Andy Shauf's The Party

It always seems like when things go awry in the world, beautiful music is created to help balance out the ripples that get created. So as depressing as this year got, there were so many good albums that came out: the Hip, Secret Path, Blackstar, PUP, Bon Iver, etc etc etc. On top of the great albums of 2016 for me is Andy Shauf's The Party.

This is one of those albums that immediately took hold of me when I first heard it and dominated my personal soundtrack ever since. I listen to it an unhealthy amount. My obsession with this album has reached the point where I’ve become that annoying dude who can’t stop pushing it on everyone. If we’ve had a conversation longer than 10 minutes over the past few months, I’ve probably taken the liberty of asking, “Hey have you heard of Andy Shauf?” And when you say no, I say “oh my goddddd, you haaaaaave to check out this album maaaaaaan.”  Elongating my words for maximum effect, pleading that you listen to it so that we can be on the same page.

The Party is a not just a collection of songs, but a collection of co-mingling characters where each song chronicles one or two characters’ perspective of the same party. Like any party, this album contains the inevitable insecurity, heartache and intrigue that result when you mix friends, lovers and secret admirers with cigarettes and excessive boozing.  The words are written with a natural, observational ease; similar to the way Paul Simon writes, more in the tone of a conversation rather than lyrical prose. The story of this party is paired with Andy Shauf’s warm, piano driven musical compositions that mix simple, yet intriguing melodies with chord progressions that resemble classic pop like Randy Newman, Beach Boys or The Beatles.  There is even some Ron Sexsmith influence apparent in songs like The Worst In You.

As I mentioned before, I’m obsessed with this album, so naturally I’ve attempted to dissect exactly what went down at this party. There are reoccurring characters that pop up throughout the album like Jeremy, for example, the resident asshole of the party, or his sweet, unassuming girlfriend Sherry who can’t help but stay with him despite a drunken suitor blabbing to her about his indiscretions in an attempt to win her over. Oh the drama! The album starts with The Magician, which details the struggles of an insecure attendee who makes puts on a show, using sleight of hand and performing tricks to avoid revealing their true self to the room. The song builds into sweeping string and piano arrangements that bounce around like a carnival and ends with the Magician internally exclaiming that he or she is really “just a shaking hand without a concrete plan.”

Next, Early to the Party is about the girl who shows up way too early, waiting for her boyfriend to get there, “stressing out the host, pulling teeth ‘til everyone arrives.” The song has a musical break where a trance like string arrangement that builds harmonies on itself as it weaves between the underlying groove. Finally snapping the trance, the girl “bites her lip as he walks off with his friends, leaving [her] all alone once again.” This album is filled with little moments like this. Little personal interactions that seem insignificant when mixed in with the haze of the party, but when observed on their own, they can be devastatingly vulnerable.

The party continues with alcohol influencing the relationships in the room with Twist Your Ankle; a song with both perspectives of a girl and her too-drunk dance partner who is falling all over the place and realizes “everybody’s laughing at me, I wish I’d just stayed home.” This is followed by Quite Like You, which is the first mention of Jeremy (the asshole) and Sherry (the girlfriend).  One of Jeremy’s best friends gets too drunk and professes his love to Sherry, while also ripping Jeremy apart to a happy go lucky melody. Begin Again is another perspective of someone who resents Jeremy’s ability to do whatever he wants seemingly without consequence.

Andy Shauf seems like the ultimate wallflower. As if he has spent his life at the party, just observing. His firm grasp on the human condition is showcased by his ability to pinpoint small details that reveal the naked truth about our inner insecurities as people.  The Worst in You is about a guy who is trying to find his girlfriend in the party, hears her laughing in another room and gets that sinking feeling you get when you assume the worst about your partner. Is she off with some other guy? When he realizes the laughing was innocuous, that feeling switches to shame as he sings, “Why do I always seek the worst in you?”

The next song is To You. This song struck me to the core the first time I heard it live at Hillside this year. It’s the reason why I immediately went out to find his music after the festival. It has this perfectly melancholic piano progression with lyrics that mimic one side of a man’s drunken confession of romantic love to his good friend Jeremy. As you know by now, Jeremy is a straight up asshole, so this confession is rejected in devastating fashion, but you never hear actually hear that side of the conversation, you only hear the person confessing. It ends in severe back peddling where he sings, “Get over yourself, I’m not in love with you, it just came out all wrong.” Ughh.  Thankfully, Eyes of Them All relieves the tension created by this confession with an upbeat, happy tune about pining for the muse of the party as she dances on her own.

The last two songs take this party to a dark place. Alexander All Alone is about a man who dies at the party (yea, this party is hardcore). He ends his life in despair and makes the harrowing realization that even in death; he can’t relieve the turmoil within. There is one repeating note on the piano that continues throughout the song like a constantly dripping tap, as if to torture you along with Alexander’s inner hell. The album ends with Martha Sways, a subdued but gorgeous arrangement of acoustic guitar and strings as Andy Shauf sings over top “Dance Dance to the radio, while the devil takes control.” It’s a song about losing the love of your life and struggling to move on with someone new.

Every song on this album has the ability to connect with you on a pure and deep emotional level. It’s to the point that the characters feel real to me, I feel like I them personally. The other astonishing thing is that Andy Shauf wrote and played every part on the album, except for strings. Whaaaat? The Party is a singular artistic effort that sounds completely organic and comfortable.

I could probably write another thousand words and properly geek out on it, but it’s Christmas Eve and I’m home for the holidays. My little nephew is here and Uncle Jay has a responsibility to make fart noises, throw him around like a rag doll and make him laugh as hard as possible.  I’ll leave you with a recommendation: oh my goddddd, you haaaaaave to check out this album maaaaaaan. 

-Jay

"Am I Gonna Be Alright?"

One year ago, I lay in bed, strung out on Netflix, carrying a heavy weight within my chest.  My 9 year relationship was over. “It hurts so hard, a memory [I] can't forget”. “Under the pressure, [am I] gonna be alright…?” At the time I had fallen into a great darkness that had consumed my positive outlook. I shut everyone out. I didn’t want to talk. I didn’t want to move. I felt as if the ground beneath my feet was slowly crumbling to the sea. I was paralyzed in the moment before breaking the surface tension, unknowing of the dangers awaiting me. Usually I’m pretty quick to find a solution; a logical out; a positive route, but this time I was defeated. Love can leave you bleeding. 

“Welcome to the edge of decay

Have you been here before? 

With the lines in your face

All alone and hollow”

-Lifting Cure

As I sit here and reflect, I’m pleased to say I can address my turmoil with clarity. One reason this album resonated to a broad audience is because we’ve all been “on the edge of decay”. Maybe you're just moments from your foundations cracking and you’re left holding tarot cards close to your chest, praying for those dark predictions to prove false. It seems too often we suffer and must cope with loss and grief. Many nights, after I couldn’t strum my grief away anymore I’d retreated into “The Great Detachment”. My life in pieces gravitated towards the shared emotional tragedies and refreshing honesty revealed in human condition. Mystified by the unexplained connection between music and your soul, your feet lift off the ground when you plug your earbuds into your brain.

I remember Jay showing me “Amerika” on one car ride to a gig. I couldn’t get it out my head. The crisp hits of the snare, heavy backbeat layered among dispersed tremolo guitar lines is an aurally fixation only amplified when re-listening.  I was even lucky enough to have a reserved a spot to see Wintersleep’s CBC run of “The Great Detachment” in Toronto. My bandmates encouraged me to see this exclusive performance. It was a once in a life time opportunity complete with an acoustic rendering of their hit “Amerika”. I cancelled, gaining control of my life for a few fleeting movements, the feeling of weightlessness washing over my brain. I sank back into my cloud of unwashed sheets and proceeded to waste made up time, detaching myself from my friends, family and self. Maybe I should have gone…Clearly I would have enjoyed myself, and considering how much Wintersleep’s sixth album provided comfort and stability, it may be my single musical regret of 2016. Retroactive decisions never seem to work out.  

Beyond the Downie grade poetry, musically this record flows effortlessly between each track. Every song maintains a simple arrangement of complex musical phrases and progressions. Loel Campbell’s massive drums are reminiscent of Bonham, as compelling as The Hip’s Johnny Fay, yet as intricate and intentional as East coaster Phil Maloney of Hey Rosetta! The drums help carry the weight and excitement of the work. Each rhythmic idea originates naturally intersperse with captivating melodic gestures. Overall, Wintersleep creates a conceptual soundscape of the grief ridden mind, amongst the recesses of the subconscious, highlighting the melancholic sadness and hopes we all experience.

As this year passes over us we need moments of quiet reflection and mediation to grow. This album’s uniquely beautiful, haunting harmonies and unforgettable refrains are aurally therapeutic. We must not deny the power music has over us. Wintersleep embodies the perfect combination of pop music accessibility, indie-rock creativity and lyrical poetry that has the ability to transcend the human condition with honesty and realism.  “The Great Detachment” cuts inside your head and occupies your mind. While you age and perspectives change, this album matures in flavour and fullness.

“All my friends are running away

At exceptional pace

In the grass of their lawns and lousy private party

Are you so sure

A lifting cure”

- We may never meet, but thank you for the music and support. 

-AJ Fisico

Long Range Listens to 2016

Well, the end is nigh... 

Of 2016, that is. It was a crazy, crazy year, and I'm sure many people are happy to see it come to a close. For Long Range Hustle, the end of the year means only one thing: arguing about our most beloved records. Much like last year, we're going to discuss some of our favourite albums of the year with in-depth reviews written by each of us. 

"But how could you pick just 1?" I hear you saying. It certainly wasn't easy. While 2016 had all kinds of flaws, a lack of great music wasn't one of them. So to begin our second annual series of year-end album essays, we're giving ourselves a copout and publishing each of our Top 5 picks of 2016: 

AJ
1. The Great Detachment - Wintersleep
2. Man Machine Poem - The Tragically Hip
3. Hard Settle, Ain't Troubled - Donovan Woods
4. The Party - Andy Shauf
5. Secret Path - Gord Downie

Jay
1. The Party - Andy Shauf
2. 22, A Million - Bon Iver
3. The Dream is Over - PUP
4. Hard Settle, Ain't Troubled - Donovan Woods
5. We Move - James Vincent McMorrow

Josh
1. A Moon Shaped Pool - Radiohead
2. IV - Black Mountain
3. 22, A Million - Bon Iver
4. The White Album - Weezer
5. The Dream is Over - PUP

Mike
1. The Dream is Over - PUP
2. Stillworld - Invent, Animate
3. Heliospectrum - Auras
4. Drift - Erra
5. The Colour Clear - Reflections

Paul
1. Man Machine Poem - The Tragically Hip
2. I We You Me - OSHWA
3. The Dream is Over - PUP
4. The Party - Andy Shauf
5. Brasstronaut - Brasstronaut

All of the above albums are truly stellar specimens, and we bestow upon them our most vigorous recommendations. Keep your eyes peeled between now and new years for long-form musings on the top candidates. 

-p

"Paddle Away" Music Video Is Here!

Our debut music video, "Paddle Away", is finally here and we couldn't be more excited!

Set in the forests of Algonquin Park, the band travelled by canoe into the backwoods, built a stage, and invited our friends, family, and fans to come meet us for a midnight romp in the trees.

The video is being released exclusively by The Spill Magazine, and you can see it here.

Paddle Away Tour Starts April 29

Mmmm it's finally Spring!

How are you?  Did you survive the winter? If you're reading this, you probably made it, so congratulations. To celebrate the return of the sun, we are hitting the roads, rivers, and lakes to bring you some music. As you may already know, we'll be touring out to Winnipeg (FINALLY!) and we'll be hitting North Bay and Thunder Bay on the way.  Winnipeg, your prodigal son and guitar phenom Joshua Weiss will finally be back home! And the rest of us can't wait to finally get to know you in person, so tell your friends/family/enemies/pets we're coming to town!

Here is a complete list of our Paddle Away Spring Tour dates:

April 29th - Toronto - RSVP on Facebook
April 30th - Waterloo - RSVP on Facebook
May 6th - Tweed - RSVP on Facebook
May 12th - North Bay - RSVP on Facebook
May 13th - Thunder Bay - RSVP on Facebook
May 14th - Winnipeg - RSVP on Facebook 
June 11th - Toronto - RSVP on Facebook
June 18th - Waterloo - RSVP on Facebook