Woods

Woods

John Andrews & The Yawns, Cut Worms

Fri, July 14, 2017

Doors: 8:00 pm / Show: 9:00 pm

Underground Arts

Philadelphia, PA

$15.00 - $17.00

This event is 21 and over

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Woods
Woods
“We walked down streets and crammed onto trains, our faces masks of fear. Unsure how to react, we, collectively, did not react. We grieved for a country and an ideal we never thought would die. We grieved for a loss of certainty.

We argued about what we thought would happen. We preached understanding. We advocated for anger. Some people said that we’d at least get some incredible art, other people said that was a small view of a world we were quickly realizing we’d misunderstood. Everyone was right. Everyone was wrong. Art made in precarious times matters as much as we let it matter.

But what are we looking for from the art we enjoy? Escapism? A reckoning with harsh reality? A temporary shared hallucination? Music can heal because it presents the pain of being human as universal.

Love is Love was written and recorded in the two months immediately following the election, but it’s not a record borne entirely of angry, knee-jerk reaction to what America is becoming. Instead, it’s a meditation on love, and on what life means now. Taking cues from last year’s City Sun Eater in the River of Light, it feels very much like a record made from living, shoulder to shoulder, in a major city: weaving psychedelic swirls of guitar between languid horns reminiscent of the best Ethiopian jazz—Love is Love is a distinctly New York record. It is a document of protest in uncertain times and an open-hearted rejection of cynicism in favor of emotional honesty. It is bright, and then, unexpectedly, a little dark sometimes too.

There will be parts of life where we will watch as events unfold and we will feel helpless. We will not be sure of the future. On good days, we’ll have each other. On the bad ones, we’ll turn to the art that helps us feel something. Love is Love is a document of the new world we live in, proof that light can come from despair and hope is still possible. We just need a little help remembering it exists.” – Sam Hockley-Smith
John Andrews & The Yawns
John Andrews & The Yawns
"Throughout his years of traveling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. His latest record, Bad Posture finds him waving farewell to Pennsylvania & greeting the wooded hills of Barrington, NH. Sitting on top of one of these hills, coined Mt. Misery, is the colonial era farmhouse John now calls his home. This is where Bad Posture was born. The songs were written slowly & quietly throughout the winter, usually late at night next to the wood stove for warmth. It was recorded in his barn with the doors ajar, welcoming the springtime. The humble recording gear invites the outside noises in. You can hear the crickets chirping with the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. John’s voice lulls us in an earthy calmness as he sits hunched like a scarecrow over the piano. Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene; Rachel Neveu & Lukas Goudreault (MMOSS/Soft Eyes) & Joey Schneider. All of who have been playing up in the free country for many years themselves and all of who call the same farmhouse home. Over the past few years John has played as a session player on records by Woods, Widowspeak, EZTV & Kevin Morby as well as composing & recording with his band Quilt. Yet, the piano compositions on Bad Posture place him as a stand-out voice with this instrument. There are guitar-bands working in a similar territory as Andrews’, yet the focus on keys in many of the songs give the album a different temperament and a unique place amidst his peers. Windmill, Homesick In Heaven & Old News are three of the album cuts that boast this specific sense of multi-instrumentality. They wink at you with a Workingman’s Dead smile. The opener and lead-single, Drivers, showcases an older & wiser Andrews’ coming to terms with a new-found independence, the overdriven guitar echoing his home-state’s slogan, live free or die. “I don’t owe you no more.” Andrews hums. Bad Posture was mixed with headphones at the foot of Emma Critchett's grave, who lived in the Yawns’ house during the 1800's. The record is an ode to her & all who have lived in this house. It also paints a picture of what it feels like to live in the “free-country” on the precipice of a rapidly changing political climate. Some folks go back to the woods to escape the harsh-realities of contemporary society, for Andrews it seems like he is diving head first into nature’s unknown, searching for love in the tundras of seclusion. When the cities become boring, we hop in our vehicles and drive to those places that are always beaming with newness. Bad Posture contains the anthems that will hold us over til’ we arrive."

- Shane Butler
Cut Worms
Cut Worms
Venue Information:
Underground Arts
1200 Callowhill Street
Philadelphia, PA, 19108
http://undergroundarts.org/