Woods
Woodsist
(2010)

Woods is from Brooklyn, but from the sound of their music, you’d think they hailed from the Pacific Northwest or Appalachia. Their distinct blend of lo-fi psychedelic rock and folk songwriting may make them the most rustic-sounding band to come from the city yet. For years, singer-guitarist Jeremy Earl and multi-instrumentalist Jarvis Taveniere have gained considerable respect in underground circles, putting out some of their most cohesive work to date and releasing the work of like-minded lo-fi bands like Vivian Girls and Wavves. Woods’ sound is often compared to the folk supergroup Crosby, Stills, Nash & Young (CSNY), but their efforts are less polished and more contemporary. Their folk melodies and expansive instrumentals sound like they’ve been recorded through sun-damaged tape reels, giving their music a sometimes distant, almost ethereal quality. Jeremy Earl’s voice sounds like that of a younger, more falsetto-leaning Neil Young. When projected through his signature 1950s harmonica mic, Earl’s voice sounds ghostly in recording.

“Blood Dries Darker” is a strong, accessible opening to their latest record At Echo Lake, full of soaring melodies and foot-tapping drum parts. The band pulls back on their greater eccentricities, allowing the rest of the album to demonstrate the full scale of their sound. “Pick Up” is full of the sonic experiments that characterize the band’s past work. Percussive flourishes and field recordings resonate in the background, as Earl sings along to double layers of guitar and found sounds. “Suffering Season” is Woods at its best, combining well-crafted songwriting and catchy harmonies against scratchy, lo-fi guitar. “Time Fading Lines” and “Get Back” are representative of Woods’ more delicate campfire sound, acoustic songs that make you think of open country and verdant forests.

Woods can play hard as well with songs like “From The Horn,” an acid-washed instrumental track that plays off reverse psychedelic guitar and a motorik drumbeat. “Death Rattles” is the moody come-down after the trip, while “Mornin’ Time” is a washed-out mess of sounds, a sonic awakening and brief interlude before the last half of the record. “Deep” is another mostly instrumental track that begins with distant howls and soft guitar. Amidst the muck, Earl’s vocals and handclaps guide you through the more haunting atmospherics of the band’s music. Album closer “Til The Sun Rips,” a straightforward acoustic track, finishes off with a flurry of wind chimes and disintegrating tape reels.

At Echo Lake is a strong follow-up to last year’s Songs of Shame, demonstrating what Woods has always done well. Their music has always had a thoughtful, homemade feel. First-time listeners may find their music uninviting at first, but be advised that Woods’ music is best listened to as a collection of songs, the arrangements of which provide the necessary peaks and lows of a complete record.

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http://woodsist.com/woods.htm

http://www.myspace.com/woodsfamilyband