#alexa tarrayo

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.

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.

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

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

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!

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

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

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.