Posts Tagged ‘Jeremy Earl’

I kinda feel you’re either all in on Woods or you just don’t get it. I obviously fall in the first camp, and have loved everything they’re put out for many years at this point. This release sounds like it will be more great psych tinged garage folk which honestly there’s just not enough of. Take a listen to the first single down below, neat video as well.

“Dreaming doesn’t come easy these shadowed days, which is why Strange To Explain by Woods is such a welcome turning of new colors.

It presents an extended moment of sweet reflection for the 15-year-old band, bouncing back to earth as something hopeful and weird and resolute. Like everything else they’ve recorded, it sounds exactly like themselves, but with subtly different shades and breaths and rhythmic feels and everything else that changes, the natural march of time and the intentional decisions of the musicians moving in what feels like an uncommonly organic alignment.

Strange To Explain trades in a different kind of dependability, maintaining a steady connection to the voice on the other side of the record needle. After quickly recording and releasing 2017’s Love Is Love in response to the tumultuous events of their (and our) 2016, Jeremy Earl and company took their time with what came next. Parenthood arrived, as did a short songwriting pause. The band went bicoastal when Jarvis Taveniere headed west. And when they returned to their posts, there on the other side of this particular mirror, they made this, an album that not only catches and holds and shares the light in yet another new way, but recognizes that there’s still light to be caught, which is also no small thing.

A bend beyond the last bend beyond, Woods keep on changing, thoughtfully and beautifully. The colors were always there, like trees blossoming just slightly differently each season, a synesthetic message coded in slow-motion. Recorded in Stinson Beach, the kind of place that seems like an AI simulation of an idyllic northern California coastal escape, the familiar jangling guitars recede to the background. John Andrews’s warm keyboards and twining Mellotron rise around Earl’s songs and dance across the chord changes like warm sunlight off the Pacific. The music feels a karmic landmass away from the creepiness of the uncanny valley.

Just dig into “Can’t Get Out” or “Fell So Hard” and it’s easy to spot the affable hooks and fuzzed-out bass and third-eye winks and fun harmonies that Woods have produced reliably since way back ‘round 2004 (which, in the buzz-buzz world of psych-pop really is a grand achievement, too). But listen carefully, also, to the sound of our (and their) world in transition, the ambient humming of spring peepers behind “Where Do You Go When You Dream.” Especially sink into the intention-setting opening trio of songs, emerging from (and shimmering inside) an atmosphere that could only be made by musicians who’ve been working together for nearly 20 years, as Earl and Taveniere have. It’s hardly a secret language, but you try verbalizing it, let alone communicating in it.

“Where Do You Go When You Dream?” Woods singer Jermey Earl asks on the lead single of the Brooklyn folk band’s 11th LP. It’s a question we all seem to be asking ourselves a lot more these days, as our dreams have had to suffice as our only true journeys out of the house in the desperate times we’re living in. To record Strange To Explain, Woods headed to Marin County’s bucolic Panoramic House Studio. Depending on where in the time-track one stands, it’s their 11th full length (not counting collaborations, split LPs, EPs, and singles), and the 99th release on Earl’s Woodsist label. By any standards, Strange To Explain is the work of a mature band, capable of both heavy atmospheric declarations like “Just To Fall Asleep” and extended-form pieces like the album-closing “Weekend Wind,” unfolding in layers of trumpet and vibraphone and ambient guitars and stereoscopic percussion. There are backwards messages and forward ones, lyrical and otherwise. There are melodies that (at least to me) come back nonlinearly but happily throughout the day when I’m not listening to the music itself, finding some hidden perch and maybe soon transforming into the folk songs of the mind. Woods shared another song from it, “Can’t Get Out.” A press release says it’s “a track about fighting to move past the low points of depression.” The propulsive song is backed by synths and might be the yummiest taste we’ve gotten of Strange to Explain thus far.

For contemporary heads, it can be nearly a full-time job to filter out all the bad energy being blasted through nearly all media channels from every conceivable direction. But not all media channels. These benevolent, Mellotron-dabbed dream-sounds constitute some of the more welcome transmissions on these shores in a Venusian minute, just what my kosmik transom was designed to accept. They’re sure to brighten any desert solarium, LED-lit pod, portable Bucky-dome, eco-fit Airstream, or whatever other cozy dwelling your time-mind is currently occupying.

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Well I’m sure I’m not the first to tell you about this one, but its not every day that Woods give word of a new record on the way. The band’s been working on this one for a comfortable stretch, coming in as their eleventh album after 2017’s Love Is Love, with only a collaboration with Dungen sneaking in between. Their last was a response to political shift following the upsets of 2016, but now the feelings have had a bit more time to simmer. The first single “Where Do You Go When You Dream?” continues to act as balm, but this is also a decidedly mature and elegiac Woods. The song floats on a breeze of keys, drifting away from some of the sunny strums that have marked their past works. Its a melancholy track, steeped in memory, family, and friendship. Ochre-hued harmonies, full-fleshed production, and Jeremy Earl’s wistful vocals herald an album that moves the band into a new phase of their career with grace and ease. The record is out May 22nd on Woodsist.

First single from the new Woods album out May 22, 2020 on Woodsist Records.

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Woods are an American folk rock band from Brooklyn formed in 2005. The band consists of Jeremy Earl (vocals, guitar), Jarvis Taveniere (various instruments, production), Aaron Neveu (drums), Chuck Van Dyck (bass) and Kyle Forester (keyboards, sax). 

Woods have released nine albums, the latest being City Sun Eater In The River Of Light giving the band its “Best New Music” designation and described the sound as “a distinctive blend of spooky campfire folk, lo-fi rock, homemade tape collages, and other noisy interludes, all anchored by deceptively sturdy melodies.

Singer-guitarist and founder Jeremy Earl also runs the rising Brooklyn label Woodsist, for whom the band releases their work.

Woods performing live in the KEXP studio. Recorded July 23rd, 2016.

Songs:
Sun City Creeps
Suffering Season
Creature Comfort
The Take

City Sun Eater in the River of Light is Woods’ Graceland. This is the prolific band’s ninth album, but their first to explore East African rhythms—an odd but intriguing choice for a psych-folk group from Brooklyn. This introduction echoes Paul Simon’s incorporation of South African isicathamiya and mbaqangaon his 1986 masterpiece.

It’s an unexpected turn for the band, whose last record, 2014’s With Light and with Love, was a distillation of their most enduring qualities: meandering, kaleidoscopic riffs, bucolic melodies, and Jeremy Earl’s endearingly nasal voice. Woods’ Jarvis Taveniere tells me over the phone it was a sort of “best-of” album for the band. It wasn’t groundbreaking—in retrospect With Light and with Love was like a tune-up, a chance for them to perfect their mechanics before off-roading on City Sun Eater in the River of Light.

“For a lot of it we just wanted to go back to our earlier days, when we would just jam and have a few mics up,” he says. “We would put vocals on top of it and chop it up.”

Woods opens this newest effort with “Sun City Creeps,” a lush six-minute tableau of unease. It begins with ominous horns that loom overhead throughout the song like dark storm clouds. The band hasn’t abandoned psychedelia, but embroidered it with beats and instrumental elements inspired by Ethiopian jazz. The effect is a sinister grooviness, as Woods navigates complex interchanges between anxiety and solace.

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Tracks like “I See in the Dark” are expansive and jammy but also precise and controlled—frenetic riffs and pulsing bass lines vibrate with nervous energy before being drowned by droning organ. “I just hit record on the tape machine and ran downstairs, picked up my bass, and we kind of found that groove,” Taveniere says.

Woods return to their dusty old wheelhouse on what seems like an accidental standout, “Morning Light.” It’s exquisite, but completely different from the rest of the album. For one song they cut the experimentation for four blissful minutes of Americana-psych, with nostalgia-inducing piano and the honeyed whinny of a pedal steel channeling the spirit of the Band, while Jeremy Earl’s airy vocals follow the melody like a feather dancing in the wind. “Morning Light” unfortunately serves as a reminder that, while their foray into East African-inspired rhythms is an interesting and well-executed diversion, Woods does psych-folk really well.

If there’s a Woods sound, Taveniere says it’s probably Earl’s voice—a trembling falsetto that’s somehow both the most and least distinctive quality of Woods’ music. His voice easily melts into the band’s songs, whether they’re rooted in trippy psychedelia, idyllic Americana, or complex East African beats. This is the link between the new and old on City Sun Eater in the River of Light, the one guarantee that, even if they decide to experiment with zydeco on the next record, Woods will probably always sound like Woods.

Jeremy Earl – vocals, guitars, bass, drums, percussion, sk-5
Jarvis Taveniere – bass
Aaron Neveu – drums, bass, wurlitzer
John Andrews – piano, organs, rhodes
Alec Spiegelman – sax, flute
Cole Karmen-Green – trumpet
Jon Catfish DeLorme – Pedal Steel

Woods Best Brooklyn Album

At this point, it is hard to imagine that any Woods record isn’t flawless. They have refined the folk-rock psychedelia that defines them to such a degree that it seems pointless to point out individual elements that make the band great. But here are a few: their songs are bright but never sunny, they pull of musical interludes that are just as interesting as verse and chorus structures, and above all, Jeremy Earl’s cellophane tenor. My favorite Woods songs are the ones that feel like they could soundtrack one of The Dude’s trips in The Big Lebowski and it will only take you a couple spins through City Sun Eater in the River of Light to realize–that’s all of them.

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WOODS have been together for almost a decade  and winning fans for their lo-fi indie rock sound, The bands core of songwriters Jeremy Earl with his striking falsetto vocal and multi-instrumentalist Jarvis Taveniere alongside drummer Aaron Neveu .

from the new excellent album by the band WOODS the american folk rock band from Brooklyn, they have released eight albums the latest ” With Light And Love”  will be among my top albums of the year, vocalist and founder Jeremy Earl also runs the label Woodsist

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WOODS have their 8th Album later this month so far the tracks I’ve heard have been wonderful, the record has shown more depth and attention to detail in the sound. Jeremy Earl and Jarvis Tavenaire will be on tour later this year ,The album title is “WITH LOVE WITH LIGHT” this track features a beautiful organ sound, the band will be at the GREEN MAN festival and the LIVERPOOL PSYCHEDELICA Festival in September 2014.

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what a great track from the band WOODS, originally the songs were honed in the small Brooklyn apartment by Jeremy Earl with his pure falsetto vocal spilling dark secrets and twisted images, sun soaked pop and psychedelic sounds the band released “Songs of Shame” in 2009 to critical acclaim, with James Taveniere guitar playing the band have got stronger and this new album looks to be their best yet.