years

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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

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thepermanentrainpress · 2 years

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CONCERT REVIEW: MACHINE GUN KELLY W/ AVRIL LAVIGNE AND WILLOW AT ROGERS ARENA - JULY 23RD, 2022

Golden light poured over industrial structures in the heart of Downtown Vancouver. On an event-filled Saturday evening, concertgoers at Rogers Arena experienced an exquisite indie punk rock performance from WILLOW, who joined Avril Lavigne and Machine Gun Kelly on the latter’s Mainstream Sellout tour.

WILLOW always maintains a balance between ethereal vocals and striking instrumentals. Whether she cranks out indie-pop hits or forays into punk rock, WILLOW’s art always feels new, fascinating, magnetic–and genuine. To hold such an authentic appeal whilst landing multiple viral hits on TikTok is no easy feat.

A massive white tarp hung behind the stage with a symbol etched in sharp black marker. The symbol, contained within a circle, housed a symmetrical floral design. In the foreground, a giant “W” cleverly enclosed the remaining letters of the singer’s name. Carved silver trash cans lined the stage, luminous light shining from inside.

WILLOW was accompanied by a full-fledged rock band: steely electric guitars, deep bass, and fierce drums. She dispersed her setlist, drawing from albums lately I feel EVERYTHING, ARDIPITHECUS, and THE ANXIETY.

“I knew a boy just like you / He’s a snake just like you / Such a fake, just like you / But I can see the truth.”

WILLOW’s vocals were light, full, and powerful. Beautiful vibrato circulated throughout the arena: a venue known for being sonically difficult to master. The performance was full of wonderful contrasts and passionate lyrical stings. WILLOW moved loosely and with poise across the stage. A rainbow knitted beanie bounced around on her head and played off nicely with the black t-shirt and pants adorned with warm colourful patches.

“I really love this next song cause it’s very ugly out here on earth–but sometimes it can be kinda really, really beautiful,” said WILLOW before launching into “Lipstick.” Booming vocals cascaded and harmonized over shredded guitar and heavy drums. “And I’m looking at pain like my old close friend / Open arms for her when I see her again.”

The pace simmered with “Come Home,” a pristine pleading for love. “I’m tired of this feeling, I feel so alone / I need you right now, baby / won’t you come home?” WILLOW’s nuanced melodies and radiant runs weaving into a dramatic chorus.

“It’s kinda cliche,” said WILLOW leading into the song, her soft and kind tone putting the crowd at ease. “But the next song is about being in love.”

“I know we all kinda like being in love, right? Some of us maybe hate it…”

“Meet Me At Our Spot” brought trendy timelessness. The audience erupted in excitement after the first few beat drops and started bobbing along with WILLOW’s heartfelt vocals. “Caught a vibe / Baby, are you coming for the ride? / I just wanna look into your eyes / I just wanna stay for the night.”

Wavy guitars paved a scenic detour away from punk rock with “Wait a Minute!” – WILLOW’s dynamic vocals adding a bold flair compared to the studio recording. “Hold on, wait a minute / Feel my heart’s intention, oh / Hold on, wait a minute / I left my consciousness in the sixth dimension.” To end off the beachy psychedelic rock tone, WILLOW strapped on an electric guitar and played a rich solo melody.

“<maybe> it’s my fault” was a strong end to a captivating performance. Luscious, soft vocals blended into enthusiastic electric strums during the verses, while tension built with a thundering tempo change during the chorus of the track. Screamo vocals cut an intense, cathartic edge.

“It’s all on my mind, it’s all on my mind / I try to rewind / And all of the while / I’m hurting inside / It’s your fault / Maybe it’s my fault.”

Up next, Avril Lavigne. An icon in the punk rock world and Canadian music scene. Lavigne played classics like “Girlfriend,” “Complicated,” “Sk8er Boi,” and “I’m with You.” She also played some tracks off her new album, including “Bite Me” and “Love It When You Hate Me.” Lavigne was energetic and joyous, soaking in the audience’s adoration who knew much of the words to the songs she played.

Machine Gun Kelly (MGK) took the stage from a life-size pink helicopter attached to the arena’s ceiling. He played through most of Mainstream Sellout, including “born with horns,” “god save me,” “make up sex,” “emo girl,” and “die in california.” He also played some tracks off Tickets To My Downfall, including “kiss kiss,” “drunk face,” “bloody valentine,” and “my ex’s best friend.” MGK even performed “el Diablo,” a track from his rap days.

MGK’s stage was a giant optical illusion. A “slanted” checkered circle platformed the band. He wore a glittery tank top and pants with his pastel pink hair. His performance was vibrant and lively. MGK seemed comfortable with the crowd, complimenting the city’s water, donning a purple Vancouver Canucks Hockey Fights Cancer jersey, and walking through the floor crowd during multiple songs. The Mainstream Sellout tour revolved around defeating the internet, which was personified as a giant human figure with a television on its head.

MGK was charismatic and lively, clearly bringing out all the stops for the tour. It was impressive to see old and new guards of punk rock come together for a nostalgic and unique event. Fresh, skilled sounds collided with extraordinary spectacles in a jam-packed concert.

Written by: Jenna Keeble Photographed by: Timothy Nguyen

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thepermanentrainpress · 2 years

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WALKER & WYLDE: SECONDHAND EXISTENTIAL CRISIS

Secondhand Existential Crisis – Walker & Wylde Release Date: February 2nd, 2022

Track Listing:

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.

Written by: Jenna Keeble

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thepermanentrainpress · 3 months

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TEENAGE ART SCENE: PIPES ON THE INSIDE

Pipes on the Inside – Teenage Art Scene Release Date: September 9th, 2022

Track Listing:

1. Crystal 2. Full of It 3. Never Live This Down 4. Feeling This 5. Pipes on the Inside l 6. Pipes on the Inside ll 7. Pipes on the Inside llI 8. Weeks (Years) 9. Electrical

Teenage Art Scene's latest release Pipes on the Inside fuses indie rock with 80s synth pop, new wave, and electronica. Bold, colourful shapes and meticulous attention to detail merge in a collection that feels like it belongs in the Fallout video game series. Victoria’s Rupert Yakelashek adapts in this exciting musical journey, presenting an array of genres that gracefully fall into place.

From the spacey opener “Crystal,” with its swooping synths, nasally vocals, and gritty electric guitar melodies, to the retro relaxation of “Full of It,” with its light percussion, sad words, and hopeful layers, each song is stylishly surreal.

“Never Live This Down” chimes in with a Depeche Mode tone. Clean guitar riffs support an echoing, amused voice: “And I’ll express that you’ve made quite a mess.” Standout track “Feeling This" provides a beachy goth essence with lingering horns, deep guitar strums, and 90s rock. “You're the pinnacle of what I could achieve / If I didn’t give up so easily.” Sharp, faded synth entrances charge a trippy soundscape.

Metallic notes soar and urgent bass floods “Pipes on the Inside I.” A sonic machinist, Yakelashek cultivates a fascinating audio field. Frantic percussion transitions into stronger beats. The conjoined song “Pipes on the Inside II” is lighter, almost dainty. It integrates sweet, haunting bells with rubbery bass. Third edition “Pipes on the Inside III” switches gears. Speedy and tenacious, gritty guitar cuts through contagious synths. “This Anthropocene makes it so hard to glean / I can feel the pipes on the inside.”

With gentle, catchy hooks, “Weeks (Years)” grooves with stacked synths. Playful use of high and low pitches makes for a fun auditory experience. Nostalgia and reflection of time emerge from the piece: “More than anything combined / the weeks and years we left behind.” A sly and sneaky undertow adds lightheartedness to an otherwise somber message.

The last song off the album, “Electrical,” sparks neon melodies and embodies a glamourous, youthful 80s vibe. Rigid vocals exude confidence and weave through the tune with swagger: “You seem like such a spectacle / I can’t help but notice you’re electrical.” Robotic reverb brushes against pixelated notes and bouncy guitar. Intriguing mystery exists in a colourful synthetic haze, while arcade noises diffuse energetic retro charm.

Pipes on the Inside is a trendy development in Teenage Art Scene's evolution. Rupert Yakelashek's willingness to intertwine genres results in a cohesive yet abstract collection. The union of eclectic aesthetics with vintage technology creates a multifaceted music adventure that showcases creative growth. Pipes on the Inside breaks away from usual patterns while staying true to Teenage Art Scene's artistic vision.

Written by: Jenna Keeble

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thepermanentrainpress · 6 months

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NIGHTSHADES: IT’S NOT WEIRD

It’s Not Weird – nightshades Release Date: May 19th, 2023

Track Listing:

1. Feel My Love 2. Makita 3. (it’s not weird) 4. Set the Tone

nightshades set a brooding and sensual tone in debut EP It’s Not Weird. Luxurious metal gradients and heavenly vocals create a dark obsession. Passion seeps through every track, shielding itself with a cool exterior.

The Kelowna-based band is composed of jack-of-all-trades Andrew Judah, Caleb McAlpine, Dylan Ranney, and Nathanael Sherman. Members rotate playing instruments, penning lyrics, and blessing the mic. Described as experimental psychedelic pop and post-punk rock n’ roll, nightshades could be the lovechild of alt-J, Nothing But Thieves and Hozier.

“Feel My Love” pines with quick, dynamic drums, deep bass, and piano. Sporadic string embellishments and a singular, maniacal laugh push and pull listeners. Desperation, but also consideration, is elegantly communicated: “Your new friends tell you what you want to hear / You pay no mind that I've been here for years.” Romance and melancholy melt in “Makita.” A soft sway of nonchalant dissociation: “Puppy eyes / On the couch when you stayed the night / Do you realize you are not the first to arrive?” Vocal harmonies cast a spell, as sharp guitar melodies build tension. The song climaxes with faded chanting and dense piano.

“(it’s not weird)” is a soothing instrumental piece. Echoing acoustic notes warm, while piano refreshes. The final track, “Set the Tone,” fuses hurt and devotion. Guitar melodies are intricately interwoven. Reverb casts a dim and secretive shadow. Exquisite layers of voice shine on moody words: “The devil you know / I’m fine, just leave it alone.”

It’s Not Weird is undeniably intriguing. It’s invigorating in an understated way. The EP is short but precise, locking in listeners. Divine singing and graceful, grunge instrumentals instill a burning desire. Cold and coquettish, nightshades oozes style.

Written by: Jenna Keeble

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thepermanentrainpress · 7 months

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KASSANDRA CLACK: TRIPPIN’ IN HEELS

Trippin' In Heels – Kassandra Clack Release Date: May 12th, 2023

Track Listing:

1. Short Cut 2. Fool For You 3. On Vinyl 4. Where I’m At 5. Algorithm 6. Flash

Kassandra Clack’s Trippin’ In Heels is a debut album infused with warmth and charm. Lyrical prowess is paired with assured, velvety vocals. Channeling old-school Taylor Swift and Carrie Underwood, the country pop collection is sugary sweet with a hint of sass. Listeners will be left satisfied and hungry for more.

The Vancouver-based singer, pianist and actor is no stranger to delicious creations. Parched for project funds, Clack baked and sold cinnamon buns. The results are glazed and glamorous narratives of the ideal self.

The album rises with “Short Cut,” a song about the stress and frustration of modern living: “Give me that dry shampoo / Cause I'm running on fumes / Hitting snooze three times / And I'm stuck on loop.” Country twang latches itself onto glowing electronic notes. Controlled vocal runs beautifying the search for quality of life. “Fool for You” is light, fuzzy and romantic. Bouncy bass and trance melodies support a story of falling in love:” You got me tripping in heels down the block / Got me forgetting my words when we talk.” Shaken and stirred, the song wears its heart on the street.

Dreamy electric guitar and slow piano give “On Vinyl” an endearing 90’s vibe. Jeweled singing capturing everlasting adoration. Witty words build drama and soul:” Might not be in mint condition / But we're all billboard number ones / Like a limited edition / It's a love that will pass on.” Clacks cuts herself some slack in “Where I’m At.” The track trudges through mental mucks with acoustic strings, metallic notes, and wispy vocal harmonies. Lyrics accept and reclaim rest days: “Ain’t no shame in hittin’ snooze / This Snuggie is my business suit / Kitchen boardroom / Different day / Same zoom.”

“Algorithm” decodes love with restless strings and rustic tones. Intensity builds up to a chorus reinforced by energized drums. ”Love is patient, love is kind / It's cold and cruel and brutally blind.” The album is wrapped up with the somber but shimmering “Flash.” Angelic vocal layers paint a portrait of uncertainty: “If my tickets were sold out / Would I be reaching for more / Trying to win the award / Would it really make you love me more.” Soft piano and twang construct a peaceful and picturesque soundscape.

Trippin’ In Heels is an enchanting introduction to Kassandra Clack. Fierce and feminine, her persona is captivating. The artistry is impressively intentional. Resonating lyrics, buttery vocals, and rich instrumentals make the album an elevated experience.

Written by: Jenna Keeble

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thepermanentrainpress · 8 months

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SHADOWFAX: ORPHEUS

Orpheus – Shadowfax Release Date: April 1st, 2023

Track Listing:

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.

Written by: Jenna Keeble

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thepermanentrainpress · 9 months

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BRITT A.M.: IMMOLATION

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.

Written by: Jenna Keeble

Immolation by Britt A.M.

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thepermanentrainpress · 10 months

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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.

Written by: Jenna Keeble

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thepermanentrainpress · 11 months

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SALT SWORD: BOUNDARY BREAK

boundary break – salt sword Release Date: January 27th, 2023

Track Listing:

1. endless sigh 2. 90′s game 3. giants below 4. cloudwalker 5. promise 6. rose coloured 7. this will all make sense

“Boundary break to clip through the edge / Find me in space uncontested by death.”

Lo-fi and hyper pop converge on salt sword’s boundary break. Anchored by electronic layers and heavy lyrics, the album is a satisfying listen.

salt sword, also known as Colin Ablitt, released his debut EP after losing his job and being unemployed for some time. Overcoming a lengthy creative block, he tackled themes of grief, anxiety, and personal growth in the album, as well as the healing power of nature and connection.

“endless sigh” is energetic and reflective. salt sword’s smooth and robotic vocals elevate pessimistic lyrics: “Feeling nothing / In the blood and gore / I keep trying to find myself / In an empty room.” The composition glides, using scales and white noise-esque flares. Futuristic synths and retro sounds congregate in “90’s game.” Catchy melodies combine with clever lyrics, making it difficult not to grin: “I'm holding my heart open like it's a 90s game / With no save function.” salt sword has a sweet, boyband-ish vocal tone that contrasts nicely with the vintage gaming sounds.

“giants below” is an experimental banger. Chaotic clanks fall into rich Japanese strings. Digital notes are sprinkled into the abstract, angular tune. “cloudwalker” is a serene interlude. Bells ring out over sharp, distorted hums. Slow, sad and soft, “promise” encapsulates dreariness with a tinge of hope: “Amplified heat wave / too many paradises paved / gravity keeps me pinned to the floor.” Piano notes are increasingly overtaken by high-tech sounds, signaling the struggle for change.

“rose coloured” is honest and introspective. It’s an authentic exploration of personal stagnation and the hold of mental weights: “I've been a stack of books in the corner, left unread / we've been carrying brick walls in our pockets / they've been stopping us from moving ahead.” The music still maintains a cutesy electronic bounce and curious, inflated vocals. The last track of the album quickly states “this will all make sense” with natural cricket sounds and textured lo-fi percussion.

boundary break is a pleasant and poised collection that deserves to be savoured. salt sword’s artistry heads in a direction perfect for an artificial, digital society that craves authenticity.

Written by: Jenna Keeble

boundary break by salt sword

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thepermanentrainpress · 1 year

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GILLIAN STONE: SPIRIT PHOTOGRAPHS

Spirit Photographs – Gillian Stone Release Date: November 18th, 2022

Track Listing:

1. June 2. Amends 3. Raven’s Song 4. Solitude 5. The Throne

Gillian Stone’s Spirit Photographs is sonically and spiritually stunning. A beautiful and meaningful conceptualization of the grief journey. Stone’s pristine and ethereal vocals carry the project calmly through emotional waters. She is a natural storyteller, crafting lyrics that simultaneously feel light and cut to the core.

Described as post-rock and drone folk, the album glides through Elisabeth Kübler-Ross’ stages of grief: denial, anger, bargaining, depression, and acceptance. Specifically, the album was inspired by Stone’s experience with a mental health disability, along with spirit photography, an art form popularized during the Spanish Flu to see remnants of lost loved ones behind a portrait subject.

“June” is steady and peaceful. Acoustic strings resonate alongside slow, echoing drums. The track conveys a feeling of exhaustion, while at the same time touting a new beginning and the shedding of heaviness. Lyrics speak of rebuilding amidst devastation: “I dropped off the weight and grew / away from the wall to the west of you / I smelled like truth and your shampoo / in the warmth of the pavement in June.”

Sadness and pain erupt in “Amends.” A toxic hold spilling out through the lyrics: “In my 20’s / filled with piss and pining / filled with limerence and grieving.” Regret and humiliation permeate under angelic vocal harmonies and intensifying guitar melodies. “I felt you under my breath / growling, mewling in my chest.”

“Raven’s Song” is haunting and dark. Natural lyrics, ritualistic singing and deliberately minimal drums soak in suspense. Occasional strums and clashes of sound accompany a desperate and self-destructive hope: “I will drown in the river to snuff its life / Drowning in the river to stay alive.”

To symbolize the depression stage, Stone includes a graceful rendition of Black Sabbath’s “Solitude.” Electric notes slowly confront inner-judgement: “The world is a lonely place – you’re on your own / Guess I will go home – sit down and moan / Crying and thinking is all that I do.” The negative rumination and self-awareness encapsulate the feeling of never-ending despair.

“The Throne,” which is the last song on the album, represents acceptance. The light of healing after overwhelming anguish. Fast-paced drums and Stone’s powerful, crystal-clear vocals build up to a beautiful release. Lyrics reflect on a new evolution: “I love him, oh I love him / I kissed him round the ankles / I nuzzled at his skirts / as he pulled me from the sea.” With hindsight, the struggle and suffering morphs into personal growth.

Written by: Jenna Keeble

Spirit Photographs by Gillian Stone

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thepermanentrainpress · 1 year

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JOHN WHITE: FAMILY

Family – John White Release Date: December 2nd, 2022

Track Listing:

1. Better Days 2. Whoever You Want To Be 3. Wrong Intentions 4. Moments Will 5. Family 6. Stars 7. John White’s Road Less Traveled

John White’s Family is an inspiring and comforting listen. Soft indie vocals blend with touching lyrics and spacey trances. Drawing on his South Los Angeles roots, John White cultivates a sun-kissed and polished essence that is effortlessly charming.

Family is the creative release from a dark period in John Dominguez’s life. After the passing of his father in 2021, he used music as an outlet to work through feelings of love, loss, and acceptance. This background context is laid in “John White’s Road Less Traveled.” A beautifully shot visual film was also created for the album. The video, which feels like a dreamy, Californian coming-of-age narrative, elevates the musical package.

The first track of the album, “Better Days,” is raw and honest. Slow, acoustic guitar and harmonious vocals grapple with finding hope in the depths of grief: “Feeling out of place / Wish I knew a better way to communicate.” Sadness permeates, but the music consoles. “Whoever You Want To Be” is gentle and considerate. Alluring synths join sweet, sensitive lyrics: “I was driving down the 605 / Tryna read your mind on the passing side.” Energizing echoes supporting an overall peaceful sound.

Pain and resilience emerge in “Wrong Intentions.” Deep vocal tones determined to overcome suffering: “But I don’t wanna stay / Alone in my mind / No, I don’t wanna stay / Hoping it gets better with time.” The tune is dynamic. Tranquil verses build up to a chanting chorus. Blaring synths and delicate chimes add to the vivid, rich audio. “Moments Will” is a misty, existential sunset. Smooth notes and sharp bass fade into introspective words: “Chasing horizons I can't replace / With futures that I can't see the same / I miss the people who made me who I am / And I’m afraid I’ll never see them again.”

The title track of the album, “Family,” is an uplifting anthem. Catchy melodies and words give the song a universal appeal: “Don't listen to the ones that's negative / They just mad cause they ain't relevant / Focus on who you gotta do better for / And show the world.” It instills a breezy motivation to cherish those close to your heart. “Stars,” the closing song of the collection and a personal favourite, stuns with slow burn galactic synths. John White’s falsetto runs are angelic and captivating. The timeless bliss of reflection and the permanence of grief: “Inside my mind just flying / I aim it at the stars / That keeps me right where you are.”

John White’s Family weaves your heartstrings. Pristine electro-pop production and deliberate writing quickly make a long-lasting connection. I look forward to the release of his debut album, Through the Trees, later this year on June 23rd, 2023.

Written by: Jenna Keeble

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thepermanentrainpress · 1 year

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BRASS CAMEL: BRASS

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.

Written by: Jenna Keeble

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