There’s a lot to be said of a band that keeps any level of anonymity today.
There’s even more to be said of a musical act that have released five albums in as many years, produced and released them by themselves, and managed to build a label boasting some of today’s best independent artists at the same time.
With so much to say, it was good to get Jeremy Earl, the illusive and notoriously media shy lead singer of New York band Woods, actually talking.
The band’s success has been anything but formulaic, yet the noise-folk producers have come to see some fairly formidable successes in the past half-decade, thanks perhaps in part, to the sheer volume of work produced.
“It comes natural to us,” Earl says of their constant releases.“I just let it all happen naturally so if we have an album ready in a year then we tend to just do it.”
He’s quick to point out that just because it happens naturally, doesn’t mean it happens easily. “I do get writer’s block but over the last few years, I’ve been feeling really inspired.”
This period of inspiration has so far culminated in the release of their latest LP Bend Beyond, which has garnered them a new level of critical recognition.“I grew up with tapes. I’m just sort of attracted to them and as far as recording, I just think it sounds better.”
Earl explains that the creative difference of the latest record compared to their previous work was a much higher level of consideration. “We planned this one a lot more for sure,” he reveals. “Planning came in the sense of making sure we got the right take, spending more time on the recording, making sure everything was exactly right and not rushing.”
The result is a polished work that stays true to the thoughtfu, lo-fi sound of Woods’ previous work.
“A lot of the older records would be like writing a song and then immediately recording it the on track or even writing it as we go,” Earl admits. “We’d have the tape machine rolling and it was songwriting in a way more improvised way.”
Despite the change in timing, most other facets of the band’s production stayed the same. Most notably, they’re devout and risky use of cassette tapes, which play a huge role in the overall sound of Woods.
“I grew up with tapes. I’m just sort of attracted to them and as far as recording, I just think it sounds better. It lends itself to the kind of sound we’re going for.”
That sound was created by Earl who takes care of most of the songwriting, and honed by guitarist and producer Jarvis Taveniere, who handles the mechanics of the analogue operation.
An operation which Earl admits, is often a pain in the ass to get right.
“Tape machines are pretty old technology and they’re not really making new ones. It’s been so long you have to get stuff repaired and you have to meld a couple of different machines,” he explains. “There’s always those kinds of problems especially when you’re recording with so much gear, but it’s just something you have to deal with.”
As part of their off-kilter attitude towards recording, the band make their records almost exclusively at Earl’s home in upstate New York as opposed to in a studio.
When propositioned with the idea of recording somewhere that might require them to get out of their pajamas, Earl admits it hasn’t panned out in the past. “We’ve tried it before and it never really worked out so we come back to what we know. Maybe next time…”
“We’re definitely not opposed to it,” he offers, “but I’m definitely happy recording at home and I know that we’ll do it again. Who knows though – it might be nice to try something different and enter a proper studio.”
Aside from doubling as a recording outlet, Earl also runs Woodist, the label he founded in 2006 out of his home, which has put out releases by acts such as Real Estate, Thee Oh Sees and Wavves.“You know I’m not too sure what to expect from [Australia], it’s sort of mysterious to me but I’m a fan of the unknown.”
“I started it as a cassette label,” Earl describes. “I’d make mixtapes of friends’ bands and bands that we met on the road that no one knew about. I still operate the label the same way, and I love doing it.”
The big-name acts on the label keep Earl busy and he confides that he isn’t truly able to give unknown demos a chance.
“It’s a bummer that I tend to not really have time to listen to to all of them just because I do everything myself and I can only put out a certain amount of records a year especially with all the touring that Woods does.”
Speaking of touring, Earl says he didn’t always enjoy it as much as it does now; “It’s a giant part of what we do I would say right now it’s one of the most fun things we do. For a while I was way more into recording but lately it’s been great to play live, getting to travel the world.”
Much like the band’s studio set up, live, they rely on vintage tape decks to recreate the lo-fi buzz that accompanies Earl’s stunning falsetto voice.
Along with their appearance at this year’s Sugar Mountain Festival, the band are also embarking on a headline Australian tour.
“You know I’m not too sure what to expect from the country, it’s sort of mysterious to me but I’m a fan of the unknown.”
It seems Australia is to Earl as Woods are to their fans. Mystery is all part of the appeal.
Bend Beyond is out now through Remote Control/Woodsist. Woods play Sugar Mountain Festival next Saturday 19 January. Set times and details here. Full Australian tour dates below.
Woods 2013 Australian Tour
FRIDAY 18TH JANUARY
THE NATIONAL HOTEL – GEELONG
SATURDAY 19TH JANUARY
SUGAR MOUNTAIN FESTIVAL – MELBOURNE*
WEDNESDAY 23RD JANUARY
THE BAKERY – PERTH
THURSDAY 24TH JANUARY
FORMAT – ADELAIDE
SATURDAY 26TH JANUARY
GOODGOD SMALL CLUB– SYDNEY
Tickets on sale through moshtix.com
