Let’s be honest: 2016 has been a dark year. We’ve lost icons like Bowie and Prince, and this election is shaping up to be a bummer of bad vibes and negative campaigning (“Dangerous Donald”? Really?). Every day seems to bring bad news, be it forest fires in the North, scary new diseases in the South or a tragedy closer to home. It’s May now, and at times, I’m ready for 2017 to begin: I don’t really want to see what surprises await me. It’s at times like this that I put on the new Woods record, City Sun Eater in the River of Light, a bright blast of sunshine, folk-rock and just general good vibes. It’s not the best record I’ve heard this year, but it’s one I keep going back to and would recommend to anybody.
Formed in 2005, Woods has released nine records, mostly for their own label Woodsist. Generally, their latest doesn’t stray far from their roots: it’s charming, folksy and breezy stuff. Guitars chime, the songs sound like they could’ve been released 40 years ago and there’s a distinct positive vibe to it all. Past songs like “Size Meets the Sound,” from 2012’s Bend Beyond show Woods reaching for a psychedelic pop sound; you could’ve slipped it onto a mix alongside The Chocolate Watchband and nobody would bat an eye.
The same sort of music happens on their latest record. Over ten songs, Woods crank out folk-pop that’s slightly-fuzzy, country-tinged and more than a little psychedelic. It’s good stuff, so let’s dig in.
It opens with “Sun City Creeps,” where they chug along with a horn section slowly creeping in around the edges, before Jeremy Earl slides into a nice guitar break. The horns are a nice new touch; it gives their music a warm-sounding edge while fleshing out it’s tonal palette nicely, complimenting the analog-sounding keyboards.
Elsewhere, Woods brought back a pedal steel guitar, this time played by Jon Catfish DeLorme, for “Morning Light” and “Politics of Free,” which adds to the hazy, folksy vibe at work. Likewise, the acoustic guitars and folksy rhythms of songs like “Hollow Home” are charming, building up a nice, summer-tinged groove.
A couple of times, like on “Can’t See At All,” they break out effects pedals to good effect, giving the music a bit of an edge. But what I’d argue is their secret weapon is a combo of two organs playing at once, which they break out only occasionally, but has a killer effect when they do. Aaron Neveu plays a Wurlitzer (he’s also behind the drum kit) while John Andrews, who handles most of the keyboard duties, handles the other. The combination of the two makes for a compelling, unique sound: sounds swirl around and blend, sounding like all kinds of music you’ve heard before (The Band comes to mind immediately), but never derivative or out of place.
Woods’ City Sun Eater in the River of Light doesn’t really show too much of a evolution of their sound. Rather, it’s more like a honing of their past few records.
There’s something of a progression between this and 2014’s With Light and Love, but the real draw here is the music itself: it’s sunny, positive and in so many words just feels good. When the news sucks, it’s good to have something like this on hand to cheer myself up with. I think you’ll agree.
Rating: 3.5/5