The saddest song I know — I say with the utmost admiration — is “Advice” by Alex G. Pennsylvania-bred Alexander Giannascoli, formerly known as Sandy, comforts his fans with dark, disorienting instrumentals adorned with angelic vocals: the sonic embodiment of nostalgia. But, you can’t box him in either. His experimentation with noise, personas and songwriting is what makes his discography so compelling and eccentric. His music plays as suburbia-twinged lamentations: a feeling I am no stranger to as a New Jersey native.
Alex G released his latest album “God Save The Animals” Sept. 23. As he abandons his typical homemade production, it undoubtedly sounds more refined and inviting. Yet, the tracks still bear the air of vulnerability signature to Alex G. The project is strewn with ghostly pitched vocals, screams into the abyss and, of course, a continuance of the animal motif. “God Save the Animals”presents a therapeutic exploration of self-confrontation and acceptance, sprinkled with distant calls of religion. And, what better time than now? As the days got shorter and brisker, his release was carrying me through the merciless seasonal changes.
Fortunately, I got to experience the project in real time. Alex G performed in Atlanta Oct. 8 at Variety Playhouse with opening act Barrie for his third stop on tour.
Amid the pit of his sold-out show, elbow-to-elbow with clear-eyed college kids in band merch and flannels, we roared as Alex G sauntered on stage, sporting a white skull crewneck and black trousers. Vivid lights illuminated the set and underneath, he appeared celestial –– a fitting ambiance as he kicked off his new track “S.D.O.S” on the keys. He shared the stage with bassist John Heywood, drummer Tom Kelly and guitarist Samuel Acchione. The guitar counted him in as Alex G looped a simple piano melody. The loop was preserved as he sang through gritted teeth, “God is my designer/ Jesus is my lawyer.”
His music is truly as enigmatic as he is. After sipping water from a red solo cup (which seems very on-brand) five songs in, Alex G uttered his first words of the night: “What did you eat?” as a fan passed him a plastic takeout tray. His commentary was few and far between, but still strangely endearing. He prefaced his song “Immunity” with, “There’s piano music if you listen really closely, stop thinking about asses.” Evidently, in a crowd swarming with internet kids and avant-garde music fanatics, his fans matched his absurdity. Later on, another fan gifted Alex G a nude Harry Styles Barbie doll, to which he retorted, “This is weird.”
Alex G brought his musical innovation to the stage. A notable moment was his performance of “Ain’t It Easy,” using a microphone pedal to pitch his voice to an airy, feminine tone. Known for constructing various characters across his projects, Alex G succeeded in performing a one-man duet, maintaining the poignant musicianship reflected on the studio track.
One sure thing about the night –– the energy was ever-changing. Following a slew of wistful songs, Alex G positioned himself on the keys and slyly introduced the next song, saying, “This song is super fast, super crazy, super fun and good.” Discordant noises, heavy drums and red lights filled the venue; the crowd shifted like night and day at the onset of “Brick.” People exploded into a frenzied mosh, fans crowd-surfing and howling violently along. On a song marked by muffled screams and distorted guitar reminiscent of a Death Grips track, everyone appeared to understand the protocol.
After the last set song, “Forgive,” Alex G heeded the crowd, “We leave and we don’t come back” and vanished. Nobody moved a muscle. Then “Life is a Highway” started to blare over the loudspeakers — one of Alex G’s favorites to cover — and fans sang zealously in an attempt to summon him. Alex G returned with his band not even a minute later. Taking requests from the crowd, Alex G played a six-song encore, inviting the opener Barrie for a duet on “Brite Boy.” Performing older favorites such as “Sarah” and “Gnaw,” longtime fans recited every word to every song like a gospel.
I can recall being overcome with paralysis at the show’s closing. Whether it was Alex G’s aggrieved screams on “Runner,” his dynamic and atmospheric executions or hearing “Sarah” live, I felt whole. I had just been moved to such great catharsis by a man in a grocery-store outfit.
Thank you, Alex G.
