Songs of Shame Review

Woods, “Songs of Shame” (Woodsist 2009)

There’s something to be said for a band that knows its limitations. Finding a quiet, comfortable sound and sticking to it can be a great formula for success. Brooklyn’s Woods is just such a band, finding a comfortable sound on their 2009 full-length, Songs of Shame. An album full of cozy melodies and well-crafted songs, “Songs of Shame” finds Woods in their very own successful niche.

The album is a collection of mostly short, melodic, lo-fi pop tunes that can either blend into the background or reward the astute listener. Full of crunchy guitars, tape hiss, and deceptively memorable melodies, “Songs of Shame” seems like it should sound noisier. Brilliant, muted production blends these elements together and produces a laid-back, unified sound. Lead singer Jeremy Earl’s Neil Young-esque wail couples perfectly with the understated mess of noise, providing for relaxing listening.

While Woods have forged their very own brand of introspective lo-fi rock, there’s an obvious injection of American folk music in their songs. Heavy attention is given to the songwriting, and many songs are completely stripped down to acoustic guitar and vocals. Earl’s lilting melodies are quintessential folk fare, and his lyrics also owe much to the genre.

Earl’s lyrics are cryptic and quiet, much like the band’s sonic output. Simplicity is key here. The album’s single, “Rain On,” provides the most stunning example of Earl’s gift. He softly croons, “I won’t shovel through / All the shame that led me too / You wouldn’t pass it off / How the days will rain on you.” Short, simple, cryptic lyrics about shame and loss compliment these quietly jumbled lo-fi compositions.

“Shame’s” greatest strength is that it doesn’t try to do too much. Woods know what they can do, and they stick to their trademarked lo-fi sound. The short, condensed songs move quickly, and the album flows effortlessly from one song to the next. There’s a sense of cohesion throughout, and the sequencing of songs makes sense in terms of the pacing and unity.

“Shame” derails only once. The fourth track, “September with Pete” is a ten-minute lo-fi jam session that finds Woods denying their strengths. The tune feels out of place, and the instrumentation simply isn’t good enough to constitute a ten-minute song. Most of the other songs clock in at less than three minutes, and they succeed for it. “September with Pete” just doesn’t fit in anywhere, and it stands as “Songs of Shame’s” only glaring flaw.

“Songs of Shame” shows Woods at the top of their game. Aside from “September with Pete,” the band is extremely self-aware and plays to their strengths. Their unassuming sound and endearing melodies drive the album, and Earl’s songwriting meshes seamlessly with the sound they’ve cultivated. “Shame” finds Woods trying to be exactly what they are: quiet, understated, and introspective. It’s a refreshing, relaxing album that grows more endearing with each listen.