Album Review: Foxwarren - S/T
There are places where my musical tastes and interests
overlap slightly with those of my boss.
She’s around two years younger than I am, but was raised by
parents who played her Joni Mitchell records rather than plunking her down in
front of MTV as a child.
She has a background in songwriting—but is very particular
about her sound; when I offered her reverb and delay pedals to run her acoustic
guitar through, it only took one string pluck before she was like I DON’T LIKE
HOW THIS SOUNDS PLEASE REMOVE THESE IMMEDIATELY.
Not everything I’ve passed her way for listening has worked
out—Emma Ruth Rundle’s guitars were too loud—but there is the slight overlap,
like Phoebe Bridgers, The National, Nick Drake, and The Cactus Blossoms.
Another place of overlap is idiosyncratic Canadian singer
and songwriter Andy Shauf—specifically, his 2016 concept album The Party, which we both have copies of
on LP. She had discovered him, as she does with most things, through a NPR
‘Tiny Desk’ performance; I had found out about Shauf through an internet
friend’s Facebook post shortly after the album’s release, comparing the sound
to XO and Figure 8-era Elliott Smith.
Remaining relatively quiet throughout 2017, I was wondering
what Shauf was up to as of late, now that 2018 is coming to a close. I was
surprised to learn that he has opted to follow up The Party with not another album released under his own name, but
rather, released through his band, Foxwarren.
A group of childhood friends, comprised of Shauf, guitarist
Dallas Bryson, and the sibling rhythm section of Darryl Kissick on bass, and
Avery Kissick on drums, Foxwarren formed over a decade ago—roughly around the
time Shauf released his first solo album, Darker
Days, though this marks the first time they’ve ever committed anything to
tape with the intention of releasing it.
Their self-titled debut, issued through Shauf’s connections
to Anti- Records in the United States, and Arts & Crafts in their native
Canada, was recorded in the Kissick brothers’ family home, as well as in a
rental house in Regina, Saskatchewan.
A relatively concise 10 tracks spread across 35 minutes, Foxwarren finds Shauf (as the band’s de
facto frontman) leading the group through a sound that isn’t drastically
different from his solo output, but it’s different enough, as a whole, that you
can tell this is the work of a collaboration—or a different direction, rather
than a solo outing.
After finding out about Shauf’s Foxwarren project, I told my
boss about it, and described the album’s first two singles, “To Be,” and
“Everything Apart,” as sounding less ‘kaleidoscopic’ and not as ‘rollicking’ as
The Party—to which my boss gave me a
long stare, telling me she didn’t know what either of those words meant.
“You know,” I continued. “Like XO or Figure 8 Elliott
Smith. Like Jon Brion. Like Beatle-esque pop music.”
She again assured me she did not understand what I was
describing—and I conceded that ‘kaleidoscopic’ was one of many words I over
used in my music writing to describe a very specific atmosphere created by a
song or record—like how I also over use the expression ‘fragmented imagery’ or
say that something is very ‘evocative’ in nature.
Though, after I sent her a link to stream “To Be,” she said
she understood what I meant by it being less kaleidoscopic in its scope, when
compared to the sound Shauf had labored over on The Party.
Foxwarren, too,
sounds labored over, just in a different way; while an album like The Party had to be more or less
cohesive because it was a cycle of songs that told a story, there is an
astonishingly meticulous nature to the production value and arrangement of this
batch of songs—specifically looking at the crispness of Avery Kissick’s drum
kit, as well as the vintage, analog synthesizers that Shauf adds throughout
used to provide a layer of nostalgic warmth.
The album’s cover art, too, lends itself to that aesthetic
of something from the 1970s—an arty, folk-leaning rock band, capturing an at
times sunny, but mostly pensive, sound—Foxwarren’s dedication to this style
across the album’s entirety is impressive, and it, thankfully, never comes off
as derivative or disingenuous.
That aforementioned ‘warmth’ and ‘crispness,’ of course,
means that Foxwarren is the kind of
album that almost demands to be listened to on vinyl—though the effect (and
affect) is not diminished through a good set of headphones and an attentive
ear. The album’s structure and sequencing also seem to have been organized with
a preferred vinyl format in mind.
“To Be,” one of the album’s first singles, opens up the
record—a smart move because it doesn’t exactly lure the listener in with a bait
and switch, but it is, without a doubt, one of the album’s most readily
accessible and infectious songs. The album doesn’t so much abruptly switch
gears, but there is a noticeable change in tone as the group works to build a
surprising amount of tension from the slightly psychedelically tinged “Lost in
The Dream,” as well as creating an unnerving, jittery environment within the
rhythm on “Everything Apart,” which truly sounds like nothing else on the
record—and according to the press materials for Foxwarren, was almost left off because of the stark contrast in
sound.
The first side of Foxwarren
ends with the head bobbing slink of “In Another Life,” and the relatively straightforward
acoustic shuffle “I’ll Be Alright,” which features an instrumental break
structured around quick plunks on the keyboard that sound surprisingly (and
perhaps unintentionally) Reggae-esque steel drums.
Side two begins with a swirl of Shauf’s vintage synthesizers
on the very dreamy, swooning, slow motion “Lost on You,” which boasts some
moody, sweeping string arrangements, a rumbling bass line, and some fascinating
twists and turns as the song unfolds, leading into the tumbling groove of “Your
Small Town.”
Maybe this revelation won’t hit you the first, or second
time you listen to Foxwarren, but at
some point, hopefully, you’ll realize that there isn’t a bad song on here. And
there are times, in the past, when I’ve been thinking critically about a record
and said that there aren’t ‘bad songs, per se,’ or that ‘even the less
successfully executed’ tracks are still enjoyable—but here, that’s not the
case; from beginning to end, Foxwarren
is an absolute joy to listen to.
The joy continues on the second side’s centerpiece, the
reflective, evocative groove of “Sunset Canyon”—which is among the finest in an
album that is this good; that gives
way to the impressive “Fall into A Dream,” which begins as a sunny, pop
oriented song that ends in total dissonance and noise—noise that fades
effortlessly into the album’s closing track, “Give it A Chance,” which is
sparse on lyrics, but the band manages to pack a lot of emotion into its
melancholic arrangement.
Given that Foxwarren has been a band for the better part of
a decade, but was unfortunately not Shauf’s priority as he slowly built his
reputation as a solo singer and songwriter, just as the album itself comes to
an abrupt conclusion, it’s uncertain as to what kind of future Foxwarren as a
band has—is this just a one-off album, after years of playing together, because
the timing worked out, or if this is Shauf’s focus—at least for the time being.
Rarely do I come across a record that is this phenomenal
from start to finish, so meticulous in its attention to detail, cohesive in its
sound almost entirely across the board, and thoughtfully arranged and performed—as
rare as it may have been for the members of the group to have the time
available to come together to make this record happen, Foxwarren itself may be equally, if not more, rare in its quality.
Foxwarren is out now via Anti-. They are currently sold out of vinyl, but the compact disc is still available; the vinyl is, apparently, still for sale via Shauf's Canadian label, Arts & Crafts.
Foxwarren is out now via Anti-. They are currently sold out of vinyl, but the compact disc is still available; the vinyl is, apparently, still for sale via Shauf's Canadian label, Arts & Crafts.
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