Woods City Sun Eater In The River Of Light

Friday 12 July Review Summary: There will always be a place for you, meet me on the other side. Internet Explorer is no longer supported on Last. The rub lies in the environment, though. A new version of Last. All this publication's reviews Read full review.

Sunday 21 July Monday 22 July Tuesday 23 July Wednesday 24 July Thursday 25 July Friday 26 July Saturday 27 July Sunday 28 July Monday 29 July Tuesday 30 July Wednesday 31 July Thursday 1 August Friday 2 August Saturday 3 August Sunday 4 August Monday 5 August Tuesday 6 August Wednesday 7 August Thursday 8 August Friday 9 August Saturday 10 August Sunday 11 August Monday 12 August Tuesday 13 August Wednesday 14 August Thursday 15 August Friday 16 August Saturday 17 August Sunday 18 August Monday 19 August Tuesday 20 August Wednesday 21 August Thursday 22 August Friday 23 August Saturday 24 August Sunday 25 August Monday 26 August Tuesday 27 August Wednesday 28 August Thursday 29 August Friday 30 August Saturday 31 August Over the course of 10 years, Jeremy Earl and his psychedelic Americana band Woods have stayed patiently loyal to their North Star: a quality body of work, in the truest sense of the term.

To live and create in this way is to hold true to a mentality of sustainability across art and operations alike. Worth a hundred spins. Essential Links. By Metascore By user score. The sun city creeps We fall into love You can turn into town. You can turn day See the rest of the song lyrics. The Livelong Day - Lankum. Jimmy Lee - Raphael Saadiq. Eve - Rapsody. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental.

Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. You might hope to avoid spending money on something new, but a disappointing piece in your house that you don't like is not going to make it better.

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And the songs are rocks of consistent size and density that embed themselves effortlessly, rarely challenging conventions of structure or length. Though the changes from each Woods album to the next are subtle, after a decade, some long-term tendency shifts have plainly revealed themselves. True to its title, it was their brightest, cleanest, and least indulgent yet, built of earnest folk, tried-and-true chord progressions, and a warm simplicity.

Their albums always sound great thanks to bassist Jarvis Taveniere 's uncluttered but sneakily weird production. Their songs, as written by Jeremy Earl , are folk-rock gems with the occasional country-rock ballad and noisy, '70s-influenced, lengthy jam thrown in.

Earl 's voice is another constant, with his high-pitched twang resonating more deeply than it might seem to on first listen. The band has built an impressive catalog of albums that has only sounded more impressive and accomplished as it's grown. It seems that since the last album, the band have become big fans of Ethiopian Jazz, like that of the great Mulatu Astatke. Maybe one of the guys watched Broken Flowers, or maybe it was some crate digging that led to their epiphany.

Whatever the source, City Sun Eater is obviously informed by the swinging rhythms and honking horns of that style. The first track, "Sun City Creeps," sounds like it was lifted from Astatke 's songbook, then run through an indie pop filter and tricked out with a slashing guitar solo. The rest of the album features a few more songs that mine this same territory, and while it's a little weird to hear the band making such a dramatic stylistic shift, it mostly works.

Especially on the songs that tilt more toward the Woods ' end of the spectrum, like the very catchy "Can't See at All. The rest of the album is more typical, with laid-back countrified ballads "Morning Light" , denim-clad '70s rock "Hollow Home" , pulsing neo-Krautrock "I See in the Dark" , minor-key folk-rock "The Other Side" , and heartwarming jangle pop "Politics of Free" making up the bulk. The production is slightly slicker than that of anything they've done before, which can probably be put down to recording again in a real studio with Taveniere taking more advantage of the tricks at his disposal.

Earl , too, sounds like he is upping his game vocally to match the production values, as his singing is even more elastic and affecting than before. Even with the typically strong songwriting and the Woods -iness at its core, it's easy to see how this could be a divisive album among the Woods faithful.