Fortune Killers

Harding and her bandmates then finally hit the stage and proceeded to knock everyone right off their feet. Their high-octane delivery of rock guitar infused electropop was greatly enhanced by some eye-popping back-lighting and a laser light show. The focal point of their performance was Harding’s irresistible persona, but this is by no means a one man (or woman) show. Guitarist Brett Faulkner constantly amazed with his virtuosity and versatility, all the while providing the essential texture to the band’s sound. Kyle Lowther’s signature bassline played high in the mix, and for good reason. At one point he leaned forward, almost towering over the crowd, as his throbbing bass took centre stage. And then there is drummer Ariel Tseng, who is simply a phenomenon all to herself. Her unpredictable beats kept the entire affair delightfully off kilter, and when she stood up, drumsticks aloft, pounding her kit with only a foot pedal she had us breathlessly waiting for her to drop the hammer – and when she did it brought on goosebumps.

The band attacked their material with a ferocity that steadily built as the set went on. By the time they reached the finale, the trippy “Dust and Bones”, they damn well blew the dust clean off the bones of the recorded original. But they weren’t done yet. The band re-emerged for an encore – a kick-in-the-balls medley of “Whole Lotta Love”/”Seven Nation Army”/”Sweet Dreams (Are Made Of This)” which sent the already grateful crowd into absolute delirium.

Without a doubt, Isobel Trigger have to be experienced live to be fully appreciated. My ears are still ringing, but I don’t mind. - Ride The Tempo

Felicia Harding has the voice of a Disney princess – and she’s coming to claim her alternative rock crown. Her warm, sweet voice hits every note flawlessly, with her vocals inspired by the likes of Björk, Heart, The Cranberries, Stevie Nicks, and Kate Bush. Surrounding her is the sound of bass-driven synth, intricate guitar riffs and thunderous drum beats, inspired by No Doubt, Florence + the Machine, and Metric. This is Isobel Trigger.

The Victoria-based band’s members and their self-proclaimed titles are Felicia Harding (vocals/keys/hair-tossing), Brett Faulkner (lead guitar/cross-dressing), Kyle Lowther (bass/back-up dancing), and Ariel Tseng (drums/face-making). They describe themselves as “indie alternative pop rock”, which seems ultra-specific, but is actually a good attempt to describe the genre they fall under.

To truly map out all of Isobel Trigger’s influences would take serial killer-like determination, with a very large wall and a never-ending supply of string to connect them all. Their songs are almost orchestral and could easily be used to score a film. Instead of the throaty, husky voices that usually accompany such cinematic beats, Felicia chirps like Snow White, giving the band a unique sound.

The band’s first album, Island (2009) received airplay throughout Canada, and the single “Nightmares” was nominated at the Vancouver Island Music Awards.

At first listen, it’s tempting to compare Isobel Trigger to a mix CD. The songs sound familiar, as if you heard them ten years ago and are just remembering them now. “Nightmares” sounds like classic ’90s grunge girl rock and “By the Light of the Moon” can be momentarily mistaken for a Cranberries song.

If Island could be compared to a ’90s mix CD, their new album can be compared to an iTunes playlist. Their upcoming EP, Nocturnal, is to be released July 29th of 2014. The five-track album includes their recently released singles “Dust and Bones” and “Tiger Shark”. Now that they’ve conquered the 1990s aesthetic, it appears the band is moving towards the future. Their new album explores a new, synth direction with danceable beats, while still retaining similarity to Island with the tracks still diverse enough for the album to feel like a mix.

The single “Dust and Bone” is the first track on Nocturnal. The sci-fi music video for the single seems to appropriately capture the ethereal quality of the song. At first it seems like a dime-a-dozen club song – until the first psychedelic guitar riff hits.

The first listen of this album is a roller-coaster filled with anticipation and surprise. Each individual song jumps from genre to genre, stopping only occasionally before blending it together into one rising crescendo.

The second single on the album is “Tiger Shark”. It sounds like Metric, if Metric was always fronted by Brie Larson à la Scott Pilgrim vs. The World. The shiny beats of “Champion” sound like a more mature version of a Paramore song. “Sugar Cube” introduces a sultry Felicia and minimalist hip-hop beat that give Lana Del Rey a run for her money. The track evolves instrumentally from a lounge-act to an indie rock song comparable to Mother Mother’s Bit by Bit.

“Carry On” somehow manages to combine a Eurythmics-style beat with a twanging guitar to create what sounds like Adele covering Carrie Underwood. On the first listen, you’re sure you’ve heard these songs before. On a second listen, you know you’ve never heard anything like it before.

Isobel Trigger lures you in with beats that invoke a sense of déjà vu before surprising you with a psychedelic riff, piercing wail, or synth beat. Each song is a completely new experience, yet tinged with nostalgia. Once you’ve had time to appreciate their sound, Isobel Trigger’s music stops sounding like a mix CD and starts to feel more like a greatest hits album. - Canadian Content Machine

Isobel Trigger’s April 3rd, 2014 show at the Strathcona Clubhouse was a high-caliber performance. The group’s polished act is characterized by ethereal vocals, heavy rhythm, energy and gorgeous melody. Isobel Trigger undoubtedly belongs in a large performance hall and deserves much recognition.

The set began with “Champion,” showing off the band’s expertise and synchronization. Isobel Trigger is comprised of Felicia Harding (vocals, guitar and synth), Brett Faulkner (guitar), Kyle Lowther (bass) and Ariel Tseng (drums). Harding’s vocals are impossible to ignore. With a lilting, impressive range reminiscent of Dolores O’Riordan of The Cranberries, Harding’s style is silvery and enchanting. Harding is a captivating performer and knows how to engage the audience while maintaining her professional demeanor. Tseng’s skill is particularly apparent in the energy of “Nightmares” and in “Sugar Cube,” keeping a strong beat and a hypnotizing rhythm. The audience nodded and danced with abandon.

The band performed a cover medley of the White Stripes’ “Seven Nation Army” and The Eurythmics’ “Sweet Dreams (Are Made of This).” Though the covers were flawlessly executed, they paled in comparison to the band’s original work.

The star piece of the night was the band’s single, “Dust and Bones,” an addictive track that juxtaposed powerful crescendo with sweet vocals. The song has recently received frequent airplay on The Zone 91.3, during Isobel Trigger’s title as the station’s Band of the Month. The track has definite potential to top national alt rock/pop charts.

“The song is about those formative experiences you had when listening to certain songs for the first time,” Harding says. “[It’s about] the magic you felt, and how listening to them now can transport you back to that time, place and feeling.”

The band has several exciting upcoming events, including: Rock The Royal on May 24th, to celebrate the 100th anniversary of the Royal and McPherson theatres. The event will feature several well-established local acts and pay tribute to 90s greats. Look for Isobel Trigger at Tall Tree Festival on the last weekend in June, and at July 26th at Lucky Bar for the release of their EP Nocturnal.

Isobel Trigger is unique: they have been likened to No Doubt and Florence and the Machine, probably due to their experimental style. Their skill and sound is too large to be contained on a small stage. It will be a pleasure to see the band play the Royal Theatre and other locations deserving of their talent. - The Coastal Spectator

There’s something special about catching the band at the end of a good, long tour. By the end of a tour a band worth listening to is in top form, able to play off of each other as much as they play with each other. May 23 saw Isobel Trigger returning home to Victoria to rock Lucky Bar for the last night of their first big tour, and I was lucky enough to get a hold of lead singer/keyboardist Felicia Harding before their bombastic end to their tour.

The band enjoyed a good reception back east. “Before, we’d just toured B.C. and Alberta, so it’s been really cool,” says Harding of the trek that took her and her bandmates from Vancouver Island to Quebec and back again, playing 22 dates in six weeks. “The coolest part for us was getting all the way to Quebec City and Montreal because we’ve always wanted to do that. It was so different in terms of landscape, people, and culture.”

Even if every show on a tour is a gem, some are bound to stand out more than others, and their first national tour yielded more than one stand out. “Our second show in Edmonton at the Pawn Shop was definitely a highlight because we got to play with our friends REND, who we’re big fans of. It was really well attended, and it was just a fun venue . . .  Our show at CMW [Canadian Music Week, Toronto] was really fun. It was an inspiring experience to be with all of these other Canadian artists kicking ass,” recalls Harding.

I can’t say if this show held up to other highlights of the tour, but it was clear as the band took the stage at Lucky that they were happy to be home, even if they were exhausted from travelling.

Dressed like a band ready to glam-rock the hell out of anyone within ear shot (special shout-out to guitarist to Brett Faulkner on his amazing ‘80s spandex exercise/headband combo), the band blew through a set that featured a few new songs but mainly took from last year’s impressive debut, Nocturnal. The songs being the mainstay of their sets for some time now gave them an extra wallop, with “Dust and Bones” and “Champion” raging hard against the last gasps of the road.

Performing these songs over and over for so long has given the band and Harding an impressive awareness of the relationship between art and artist. “As you continue with a song you form a different relationship with it,” says Harding. “The very meaning of the song can really change for you . . .  Certain songs have an endless longevity. You’re addicted to the song, and even though the meaning might change, the strength of it perseveres. Other songs, you have a wild love affair at first, and then it just kind of dwindles with time.” Judging from the energy they blasted from the stage, the band really loves those songs, and for good reason: they’re damned fine songs.

With a crowd filled with familiar faces and people who knew their songs, Isobel Trigger returned home to Victoria like conquering heroes, blasting ears and getting asses moving around the dance floor. - The Martlet

Isobel Trigger were one of the most entertaining local bands to watch in 2014. Some of my best photos this year came from Isobel Trigger performances. With some bands the lead singer is the only person people pay attention to while the rest of the group stands in the background… not Isobel Trigger. The entire band is almost always doing something that commands your attention. Isobel Trigger had a huge year with a number of festival performances, a new album, being named Zone Band of The Month for April 2014 and signing with Cordova Bay Records. They even were featured in a documentary. This performance of their single ‘Dust and Bones’ at Distikt Nightclub (then named Club 9ONE9 at the time) for their CD Release Show in August is just one example of a band giving their all on stage. - Victoria Music Scene

Courteney Cox Dancing in the Dark with The Boss. Björk sporting a swan dress at the Oscars. The Beatles: Shea Stadium, 1965. Every performer experiences a defining moment. For Victoria band Isobel Trigger, now is that moment – at least locally.

Isobel is a shimmering alt pop/rock gem that caught the eye of Victoria’s music scene makers at exactly the same time, one shining 24-hour period.

Late one evening Ariel Tseng, drummer of the synth-driven four-piece opens an email offering a gig at the UVic graduation party – a show she really wanted to land as a grad herself. The next morning, Tseng awakes to a text from vocalist, synth and guitarist Felicia Harding: they were named Zone Band of the Month for April.

“I’m screaming,” Tseng says. “I can’t go to school. I can’t handle anything. I need to go in an isolation chamber, I’m so excited. And I’m like: ‘What am I going to wear? I need all new rockstar clothes. We’re blowing up right now.’”

While at Uptown to purchase said attire, Harding calls Tseng with more big news: the group will be among acts playing the historic Royal Theatre as a part of the Royal & McPherson Theatres Society 100th anniversary.

“No. Stop it. This is too much in one day,” says Tseng, wearing what can only be described as head-to-toe classic rock star black, in the moments before soundcheck for the grad party at the Strathcona. “I can’t handle this. I’m having a meltdown.”

The windfall continued that evening, when Isobel Trigger was offered a spot at the Tall Tree Music Festival and hasn’t let up. The band soon landed their first fly date for the Smithers Midsummer Music Festival, their latest music video just went live and come July, they’ll release their latest EP, Nocturnal.

But good fortune didn’t follow them straight out of the gate. Former Selkirk College classmates Harding and lead guitarist Brett Faulkner have been developing Isobel Trigger since 2009. Isobel – for softness and femininity – and Trigger – a symbol of explosive rock – began with a jazzier sound, built on the foundation of Harding’s solo songwriting efforts. Since bassist Kyle Lowther joined two years ago and Tseng in 2013 – via “Craigslist: online dating for bands” – the writing process has become a collaborative, organic experience and their complementary musical interests have yielded super-charged danceable beats with unexpected vocals all their own.

“As a songwriter, I always felt like I wanted a band,” says Harding, rising to Tseng’s stage fashion standards in glistening body paint and gold-studded boots. “I enjoy doing solo stuff from time to time, but in my head I heard this full-band sound and I really, really wanted to work in a team with other people bringing their flavour to the music. Making these recordings has really been my dream.”

Her passion for Isobel Trigger and their tight relationship with supporters is one shared by each of its members. Despite upholding the truly bassist understated presence in the conversation, Lowther chimes in with gratitude for sharing the experience to aspiring musicians in the audience.

“I always want to see people out watching our band and thinking: ‘Cool, I want to be in a band now,’” he says. “I really enjoy giving inspiration to others to make music and play music.”

Inspiration, positive energy, good vibes – Harding chalks it up to universally accepted communication.

“You get to this place with an audience where you’re all creating a collaborative moment that’s really enriching, extremely gratifying – and really addictive.”

“And it’s really fun,” Faulkner says. “Who doesn’t love a rock show? I’m not sure if it’s narcissism or hedonism, but somewhere in the middle, that’s what it’s about.” - Monday Magazine

Victoria pop rock band Isobel Trigger, who lent their drum set to all three of the bands for the night, borrowed Rend's bassist Jeff Quinn who fit right in like he’d always played with them.


“We’ve never played with him before. We’ve never even jammed with him,” enthused lead vocalist Felicia Harding, leaping around the stage in between playing Korg synthesizer and crooning like a more jazzy Metric.


There was a lot of synth pop and jazzy, hyperactive vocals and a while lot of energy. After left handed guitarist Brett Faulkner, whose parents were listening intently in the audience, broke a string near the end of the set, he borrowed Rend guitarist Steve Roe's right handed guitar for an excellent version of Isobel Trigger’s single “Dust and Bones” from their new CD “Nocturnal.”


During that, Roe changed Faulkner's guitar string for him in time for the band to play a medley of Led Zeppelin's “Whole Lotta Love,” the White Stripes' “Seven Nation Army” and the Eurythmics’ “Sweet Dreams are Made of This” to end their set - L.A. Beat