But the lyric sheet provides discreet clues to know whose voice we’re hearing at any given moment. With Shauf singing everything, it’s not always obvious at first whose point of view is represented in each song. Alongside story editor Nicholas Olson, Shauf refined Norm’s narrative until he felt the bones of the story as he imagined it lay close enough to the surface to be dug up by anyone who wanted to go looking. Three are narrators, inside whose perspective Shauf submerges us for one or more songs. Its cast of characters includes four voices in all. Norm’s story takes shape through little epiphanies, accumulating like debris from a series of implosions. Most of the action takes place in the gaps between tracks, but Shauf deliberately left open spaces through which audiences could enter to find the story and create meaning for themselves. We asked him to take us into the weird world of Norm and a few months later we received an email with a link to this video and it was everything that we hoped for and much more.” There’s a story unfolding on Norm, leaping from song to song and video to video, illuminating the comedy and cruelty of humanity. “He takes normal things and makes them odd, but also makes odd things seem totally normal. “I love Chad’s animation style so much,” Shauf says of the video. The accompanying video, animated by Chad VanGaalen, features a returning character from Shauf’s “Catch Your Eye” video, and offers a fantastical continuation of its predecessor’s plot. Shauf hates talking on the phone, so, imagining someone different, he wrote “Telephone.” “I wish you’d call me on the telephone,” he begins in a half-whisper, “I want to hear your voice // reaching late into the night.” The song’s yearning intensity goes to unusual places. “Telephone” follows the “jaunty” and “existential” (Stereogum) lead single “ Wasted On You” and “ Catch Your Eye,” in which “a dreamlike serenity is undercut with unsettling desperation” ( New York Times). With Norm, Shauf upended his songwriting methods, creating a deeply haunting and unpredictable universe. Motherwell was humbly recorded live off the floor in one afternoon with college mates, and released in October 2020 on Birthday Cake.Andy Shauf returns with “ Telephone,” his new single/video off his forthcoming album, Norm, out February 10th on ANTI. The music was inspired by their own coming of age story, and written in hopes of providing the soundtrack to a shaping moment for someone else. Leith Ross’s debut EP Motherwell is an incredibly honest and intimate collection of songs. Like a metaphorical beating heart on a sleeve, Ross’ music is raw, vulnerable and often received with a deep sense of catharsis. As a young person, songwriting quickly became Leith’s most dependable method of processing their identity and lived experiences. Struck by a culmination of inspiration sourced from their celtic roots, and potentially the Highschool Musical series, Leith Ross became a vessel for their very own distinctive musical style. Leith Ross is a singer-songwriter and performing artist born and raised in the outskirts of Ottawa, Ontario. A collection of nine songs culled from around fifty tracks recorded by the prolific Shauf during the writing of The Neon Skyline and presented in a near-unfiltered form, the unstudied rawness of the songs on Wilds is a revealing look at Shauf’s mindset during the time he was writing Skyline-what he calls “a glimpse into the window of how chaotic things were”-as well as a peek into the creative process behind a proper Andy Shauf studio album, a snapshot of how the multi-instrumentalist first begins building his songs into more ornately arranged final products.Įmbedded Video Helena Deland - Fill the Rooms (Live From The Roof) LEITH ROSS But Shauf has never exactly been held up as a confessional sort of songwriter, even though underneath the carefully plotted narratives and conceptual storylines, he’s always been writing about himself. THE CANADIAN SINGER-SONGWRITER USES THE CONCEPT ALBUM TO RECREATE THE QUIETLY STIRRING SCENES OF A DEAD ROMANCE.Ĭanadian musician Andy Shauf pens songs that explore universal truths through picaresque vignettes, from the colorful people-watching observations of 2016’s The Party to the tale of a failed relationship explained over one night at a local watering hole on last year’s The Neon Skyline.
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