Articles tagged with Woods

Woods – “Christmas Time Is Here”

Woods
It’s about time that I posted a Christmas song on the blog this year. Here’s Woods‘ version of the Vince Guaraldi Trio classic “Christmas Time Is Here.” It doesn’t deviate too much from the original, but Woods naturally give it a weirdo freak folk update. If there’s one singer with a voice that’s high and squeaky enough to replicate the children’s choir of the original, it’s Woods singer Jeremy Earl.

If I was feeling picky I would complain about them changing “Christmastime” to be two words, but it’s free music, so I shouldn’t be such a purist.


 
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You blew into my life

Reluctant city folk
Last year, Woods released Songs of Shame, a solid collection of rustic folk with occasional forays into meaning psych rock. It was an enjoyable and often creepy collection of lo-fi acoustic ditties, although the stand out song was actually a cover (Graham Nash’s “Military Madness”).

“I Was Gone” is the first taste of new material since then, and its ramshackle acoustic riffs and ghostly vocal harmonies aren’t much of a departure from the band’s previous work. Think of it as “Paint it Black” as performed by a group of nomadic forest dwellers.

It appears on the upcoming album At Echo Lake, which I wrote about over at Exclaim!.

MP3: “I Was Gone”
 
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A pysch folk time capsule

Woods - Songs of Shame
According to interviews, Woods have a permanent member whose role is “tape effects.” Upon listening to the Brooklyn group’s most recent album, however, I’m not sure what the hell his job actually is. Songs of Shame doesn’t flaunt its lo-fi aesthetic in the same way as fuzz-soaked releases by Wavves or Times New Viking, but there’s no mistaking the album’s rudimentary recording methods. An eleven-song collection of psychedelic rock and campfire folk, it sounds like it was probably laid to tape in the band members’ bedrooms. And, while there’s likely some subtle sound editing going on that I’m not aware of, there are no flashly tape effects on the whole album.

Considering that the group was once the songwriting project of singer/guitarist Jeremy Earl, it’s not entirely surprising that much of the collection is made up of sparse acoustic strummers. These stark folk songs are made are made all the more eerie by Jeremy Earl’s high, feminine voice, which sounds not-quite-human during the sloppy, waltz-time “Born to Lose.” It’s mainly due to Earl’s bleating vocals that Woods have frequently been pigeonholed as freak folk, joining the ranks of other strange-voiced artists like Devendra Banhart and Joanna Newsom. His singing is also the main reason that the band bears a distinct similarity to Neil Young; this is especially noticeable during the cover of Graham Nash’s protest tune “Military Madness,” which sounds like it arrived in a capsule from 1970.

Elsewhere, Woods resembles a psychedelic jam band; “September with Pete” is nearly ten minutes of stoned noodling that scarcely even changes chords, mostly just acting as a vehicle for a wobbly, wah-wah-soaked guitar solo. It’s such brazen wankery that it’s hard to fault the band for its self-indulgence. While the song might not merit close listening, it’s by no means unpleasant or abrasive, and it befits the album’s sleepy, Sunday morning vibe. It’s a stunningly authentic replica of late ’60s psychedelia, making Songs of Shame a must-hear for anyone still stuck listening to the Velvet Underground or the Byrds on repeat.

Songs of Shame is out now via Woodsist.
 
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