Faouzia first gained public notice posting song covers on YouTube, and her 2022 “Minefields” collaboration with John Legend has amassed over 300 million views. The 25-year-old Moroccan-Canadian singer-songwriter, also a classically trained musician, recently left her music label to independently release her music. “FILM NOIR,” her debut album, returns to the roots of her early music, which is more ethereal, grand and personal than the traditional-pop songs she released while still under her label.
The opening track, “LOST MY MIND IN PARIS,” starts out with a jazz saxophone and distant sirens, reminiscent of the titular “City of Love.” Faouzia then introduces a dramatic situation of getting revenge on a cheating partner, with a sound that seems like it belongs in a movie. The unapologetic violence of the lyrics contrasts the typical romanticized idea of what Paris is known for, while still incorporating lines in French, which is often considered the most romantic language. “LOST MY MIND IN PARIS” sets the tone for the rest of the album, promising a mix of heartbreak, betrayal and passion.
Accompanying the artistic music video, the passionate lyrics of “PEACE & VIOLENCE” feature a devotion to a partner so powerful that it defies logic and reason. Even the title of this single highlights the contrast between these opposite forces of peace and violence, and how a volatile love blurs the lines between peace and the willingness to “start a war.” Faouzia’s layered vocals and the minor key contribute to this tension, painting an appropriately fiery backdrop.
“UNETHICAL” is another single from the album with a music video, and the contrast of red and white imagery in the video contributes to the powerful sound and message. The emotionally charged lyrics use metaphors of physical harm to describe an emotionally toxic relationship. Accompanied by a swelling orchestral background, Faouzia practically begs this person to let her go so that she can stop suffering for them.
Less than two minutes and with only two repeating lyrical lines that are completely in French, “TOUS CES MOTS” may seem almost too simple at first. The two repeated lyrics roughly translate to “all these words for nothing, all these words in vain.” With so few words, the song relies more on their deliberate repetition, and the progression of its sound– Faouzia begins singing almost as a whisper, and ends in a lamenting cry for someone to truly understand her.
A more lively track, “SWEET FEVER” blends Faouzia’s signature pop and R&B sound. Despite being more upbeat, it is ultimately the lyrical child of “PEACE & VIOLENCE” and “UNETHICAL,” as Faouzia explores the irony of calling a fever “sweet,” but now deals with an addictive love that is still tempting.
“DON’T EVER LEAVE ME” presents a slight shift in the sound of “FILM NOIR,” and is more reminiscent of her 2020 hit song “Tears of Gold,” implementing more bass lines and echoed phrases. Lyrically, the track has strong religious language and themes that act as a prayer to a loved one. “This pain is holy,” Faouzia sings, suggesting that her love and hurt are inseparable. There is, yet again, contrasting parallels, this time of suffering and resilience.
A cover of the 1999 hit song by Sting and Cheb Mami, Faouzia originally performed “DESERT ROSE” live in 2024, as a contestant on the Chinese singing competition “Singer.” It is a stark shift in sound from “DON’T EVER LEAVE ME,” far more slow and sweeping, and arguably has the best display of Faouzia’s voice on “FILM NOIR.” The ethereal Arabic lyrics combined with her haunting vocals detail longing for an unattainable, fiery and all-consuming love.
“WEIRDO” is the most introspective track on “FILM NOIR.” Its vulnerable exploration of feeling unworthy of love is highlighted by the repetition of the word weirdo over and over, as it presents a destructive cycle of self-doubt and regret. The background string instruments swell throughout the song until the end, where they drop off and the isolated vocals echo and slow down, simulating how she becomes stuck in her own head.
The next song, one of the few with a music video, “PORCELAIN” deals with a similar topic to “UNETHICAL.” Faouzia mentions physical harm to describe a cyclical abusive relationship, but in this track, the physical abuse seems to be more literal. Her strong vocals are prominent, and as the track progresses, they swell to a cry. The song ends with a soft hum, as if she’s left after breaking with the pieces of herself.
The instrumentation of “ORNAMENT” blends an upbeat whimsy with haunting loneliness, a strong sonically shift from the previous track. Its lyricism is a stand-out on “FILM NOIR,” full of symbolism and vivid imagery. “Said I look pretty, crimson on my ivory gown,” Faouzia sings, explaining how her partner would romanticize and downplay her pain. She then flips the narrative on its head, telling this person that their “heart is nothing but an ornament,” something decorative but ultimately hollow and without meaning.
This closing track, “PRETTY STRANGER,” is a bit shorter than some of the other songs, but its message still manages to resonate. It is arguably the most dramatically cinematic of the entire album, while still managing to stay simple and soft. “I’d rather be who you want me to be,” Faouzia sings, presenting a relationship where she felt the pressure to change for her partner. Thematically, it ties together the ideas throughout “FILM NOIR,” and acts as a final goodbye to her partner, and to the part of herself that loved him despite everything he did to her.
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Featured Image via Faouzia Music
