![]() Shauf will tour throughout North America and Europe this spring with fellow ANTI- Records artist Yves Jarvis as well as select dates with Haley Heynderickx, Helena Deland and Cassandra Jenkins.įor more on Andy Shauf, make sure to visit his website and follow him on Instagram and Twitter.įor the last concert announcements at the Walt Disney Concert Hall, follow the LA Phil via Twitter and Instagram. In addition to Shauf’s upcoming headline concert date at the Walt Disney Concert Hall, the venue along with the LA Phil have a stacked calendar including an evening featuring the music of Edward Elgar’s Cello Concerto, with soloist Camille Thomas Swedish singer/songwriter José González and Nas with the LA Phil. Adīuilding off the surprise released of his 2021 album, Wilds, Shauf strips down to a guitar and drums in his new singles, baring more emotional weight in the sparse sound. Cleaning a knife in his kitchen, he envisions stabbing couch cushions and other inanimate objects until he goes outside to stab the ground and accidentally cuts himself instead. In â€Jacob Rose,†Shauf depicts a young boy curious about what it would be like to stab something. ![]() The music video for â€Satan,†directed by Canadian independent filmmaker Ryan Steel, was shot deep in prairie winter outside of Winnipeg and captures a feeling of isolation as we watch a young individual listlessly killing time in her motel room before the focus shifts to a cold, snowy tree lined wilderness with a campfire burning in contrast. Sign up for the 10 to Hear newsletter here. It arrives just shy of two years after Shauf’s earlier LP The Neon. It’s titled Wilds and it’s out via Anti. ![]() Change all the names and the album can still hit you like a speeding car.Ĭatch up every Saturday with 10 of our best-reviewed albums of the week. Andy Shauf has announced a new album that’s out this Friday, September 24. You don’t have to map out that social network to be struck by the desperation of the lotto-playing lovers on album opener “Wilds (Judy)” or by the sadness of the unanswered questions on album closer “Jeremy’s Wedding (Wilds).” At heart these are songs about living with the weight of sadness, about the accumulation of severed relationships and missed connections and regrets both big and small. All of these songs and their wayward characters are connected, but you don’t have to be familiar with any of Shauf’s previous albums to find something relatable and powerful in these new songs. There’s a hint in the lyrics that the doomed jaywalker is actually Judy’s forlorn ex, the same guy who narrated “Where Are You Judy” on The Neon Skyline, and it’s not a stretch to think he’s nearly killed just as he’s leaving that bar. Venue Great American Music Hall 859 O'Farrell Street 94109 San Francisco, CA, US +1 4 46 upcoming concerts Capacity: 600 Additional details Price: US 29.50 US 33.50 Doors open: 20:00 For fans of: Indie & Alt. The humor underscores the pathos, and vice versa. ![]() He’s less concerned about the root of such melancholy and more interested in its effect in the real world. “Jaywalker with your head hung down, never saw it coming,” he sings over a marching beat, “it” being the car that slams into the protagonist who is so lost in his worries that he’s oblivious to oncoming traffic. “Jaywalker” is like one of those gruesome old highway safety films, except the danger here is reckless moping rather than reckless driving. There’s always some dark fear or gnawing anxiety just under the surface of his songs. Shauf can be clever, but like John Darnielle-another writer given to self-imposed songwriting conceits-he’s never merely clever. It’s a fine setting for his distinctive voice, which chews on his consonants and wrings his syllables into unusual shapes. And the rhythm section seems to be mocking him on “Jeremy’s Wedding (Wilds),” especially that “Walk On the Wild Side” bassline. An electric guitar punctuates his worries on “Call” with a single funereal strum, then disrupts “Green Glass” with a riff as unruly as a cowlick. Forgoing the lush sound of previous albums, Wilds is lovingly, wryly minimalist, and he arranges these instruments-most of which he played himself-as though blocking a short play with a small cast. Shauf has described it as a collection of demos, but that might actually be underselling it, because there’s as much wit in his playing as in his songwriting. By ceding control, Shauf allows the songs to wander wherever they want, paying their tab at the Skyline and heading out into the world.Įven as he extends his universe, he pares his songs down to their barest bones. Because it’s beholden to no overarching conceit, the music sounds looser, a bit wilder, more lackadaisical in a sadsack sort of way, its arc less predetermined and its themes emerging more organically. Despite such tortured origins, the album works surprisingly well. It’s all part of the Andy Shauf Extended Universe. It’s not strictly a sequel, but it’s not completely unrelated either. Wilds combines those two ideas into something that’s neither/nor.
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