Woods

Woods

Peaking Lights, Wet Ilustrated

Wed, August 8, 2012

8:30 pm

The Echo

Los Angeles, California

$13.00 - $15.00

This event is 18 and over

Woods
Woods
With a title like At Echo Lake, the fifth album from New York's Woods intimates a modern rock aesthetic fully informed by historical manifestations of teenage along with a concomitant feel for the specifics of time and place. The distance between 2007's At Rear House and 2010's At Echo Lake may at first seem only semantic but it more properly represents a move from a kind of informal back porch jam ethos to a fully-committed vision of the infinite possibilities of group playing.
Over the past few years Woods have established themselves as an anomaly in a world of freaks. They were an odd proposition even in the outré company of vocalist/guitarist/label owner Jeremy Earl's Woodsist roster, perpetually out of time, committed to songsmanship in an age of noise, drone and improvisation, to extended soloing, oblique instrumentals and the usurping use of tapes and F/X in an age of dead-end singer-songwriters. Recent live shows have seen them best confuse the two, playing beautifully-constructed songs torn apart by fuzztone jams and odd electronics.
At Echo Lake feels like a diamond-sharp distillation of the turbulent power of their live shows, in much the same way that The Grateful Dead's "Dark Star" single amplified and engulfed the planetary aspect of their improvised takes. Some of the material here – the opening "Blood Dries Darker", the euphoric "Mornin' Time" – is so lush that lesser brains would've succumbed to the appeal of strings and horns but At Echo Lake is more Fifth Dimension than Notorious Byrd Brothers, nowhere more so than on "From The Horn", a track that is as beautiful in its assault on form as "Eight Miles High" or Swell Maps' "Midget Submarines". But despite the instrumental innovation that the album heralds – G. Lucas Cranes' psychedelic tapework on "Suffering Season", guest musician Matthew Valentine's harmonica and modified banjo/sitar on "Time Fading Lines" – At Echo Lake is all about the vocals.
Woods' secret weapon is the quality of Earl's voice, osmosing the naive style of Jad Fair, Jonathan Richman and Neil Young while re-thinking it as a discipline and a tradition. Here he is singing at the peak of his powers, in a high soulful style that is bolstered by heavenly arrangements of backing vocals. At Echo Lake feels like the transmission point for teenage garage from the past to the future. Deformed by contemporary experiments, bolstered by magical traditions from the past, it's the sound of now, right here, At Echo Lake.
"Songs of Shame performs some sleight-of-hand by sounding private and homespun yet also not just accessible but immediately lovable... has that almost subliminal ability to make one want to move in to listen more closely. And once you've been drawn in for a good listen, it becomes difficult not to want to come back for many more." -Pitchfork

"Tons of great acts played the Woodsist/Todd P. showcase at Mrs. Beas (No Age, Crystal Stilts, The Oh Sees and Blank Dogs just to name a few), but the one that struck the biggest chord with me was this Brooklyn group. Crafting tight and beautifully lighthearted ghostly folkish songs — they are one of the finest bands playing in the unbelievably deep Brooklyn scene. I've seen them a bunch, and each time I get more excited about their sound." MTV.com, Buzzworthy
Peaking Lights
Peaking Lights
Peaking Lights the husband and wife duo of Aaron Coyes and Indra Dunis have channeled a rich background of a lives dedicated to music, touring, and pushing artistic broundries into a band that reflects their relationship; a sum that transcends its parts. Finding themselves in a cross country move from the Bay Area to a house built into a barn in rural Wisconsin, Peaking Lights sound origin was created with humility and love with a personal touch directed by Aaron's home built synths, effects units, and rhythm machines. Peaking Lights have maintained a sound distinction all of their own fusing influences as wide ranging as afro beat, disco, psychedelic rock, synth pop, krautrock, reggae and noise into songs that are as smooth, lush and elegant as they are propulsive, rhythmic and noisy. Recordings were initially showcased on Night-People Records cassette releases along with their debut full length 2009's Imaginary Falcons which brought the band into full view of the underground music community. Imaginary Falcons quickly gained critical praise for its distinct qualities as a lo-fi masterpiece fusing analog electronics with blown out psych guitar flourishes, while Indra's warm drifting vocals provided an unexpected serenity to the music. Finding a sound related to but not fully in debt to Jamaican dub pioneers Peaking Lights continued writing and recording and in 2010 went into Flat Black Studio's to record 936 a recording that reached Peaking Lights full capabilities aesthetically merging dub and dance influences more fully into their sonic pallet already rich in electronic exploration. 936 retains many of Peaking Lights lo-fi electronic techniques but boosts the overall depth of sound to create a record that is lush in its use of analog delay, deep bass, rhythmic creation, and stunning yet simple vocal beauty. 936 was released on Not Not Fun Records in 2011 garnering even more critical praise for Peaking Lights. Currently Peaking Lights finds themselves tending to their new born son Mikko and planning for future recordings and tours.
Wet Ilustrated
Wet Ilustrated
If you look at them from a certain angle, the San Francisco trio Wet Illustrated fit right in with the analog-gear retro-garage boom that’s happening in their city right now. After all, they’re a sometimes-jangly, sometimes-riffy guitar-rock band who know their way around a chorus hook and who record on gear that sounds older than the actual dudes in the band. But Wet Illustrated also take a ton of cues from the artier, further-out edges of late-’70s British postpunk. There’s a playful edge to this band; their riffs are jaunty, and their vocals edge toward the yippy more often than not; they’ve clearly spent some time watching and learning from Robyn Hitchcock. 1x1x1, their debut album, is a jumpy, jittery, and overall fun ride — like the Fresh And Onlys, if someone put Pixie Stix in their acid

1x1x1 is out 10/25 on True Panther. Below, check out the tracklist and the collage-happy video for their song “Satellite Kids,” directed by drummer/vocalist Robbie Simon.
-Sterogum
Venue Information:
The Echo
1822 W Sunset Blvd
Los Angeles, California, 90026
http://www.theecho.com