Andy Shauf/Wolf Parade
Andy Shauf
The Neon Skyline // Arts & Crafts
With 2016’s The Party, Andy Shauf created a world which followed a group of friends at a party and the different situations and dramas that resulted. On that record he developed his narrative songwriting style that was foreshadowed on 2012’s The Bearer of Bad News, creating a well crafted concept album to positive review. The Party became Shauf’s breakthrough, reaching his career to new heights, touring internationally and making appearances at some of the worlds largest festivals. 2019 saw Shauf reforming Foxwarren, a band from his youth in the prairies of Saskatchewan. The Foxwarren release alloted the opportunity to take a step back in duties, writing an album where he wasn’t exclusively responsible for writing, performing and recording the album like his solo work.
On Neon Skyline, Shauf is once again leading the reigns, extending on the writing style of The Party with a concept album more cohesive and connected than his last. Lyrically, the story follows the narrator who asks his friend Charlie out to “The Neon Skyline”, the two’s regular bar. The night goes on as the two drink and converse with other regulars, all the while our narrator lingers on memories of his past relationship. After Judy, his ex-girlfriend enters the bar, he finds himself challenging the things he misses and resents about her, taking the listener with him. As he wishes things could be the way they once were, and gets glimpses of that past, he eventually realizes things aren’t meant to be and he may be better for it.
Where the Saskatchewan born, Toronto based singer songwriter excels most is in his ability to form and shape setting and character within his narrative. His songwriting differs from most musicians with his ability to express emotion through dialogue between the characters in his song rather than a personalized first person perspective. This allows listeners to feel the emotions with the characters as the dialogue reveals it. This also allows the characters to develop a charm to them as the album is full of witty humour displayed best on tracks “Moon” and “Try Again.”
The backing music to The Neon Skyline’s narrative provides the perfect soundtrack. Album opener “Neon Skyline” is a light bouncy tune that provides the characters hope towards their night ahead. As the narrative continues, the album takes a darker, more solemn turn with “Thirteen Hours”, “Things I Do”, and “Living Room.” These three provide the story’s lowest points as our lead contemplates whether he was the fault for an accident that found Judy in the hospital, walks in on Judy with another man, and is unprovokingly told a much too personal story. All are set to more minor keys, more minimal arrangements and structures, and contemplative solemn melodies. The album continues in this tradition with the more folksy “The Moon”, the more giddy “Try Again” and finally the somber leanings of “Changer” as our main character comes to terms with the realization that things can’t go back to how they were.
The instrumentation within the record lies very closely to The Party, wherein most tracks contain acoustic and electric guitar, bass, piano, percussion and clarinet. What differs most is the fact that the album was largely written on acoustic guitar rather than piano like many of his previous efforts. With this release the singer songwriter wanted to take a more folk-based approach relying on the strength of the melody over arrangement to fill out the songs. This is most evident in tracks like “The Moon” and “Clove Cigarette” where minimalism is prioritized, Shauf’s acoustic guitar takes the lead and melody is at the forefront.
The Neon Skyline is a fantastic record that makes a perfect succession to all the things that made The Party so great. Conceptually similar (but more developed), 60s esque arrangements, pop structures, and Shaufs ability to develop character and narrative through strong melody, shapes The Neon Skyline into a very digestible and enjoyable listening experience.
- Kennedy Pawluk
Wolf Parade
Thin Mind // Royal Mountain Records
Thin Mind, Wolf Parade’s fifth studio album, was released on the much loved record label Sub Pop on January 24th. Its been just over two years since they last released music but if you like previous Wolf Parade albums, then you’ll definitely like Thin Mind. The band’s founding member Spencer Krug is out in full force with wonderful synth lines, unconventional lyrics, and his patented singing style which sounds like he is perpetually standing in water that’s just a little too cold.
Thin Mind showcases Wolf Parade’s brand of dirty dance-rock. A familiar synthesizer leads the way and dirty indie-rock guitars greet you throughout the ten upbeat tracks. I’m a big fan of Wolf Parade from their Apologies to the Queen Mary days, especially when an acoustic piano seems to be drunkenly played and Spencer Krug sings as if he’s being pinched by very tiny lobsters. If you’re like me then songs like “Out of Control” and “As Kind As You Can” will bring you all the way back to 2005 Wolf Parade nostalgia.
Much like the album art which features gun wielding robots, hidden letters, and what appears to be a “Tim Horton’s” sign overgrown with weeds, the harder you focus the more you experience. Thin Mind feels much more like an album as opposed to a collection of songs all released on the same chunk of vinyl. There is a persistent theme of instability, uncertainty, and fearing loss; while a consistent uptempo style keeps the music flying at you. Lyrics like ‘Staying up all night and my mind is leaking. I can feel the waves of fear come creeping. Thought they moved the stars while we were sleeping. No one will believe us now.’ are juxtaposed by straight 8th notes on an 80’s style guitar and alternating synth notes giving the song a bouncy feel.
If you’re new to Wolf Parade, Thin Mind will give you an accurate depiction of the unique fun the band is all about. If you’re already a fan, then you know that you’re getting into just enough strangeness to dance.
- Jordan Norman
