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viewing 1 To 25 of 27 items
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CD
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WOODSIST 099CD
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"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." --Jesse Jarnow
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WOODSIST 099LP
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LP version. "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." --Jesse Jarnow
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WOODSIST 098LP
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"During a trip to Death Valley, California in 2010, two friends decided to drive an old Saturn station wagon down a four wheel drive road into the wilderness. After a few hours of driving through the canyons, ever so slowly so not to bottom out the car, they came upon a clearing. It was filled with burned out vehicle carcasses and double wide trailers that had all been shot at, set on fire, vandalized, and finally left to become relics of the desert. It was surreal in the sunset of painted rocks and dead silence. Upon returning home to an A-frame house in Sugarloaf California, Brian Collins started Hurt Valley as a recording project. Many ideas and songs were fleshed out next to a wood burning stove and firelight. Fast forward a few more years, and with a relocation to Los Angeles in 2014, Hurt Valley became a routinely worked on project. What happened next, along with the comings and goings of many different friends and neighbors, was the recording of a series of songs over the course of a few years. Days, nights and weekends, and anytime in between, songs were crafted and recorded in a living room, in an apartment, in Los Angeles. This is what would become Glacial Pace, an album that is part memoir, part dream, part feeling -- good, bad, and in between."
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WOODSIST 092LP
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"Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. First Songs is the sound of someone discovering their talent in real time -- a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window -- St. Louis on the foot of the bed with a guitar on her knee, finding her voice. She wears her influences well -- think Patsy Cline singing over John Fahey -- but has a style all her own. And while one can take the artist out of the Midwest, one can't take the Midwest out of the artist -- so let this be known: this is Midwestern music ran through a California filter. Anna St. Louis will have many more releases in her lifetime, but let it all begin here -- First Songs."
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WOODSIST 096EP
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"'I wanted to do something to honor the title track off of my debut album, Harlem River, turning five years old this year. It's been very good to me over the past half decade as well as a staple in my live show. I've asked Aaron [Coyes] from Peaking Lights to breath some new life into it and give it a remix and I'm very happy with the results. This December I will be performing an hour long version of the song featuring many special guests. I wrote the song to be about new explorations, and it continues to give me -- year after year -- just that.' --Kevin Morby"
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WOODSIST 089LP
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"Throughout years of traveling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. On his latest record, Bad Posture, he waves farewell to Pennsylvania and greets the wooded hills of Barrington, NH. These songs were written slowly and quietly throughout the winter, usually late at night next to the wood stove. It was recorded in Andrews' barn with the doors ajar, welcoming the springtime -- inviting the outside noises in. You can hear the crickets chirping and the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. Andrews' band, The Yawns, has been crystallized with staples from the New England freak scene: Rachel Neveu and Lukas Goudreault (MMOSS / Soft Eyes) and Joey Schneider. The album was mixed with headphones at the foot of Emma Critchett's grave, who lived in the Yawns' house during the 1800s. The record is an ode to her and all who have lived there. It paints a picture of living in the 'free-country' on the precipice of a rapidly changing political climate."
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WOODSIST 088CD
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" 'Singer, songwriter and guitarist from Upstate New York Meg Duffy, aka Hand Habits, has been putting in her time on the road and in the studio over the past two years with Pacific Northwest band Mega Bog, and the Kevin Morby Band, making an impression on everyone she comes across with her natural charisma and uncharted talent as a multi-instrumentalist. But let Wildly Idle (Humble Before The Void) be her open invitation to the world to step inside and take a much deeper look into who Duffy actually is. Tracked in an Upstate New York living room, then finished in her current home in Los Angeles, this album was recorded by Meg herself; she has an acute ear for detail, has touched every corner, has seen every vision 'til its end. Because of this, Wildly Idle feels incredibly intimate, like a secret between her and the listener. It hits soft, like warm water all around you, a bath, and before you know it Meg's whisper has made its way inside you. Meg has music in her touch, and this, like many bedroom-debuts (Microphones, Jessica Pratt, Little Wings, Grouper) is only the beginning. But let us not look to the future now, and instead stand alongside her, our trust in her will, both humble before the void, with her first chorus as the mission statement: Hold you like a flower, hold you like an hour glass.' --Kevin Morby."
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WOODSIST 088LP
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LP version. " 'Singer, songwriter and guitarist from Upstate New York Meg Duffy, aka Hand Habits, has been putting in her time on the road and in the studio over the past two years with Pacific Northwest band Mega Bog, and the Kevin Morby Band, making an impression on everyone she comes across with her natural charisma and uncharted talent as a multi-instrumentalist. But let Wildly Idle (Humble Before The Void) be her open invitation to the world to step inside and take a much deeper look into who Duffy actually is. Tracked in an Upstate New York living room, then finished in her current home in Los Angeles, this album was recorded by Meg herself; she has an acute ear for detail, has touched every corner, has seen every vision 'til its end. Because of this, Wildly Idle feels incredibly intimate, like a secret between her and the listener. It hits soft, like warm water all around you, a bath, and before you know it Meg's whisper has made its way inside you. Meg has music in her touch, and this, like many bedroom-debuts (Microphones, Jessica Pratt, Little Wings, Grouper) is only the beginning. But let us not look to the future now, and instead stand alongside her, our trust in her will, both humble before the void, with her first chorus as the mission statement: Hold you like a flower, hold you like an hour glass.' --Kevin Morby."
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WOODSIST 087LP
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" 'MV & EE take their homespun hypnotics and cosmic country sounds to new levels on Root / Void. I love this album - it trips hard and hauntingly - a gift for languid golden afternoons or late night moonlight powwows. Anthem-worthy tape edits on some cuts crack open surreal and cinematic vistas. While joined by fellow travelers here and there, this album remains in essence a fecund duet from two entwined souls, updating and re-defining their unique pool of sound. Intrepid audio bathers: get thee immersed!' -- Lee Ranaldo, Italy, July 2016."
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WOODSIST 033CD
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"The Dum Dum Girls/Blank Dogs collaboration continues. 8 amazing songs -- like the Cocteau Twins and Charles Manson getting in a bar fight and embracing afterwards. Beautiful, beautiful full color art in a digipak case. co-release with Captured Tracks." Includes "Already Warm" and "Desert Fun," from their 7" released on Captured Tracks.
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WOODSIST 027EP
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"Fergus & Geronimo are Jason Kelly and Andrew Savage. You might know them from Wax Museums and Teenage Cool Kids respectively. What started as a recording project between friends has manifested into another extraordinary addition to the Denton, TX roster of current bands. Upon first listen, one can instantly recognize these two lads are intimately familiar with their influences. Never mind the psychedelia, this is straight pop, no bullshit. Debut vinyl release."
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WOODSIST 007EP
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Early Woodsist release, from 2007; one-sided 12". "Half of the six songs on Jana Hunter's Carrion are unreleased hangers-on from the writing sessions that produced her most recent full-length, There's No Home, while the other half are alternate renditions of works that appeared on that release. But this is no mere grab bag of remnants; it's a real tight product, all around. 'Paint A Babe' is a throw-back to Hunter's earlier material, written and recorded simultaneously on a borrowed four-track recorder. A real sad, longing song. 'A Goblin, A Goblin' took a little more time to create: this strong, sturdy number, replete with violins and creepy harmony, tells the tale of an indignant outcast. 'You Will Take It and Like It,' turns one central, pretty and proud guitar part over and over and over, with others mirroring it, leeching from it, grabbing on like little parasitic danglers. The original version of 'There's No Home' is here, the track that spawned an entire record title, followed by 'Sleep' (titled, as it was originally, 'Ooh Uuh'), from the recording that ended up on a lullaby compilation. Concluding Carrion is an acoustic re-presentation of the country-minded 'Oracle,' stripped down to one guitar, one melody, and one harmony, as it was originally conceived in its creation as homage."
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WOODSIST 032CD
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"When Tim Cohen told Shayde Sartin he was writing a song called 'Be My Hooker,' the Fresh & Onlys bassist looked at the singer/guitarist and said, 'There's no way we're gonna have a song with that title, dude,' explains Sartin. 'But sure enough, he laid a riff down and I was like, 'Jesus christ, I can't believe you pulled something meaningful out of such a stupid line.'' Welcome to the push/pull dynamic that's fueled the Fresh & Onlys' steady stream of releases over the past year, including last spring's self-titled LP (Castle Face) and Grey-Eyed Girls (Woodsist). And to think it all started the old-fashioned way -- with Sartin and Cohen simply hanging out after work, playing their favorite punk (Buzzcocks, The Mekons) and classic rock (Country Joe and the Fish, cued up alongside slabs of psych from the group's homebase, San Francisco) records alongside a growing collection of empty beer cans. 'I can't really explain what happened or why,' says Sartin. 'I guess we listened to records until we were on the same page, and from that point on, we never stopped recording.' As simple as all of that sounds, the duo first bought a tape machine five years ago. When that failed to produce any concrete cuts, Cohen focused on his previous avant-pop band, Black Fiction, and Sartin split his time between session and live work for such bands as the Skygreen Leopards, Papercuts and Citay. Not to mention his close friend Kelley Stoltz, who ended up releasing the first Fresh & Onlys 7" (the limited Imaginary Friends EP) in early 2008. With so much music hitting shops in such a short time (Sartin says the band already has boxes of backlogged tapes), you might think the Fresh & Only's camp have a problem with quality control. Quite the contrary; Sartin and Cohen are very careful about what they release. And while the duo writes and records the band's songs, the arrangements are usually fleshed out with guitarist Wymond Miles, drummer Kyle Gibson, and backup singer Heidi Alexander. 'If we take a song into the studio or a live setting and it doesn't have wings,' says Sartin, 'Then we just ditch it and keep the charming demo version.' The final mix of Grey-Eyed Girls sounds like a natural bridge between the raucous garage rock of the group's debut and the full-on studio record they plan on wrapping for In the Red later this year. That goes for the galloping grooves of 'Happy To Be Living,' the shadowy post-punk of 'Invisible Forces,' and the firework finale freak-outs that drive 'The Delusion of Man.' Not to mention a stack of hook-slinging tracks that nix any 'shitgaze' assumptions you may have. 'We're not trying to hide melodies or do the blown-out thing,' says Sartin. 'A lot of those bands are great, but I don't want to ever cater to what's popular. It's not that I'm being reactionary; we're just trying to make recordings that are as rich and ear-friendly as possible.' It's working."
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WOODSIST 032LP
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WOODSIST 030LP
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"Meth Teeth reside in Portland OR. and in some ways embody the rainy day big country vibe of the city with its youth culture dreamers, old druggies, and rustic history. There is something that is really hard to pin down about Meth Teeth, the songs rely on simple ramshackle rhythms, upbeat shinny guitar interplay, and big fat chord churners, and a lot of tambourine banging away on the snare drum. Ultra catchy summertime rockers keep you sad and lonely, and upbeat and hopeful all at once." -- Shawn Reed/Night People
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WOODSIST 031CD
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"All completely new songs.. This album is pure naive headphone acid pop to drive to, at least that's what was going through our heads." -- Ganglians. "Sacramento's Ganglians want an island somewhere where they can soak in the sun and prowl the canopy by night. It's not often that they do get out, but they can get down for that. Recording sometimes as one, sometimes as four, it's a real game to figure out where the entity comes from and where it's going. First and foremost it's about uncertain pleasures. It's a bit like choose your own adventure. There's 'codeine balladry'; a slightly upsetting tempo that is quickly flushed into an aural high, the next moment you're in the toy strewn abyss of the bedroom and then out to the tribal caves of the natives. The planets align and the sun beats down, palms tingling, and you are on the island they've built, the scenery constantly shifting for a better view, of you. 11 tracks in just under 50 min."
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WOODSIST 023EP
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"After about a 2 year absence, Psychedelic Horseshit is back with an EP of alleged B-sides from an upcoming full length. And what has happened since we last peeked in on these 'shitgaze' innovators? Well, in parts all over the world that famous 'distorto-lo-fi-sound' has been popping up in quite open spaces. No Age has become the new Brittany Spears, Wavves crashed in outta nowhere like a mid-nineties major label grunge signing, and cute and sweet Vivian Girls are playing on the speakers in Target stores nationwide. What does this have to do with the new Psychedelic Horseshit EP? Well, nothing really, except that if you expect to hear that tried and true lo-fi sound, that is now so en vouge, you might be a little disappointed cause these boys have cleaned up a little bit, and from the sound of things this might only be the beginning. 'I only listen to OK Computer and Cranes. The Fall sucks, DIY sucks, we suck, you suck.' said Matt Horseshit in a recent interview. 'Why should anyone listen to you then?' replied the reporter. 'Because we're FUN, duh.' And even though you wanna hate 'em, you gotta admit, they kinda are fun. Matt is a dick, of course, and Rich is hilariously clueless mostly, and by all means most of the stuff on this Shitgaze Anthems EP shouldn't work, whether it be the white-boy dub section, the cliche acoustic ballad with backwards guitar, the blatant Dylan rips or the overall amateur playing, but for some reason these elements that usually reek of pretention and failure actually endear you to the band and their songs. Yes, they're called Psychedelic Horseshit. Yes, they do suck, but I'll be damned if they aren't one of my favorite bands in the world, and they're only getting better, but if I tried to tell you why it'd only make 'em sound worse. So it goes."
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WOODSIST 028LP
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"Sacramento's Ganglians want an island somewhere where they can soak in the sun and prowl the canopy by night. It's not often that they do get out, but they can get down for that. Recording sometimes as one, sometimes as four it's a real game to figure out where the entity comes from and where it's going. First and foremost it's about uncertain pleasures. It's a bit like choose your own adventure. There's 'codeine balladry'; a slightly upsetting tempo that is quickly flushed into an aural high, the next moment you're in the toy strewn abyss of the bedroom and then out to the tribal caves of the natives. The planets align and the sun beats down, palms tingling, and you are on the island they've built, the scenery constantly shifting for a better view, of you."
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WOODSIST 021CD
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"Blank Dogs are actually singular: it's the insanely prolific one-man Brooklyn-based band of Mr. Blank Dog. We don't know too much about the biography of the guy behind the bedroom new-wave pop/punk and he's usually covering his face with masks or bedspreads, but that's fine. The aura of anonymity allows you to focus on the sounds -- and, really, he might be releasing a ton of things, but there's definitely a higher jam-to-crap ratio. It's like Joy Division vocal lines with The Cure's synth and guitar melodies filtered through ancient submerged keyboards and eroded recording equipment. And that voice? All the feedback in the world can't hide his knack for melody. Blank Dogs have been making plenty of rumbles in the noisier and more secretive outposts of the underground (half his discography's sold out), but Troubleman Unlimited's just repressed his very recommended full-length On Two Sides (on yellow vinyl in an edition of 500) and In The Red's releasing a 20-song double LP (or single CD) called Under And Under . It's all new material. He's also playing his first shows in NYC, so if you want to take a peek, you can. All this to say: seems like Blank Dogs is on his way out of the basement." --Stereogum
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WOODSIST 022CD
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"As of today, it's officially crispy in New York, so we are seeking one last summer solace with the California crust-pop of San Diego's Wavves. As you might expect from a SoCal band named after ocean motion, this shit sounds like a living version of Thrilla Gorilla & Da' Boys. As you might not expect, it is made by one kid named Nathan who has a classic rap blog called Ghost Ramp. Wavves has a follow-up coming in 2009 on De Stijl which will include 'So Bored' and 'Wavves' which is also ridiculously great and streaming on his MySpace." --The Fader
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WOODSIST 022LP
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7"
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WOODSIST 014EP
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"During a show with hardcore punks Hatefuck, DeBroux and company traveled to Winona, Minnesota. After a five-hour drive to the town, wasted locals, angry punks and gnarled three-legged dogs greeted them by leading them into a commandeered park. Inside the park, DeBroux found 'the ultimate punk rock experience' with townies huffing rubber glue and mohawk-brandishing kids starting fights with crusties. The show ended and the locals gave the band three dollars for their troubles. A few kids asked DeBroux and company to chip in the three dollars on a keg. Soon, the crowd dispersed and left the band with no money or place to stay. The band wound up sleeping on an island between Minnesota and Wisconsin and breaking up soon thereafter. He wrote the first Pink Reason song, 'Winona,' about this experience.'" --Steve Kobak from Blastitude #25
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7"
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WOODSIST 016EP
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Repressed and hotter than a forklift load of Acapulco Gold. "Irresistible mix of shoegaze, punk, and '60s girl-group sounds with beautiful reverb-drenched vocals. Features three self-recorded tracks of lo-fi goodness."
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WOODSIST 017CD
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Compiles their s/t 12" and the Shattered Shine 7". 6 tracks. "Crystal Stilts started in Brooklyn in 2003 as Brad Hargett and JB Townsend. Not really trying to be a 'band' they recorded and self-released their single Shattered Shine on their Feathery Tongue label in '04 with friend Sean Mafucci (producer of Gang Gang Dance, Psychic Ills, Kid Congo Powers, etc.) Early on, the Stilts played randomly in NYC opening for acts like Blood on the Wall, The Broke Revue, Cause Co-motion, and Psychic Ills. The single spent 7 weeks in WNYU's top 30 and peeked its little fuzzy head out in college radio charts around the country. With no shortage of lazy Jesus and Mary Chain and Factory Records comparisons, (more like VU, Felt, and Blue Orchids) in 2005-2006, they continued to play in New York with bands such as the Long Blondes, 1990s and The Monochrome Set and recorded a 4-song EP. Kyle Forrester (Ladybug Transistor etc., etc.) joined them at gigs playing organ as well. After a brief hiatus to record their back catalog for an upcoming LP (Slumberland), they adopted Andy Adler (who played bass on Eric Copeland of Black Dice's fuzz-pop outfit, Ninjas) to rock the bass. After opening for The Clean in November, Frankie Rose (Vivian Girls) waltzed into their life to play the stand-up drums and complete the equation."
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WOODSIST 013CD
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"Switching instruments and experimenting with recording techniques, Meneguar has cooked up a totally unique (and surprising) record. The In Hour channels the spontaneity and aesthetics of Swell Maps, the pop hooks of The Zombies, and lyrical collage of Guided By Voices. Everything was home recorded at their little Xanadu in Brooklyn, Rear House, home base to the Woodsist label and the changing roster of Meneguar's alter egos (Woods, Shepherds). Only six months since their last record, The In Hour represents a serious departure that still holds true to the band's undeniable pop sensibility."
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