Andrew La Tona & the Nightshades


Andrew La Tona is an independent artist based in Toronto, Ontario.  At times dark, aggressive and mysterious, and by contrast delicate, meaningful and soulful, Andrew's output as a musician is hard to define, but might be classified as alternative, experimental rock.  Citing influences such as John Frusciante, Beethoven, Pink Floyd, Dizzy Gillespie, and Radiohead, Andrew La Tona is all genres and no genre at all.  Since 2001, Andrew has written and performed funk, punk, cinematic, ambient, rock, jazz, R&B/soul, electro/dance, and alternative;  now, with his latest effort, "Human", blending his past and all his influence with his distaste for politics, hierarchy, the ruling class and elitism, Andrew demonstrates his musical sensibility, bridging the gap between pop and prog.  "Human" hurls you through an odyssey of dance-able, catchy, alternative rock songs, that are a fresh addition to modern music of the post millennium, and a departure from Notes In The Dark (2014).  Calling on the human race to take on our leaders, to erase our borderlines, to take away power and prowess and their post at the top.  Casting light on the walls that hold us from being the people we must be to inherit the earth before we say so long to the human race.  Andrew's music is honest and from the heart, and in a sense, world music.
Currently Andrew is developing a live show and recruiting an ensemble to perform the breadth of his repertoire.

Once Andrew collaborated with former INXS front-man, JD Fortune in his solo attempt called Fortune.  The project fizzled out after approximately 14 months of it's inception due to conflict between the group's members and front-man JD Fortune.  A documentary by A. Nisker is floating around the internet titled, "Chasing Fortune" (2013).

"Human" (2018);  inspiration, themes, and explanation:
I began writing Human in 2016 while I was in Costume Party with Andy Wiseman, before I decided to leave the band a focus on writing more material on my own.  I wanted to write and record anything that came naturally to me, and after a while I realized I had a political album on my hands.  Prior to this, I had written songs like "Want" (2014) and "I'll Bring You Down" (2015) which were of similar nature, but it was never really a full time topic of mine.  This time around I set out with a purpose.
Former Canadian prime minister Steven Harper led me to write "Leader";  his voice was not for all and I couldn't bare his policies surrounding Keystone or Canadian Aborigine.  
The arrogance of Donald Trump and his abuse of and rise to power shaped the rant that is "Power and Prowess";  I improvised the whole song from the instrumentals to the arrangement and lyrics.  I wanted to write a song that flowed from beginning to end with limited repetition and lots of energy - a sort of story of distaste.  "Borderlines" is about how we're confined to the rules our leaders set out for us.  It's also a call to the people of earth to accept each other as one entity and overthrow those who think they're in control.  The instrumental break is actually a recycled idea used in a Big Stereo demo from around 2009 called "Circles".  It appears on my un-mastered release, "…Big Stereo Off The Floor".
"At The Top" is a tongue and cheek dance song against the ruling class and elite.  Despite it's fun instrumentation, this track delivers a swift punch to the sell outs, the yacht owners, the cool wall street type who gamble with other people's debts, and pocket whatever they can for the thrill of it all.  Think anti "The Wolf on Wallstreet" sentiments.  Playfully, I end the song with a samba - I dunno, it just happened - with really simple chord changes and sarcastic lyrics saying, "baby, nothin's cooler than you, my friend".  
Realizations that I sit on my ass looking at my phone all day, and my fears surrounding the fate of human kind,  shaped the inspiration for this album, and specifically the songs, "So Long To The Human Race" and "Time Goes Ever By", two of the first songs I wrote for this album.  
"The Walls" is an interesting song.  Instrumentally it's foundation is very a-typical as it's built around several layers of percussion instruments.  In fact, the original version of this song was written on arpeggiating piano as sort of a lullaby.  Lyrically it can be interpreted in more than one way;  simply from the perspective of one who adores another, professing aw for them and their every move.  Secondly, it could be seen from the eyes of someone who is in aw of mother nature herself - in other words - you could sing this as a love song to nature and it would work just as well.  I didn't really notice that until I was going through the lyrics after.  It first and foremost is a song I dedicated to my partner, Alexandra.
"Laniakea Supercluster" is a space odyssey of funky dance-ability.  Basically reminded us we live on a tiny speck of dust flying through space, the bookends of this song see vocals, bass, guitar and drums interwoven with one another, none of which exist within the same time signature of rhythm.  It's pop's nightmare, full of pop accessibility.