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Woods — With Light and with Love (2014)

 Woods — With Light and with Love (April 15th, 2014)

USA Flag      Woods — With Light and with Love
•   Underground psychedelic folk-rockers who alternate between pastoral songcraft and otherworldly strangeness.
   “The versatility of Woods becomes more evident throughout the album, as they spread outwards rather than building upward: you get B3-infused soul (“Leaves Like Glass”), breezy psychedelia (“New Light”) and darker shades of American Beauty (“Shining”), giving jamband types, roots fans, folkies, indie kids and DIY fetishists a place to link up. “Breakthrough”, “masterpiece”, “bold leap” — those aren’t words that really seem applicable to With Light and With Love, or Woods for that matter, but they’re allowing themselves to be extremely likable for a larger crowd.” — Ian Cohen
Formed: 2005 in Brooklyn, NY
Location: New York
Album release: April 15, 2014
Record Label: Woodsist Records (WOODSIST072)
Formats: CD/LP/CS/DL
Duration:     39:30
Tracks:
01 Shepherd     3:17 
02 Shining     2:32 
03 With Light and With Love     9:07 
04 Moving to the Left     5:23 
05 New Light     2:47 
06 Leaves Like Glass     3:31 
07 Twin Steps     2:35 
08 Full Moon     4:07 
09 Only the Lonely     3:22 
10 Feather Man     2:49
2014 Woodsist
Similar Albums: Alex Bleeker & the Freaks — How Far Away; Devendra Banhart — Smokey Rolls Down Thunder Canyon; Juan Wauters — NAP: North American Poetry; The Mountain Goats — All Hail West Texas; Kurt Vile — Wakin on a Pretty Daze; The Dodos — Carrier; Cate Le Bon — Me Oh My; Phosphorescent — Here's to Taking It Easy. 
Credits:
   Al Carlson  Engineer, Mellotron, Mixing
   John Andrews  Musical Saw, Organ, Piano
   Jeremy Earl  Bass, Composer, Drums, Guitars: 12 Str., Ac.+El., Percussion, Producer, Vocals
   Terry Willard Earl  Photography
   Samara Lubelski  Violin
   Aaron Neveu  Bass, Drums, Guitar (Acoustic)
   Tim Presley  Slide Guitar
   Jonathan Rado  Organ
   Timothy Stollenwerk  Mastering
   Jarvis Taveniere  Bass, Engineer, Guitar (12 Str.), Guitar (El.), Producer
Description:
•   Vinyl packaged in a deluxe gatefold jacket with printed inner sleeve and digital download coupon.
•   "Woods’ brand of pop shamanism has undergone several gradual transformations over their past few albums, but on With Light And With Love, the tinkering reveals an expanded sonic palette that includes singing saw, heavier emphasis on percussion, and a saloon piano that sounds like it was rescued from a flooded basement. Distinct from both the stoned volk of their earliest recordings and the Kraut-y dalliances of more recent fare, With Light And With Love showcases a more sophisticated brand of contemporary drug music that owes more to Magical Mystery Tour than motorik. If you’ve ever thought of Woods as a pop group comprised of weirdos, or a weirdo band that happens to excel at playing pop songs almost in spite of itself, With Light And With Love provides a corrective in the form of songs that show these two elements as natural, inextricable bedfellows. Throughout the album, vocals are frequently emitted through Leslie speakers and guitars perform one-string ragas like Sandy Bull reared on shoegaze and skate videos. With Light And With Love is an album of deeply psychedelic, deeply satisfying songs for a new age of searchers, of Don Juan and Animal Chin alike." — James Toth
Review by Fred Thomas | Score: ****
•   Woods have made huge leaps forward with almost every album since their ramshackle beginnings as a stony folk collective. Their songs, always tuneful and hemmed with emotional push, had a tendency to get a little lost in the presentation on their earliest recordings, with songwriter Jeremy Earl's mournful tunes often disrupted by interjections of noise or sullied by murky production. The smoke was beginning to clear with 2009's Songs of Shame (April 14, 2009, ****), though the band was still indulging in side-long jams and noisy sidesteps. Released in 2012, Bend Beyond (September 18, 2012 ****),  stood as the clearest document of Woods to date, sounding like a streamlined update to '70s roots rockers like the Band, Dylan, or Neil Young when backed by Crazy Horse at their most ragged. With Light and with Love sharpens the focus even more, expanding the band's sonic toolbox and experimenting with more adventurous arrangements and studio trickery. The album still echoes the dusty country-rock vibrations of '70s FM radio Americana, but tends a little more toward touchstones of '60s psychedelia and sounds from the dawn of acid rock. Vocals pipe out of watery Leslie speakers in a trick borrowed from the Beatles, and the nine-minute-long title track begins with a single-chord groove, raga-styled guitar lines freaking out on top of the mix a la Sandy Bull or the Byrds. As the song stretches out, it dissolves into a space-brained jam of overdriven organs, driving bass, and all types of auxiliary percussion slowly creeping up in the mix. This type of instrumentation is brand new for Woods, who in their earlier days relied more on ghostly reverb than precisely organized instruments to flesh out their songs. More acoustic numbers fit in nicely among the sprawling jams and busier rockers. "Shepherd" is a straightforward slice of sad-eyed country, coming on like Comes a Time-era Neil Young, but soon filled out with honky tonk piano and glowing pedal steel. "Full Moon" borrows lovesick slide guitar leads from Derek & the Dominos. All of the reference points are just window dressing for the core songwriting that makes Woods stand out in their scene of freaky folksters. Without Earl's nasal falsetto singing lyrics of wonderment, wandering, healing, and hope, With Light and with Love would lack the heart that holds together its heightened performances. The album is easily the most solid offering from the Woods camp to date, besting even the production of its incredibly strong predecessor and presenting the songs with even more clarity and interesting choices than ever before.
Artist Biography by Fred Thomas
•   Founded as a side project by Meneguar's Jeremy Earl, Woods started as a solitary recording project in 2005. Earl recorded the debut Woods release How to Survive In/In the Woods, a double-cassette that appeared on the Fuckittapes label shortly after the project's inception. The project's acoustic-leaning sounds veered away from the more traditional rock instrumentation of the parent band, and the off-the-cuff, lo-fi recording style cultivated a loose and searching vibe in the early material. In 2007, Woods released a slew of material including the Ram 7", the full-length album At Rear House, and a CD reissue of How to Survive In/In the Woods, this time appearing on Earl's Woodsist label. Woods Family Creeps arrived in 2008 and marked the inclusion of new bandmembers Jarvis Taveniere (also of Meneguar) and G. Lucas Crane.
•   The next year's follow-up album, Songs of Shame, was the best received up until that point by the prolific yet still largely underground band, earning tastemaking indie website Pitchfork's Best New Music accolade and exposing the group to new listeners. •   Third proper full-length, At Echo Lake, which featured new arrival Kevin Morby on bass, arrived in late spring of 2010 and was followed up a year later with Sun and Shade. Apart from being endlessly prolific, the band's sound was growing from the hushed solo fare of its earliest days into more amplified, roots-leaning rock, placing Earl's high-pitched vocals atop ambling Neil Young & Crazy Horse-esque rave-ups. Drummer Aaron Neveu was added to the live version of Woods, allowing Taveniere to focus solely on guitar instead of the double-duty he'd done on recordings before. Amid a regular touring schedule, the band worked with California outsider circuit-bender Amps for Christ for a collaborative split-LP in 2012, and issued their fifth proper full-length Bend Beyond later that year. The band continued to expand their sound in terms of both recording quality and heightened production with 2014's shinier, fuller sixth LP With Love and with Light.
Label: http://www.woodsist.com/
Soundcloud: https://soundcloud.com/woodsist/woods-with-light-and-with-love
Also:
By Ian Cohen | April 14, 2014 | Score: 7.9
•♦•   http://pitchfork.com/reviews/albums/19205-woods-with-light-and-with-love/
BY PHILIP COSORESON | APRIL 18, 2014 | 6:00AM | Score: C+
•♦•   http://consequenceofsound.net/2014/04/album-review-woods-with-light-and-with-love/
By Carey Hodges | April 15, 2014  |  1:11pm | Score: 7.8
•♦•   :: http://www.pastemagazine.com/articles/2014/04/woods-with-light-and-with-love-review.html
_______________________________________________________________
WOODS BEND BEYOND (September 18, 2012)
Duration:     32:07
AWARDS:
Billboard Albums
2012 Bend Beyond  Top Heatseekers     #34
REVIEW
BY ADAM KIVELON | SEPTEMBER 17, 2012 | 1:59 PM | SCORE: B
Essential Tracks: “Lily”, “Is It Honest”, and “Cali in a Cup”
•   Underneath the sun-dappled guitar reels, bleary falsetto, and lo-fi hum on Brooklyn trio Woods’ past records, a certain sadness would occasionally surface. Year after year, a new album would show up, replete with pitch-perfect AM pop hooks and crackling, sepia-toned acoustics. At first, the felicitous arrangements would overpower the senses, leading down the garden path to marvel at spring’s bounty. But vocalist Jeremy Earl knew winter would come and if you unpack the poetry of songs like “Suffering Season” (from 2010's At Echo Lake), and you’ll see that Earl’s warbling about the undeniability of pain and loss. Now in their seventh consecutive year of new albums, Woods hit upon some of their clearest depictions of dark emotions on Bend Beyond, while simultaneously offering an escape in the emotive beauty of their music.
•   It helps that Earl’s vocals have never been clearer — pushed to the fore rather than filtered by effects or buried in lo-fi haze. The constant tones and intentional enunciation pass him off as a more present Nico, certainly more aware of exactly what he’s singing. Because of that clean delivery, the darker lyrical tones are that much more apparent, more dominant in the mix. They’re still colored by that lilting falsetto, though, a major factor in keeping Bend Beyond from wallowing in its own darkness.
•   Even in the purest saccharine pop musical moments, Earl’s noting the fading sun. On the joyous “Cali in a Cup”, harmonica hills and loping bass propel a easy-crooning melody. While the triumphant Simon & Garfunkel melodies sweetly sing about moving past weakness, Earl’s not going to ignore the fact that this is a moment, not an eternity. Our weekends are showered, he says, “with flowers from their graves,” the past and future surrounded in death. This reminder, though, manages to compel a more present sense of self, the urgency to embrace the bright moments when they come.
•   Perhaps this, then, is the act of bending beyond. On the title track, a single chord droning verse builds to the importance of seeing and knowing in the chorus. Reveling in experience seems to be the escape from the darkness. The slinky bass and southern gothic acoustic guitars pulse darkly, but the chorus tames them some. The track finds the borders of normalcy, pushes past them into dark, spacy ether, and returns.
•   The dark feelings often come in abstract statements of difficulty and anxiety, rather than specific moments of displeasure. This is perfectly summed in the sublime “It Ain’t Easy”, in which Earl laments admitting pain over elegantly plucked acoustic lines and soaring steel counterpoints. “Ain’t it hard to say it ain’t easy?” he twangs, readily admitting that he’s spent time “looking for different ways to make things stay the same.” Again, he’s lost in the fact that the moment cannot be eternal, that instead nothing can always be the same. Similarly, “Is It Honest” talks about how “fucking hard” things can be, even dipping into the primal imagery of how “blood drips from bones.”
•   While the bubbling tape effects and shambolic rhythms of the instrumental “Cascade” provide some light escape from the typical formula, the super-fuzzy guitars and trilling organ of “Find Them Empty” provide the first true counterpoint. The ’60s psych crowds the spectrum, more claustrophobic than the typically open air freedom of the album that’s best exemplified on “Back to the Stone”.
•   The haunted beauty of “Lily” cements the album’s themes as it winds to a close, its mix of pastoral and drippy, trippy pop elements fusing under rich, nostalgic warmth. A simple pop melody drives the song’s first half, while a drone of multi-layered acoustic strumming and clapping rhythms drives closes. Earl’s thin falsetto sings the melody, and rich baritone moaning provides harmony. The swipes of guitar are clean and constant, but the chopped tape effects drift into nothing. The constant, though, is Earl’s urgent reminder that even the seemingly inconsequential moments will one day be important: “what a wonderful waste/ oh those were the days.” When recalling life’s pains can sound this nice, wallowing just isn’t an option. It’s better to take the lessons of Bend Beyond to heart, and latch onto the beauty that constantly surround even those dark moments.
Fortaken: http://consequenceofsound.net/
Tracks:
01 Bend Beyond     4:25 
02 Cali in a Cup     3:21 
03 Is It Honest?     2:38 
04 It Ain't Easy     2:23 
05 Cascade     1:55 
06 Back to the Stone     2:53 
07 Find Them Empty     2:15 
08 Wind Was the Wine     1:29 
09 Lily     2:09 
10 Size Meets the Sound     3:01 
11 Impossible Sky     3:02 
12 Something Surreal     2:36
Written by:
•♦•   Jeremy Earl 1, 2, 3, 4, 6, 7, 9, 10, 11, 12
•♦•   Jeremy Earl / Jarvis Taveniere 5, 8
Credits:
•♦•   Josh Bonati  Cut, Mastering
•♦•   G. Lucas Crane  Tapes
•♦•   Jeremy Earl  Composer, Engineer
•♦•   Samara Lubelski  Violin
•♦•   Kevin Morby  Bass
•♦•   Jarvis Taveniere  Composer, Engineer, Mixing
•♦•   Matt Valentine  Harmonica, Lap Steel Guitar
_______________________________________________________________

Woods — With Light and with Love (2014)

 

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Darnielle, Jon Wurster, Matt Douglas, Pete Hughes. ©Josh Sanseri
Erik Griswold — All’s Grist That Comes To The Mill (03/20, 2020)
Erik Griswold — All’s Grist That Comes To The Mill (03/20 2020)
Varga Marián — Solo in Concert (1. feb. 2018)
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Midwife — Forever (April 10, 2020)
Moondog — On The Streets Of New York (Feb. 14, 2020)
Damon Locks Black Monument Ensemble — Where Future Unfolds (2019
Meredith Monk & Bang on a Can All~Stars — Memory Game (03/27/20)
Pharoah Sanders — „Live In Paris (1975): Lost ORTF Recordings“
I Like to Sleep — Daymare (April 17, 2020)
MoE/Mette Rasmussen — Tolerancia Picante (March 25, 2019)
The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Sarah Jarosz — World On The Ground (June 5, 2020)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Veneer — Recovery (April 15, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Brendan Benson — Dear Life (April 24, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
From Atomic — Deliverance (April 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Gerald Cleaver — Signs (March 27, 2020)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)