You can also chalk up this close-knit playing to the recording environment inherent in a small cabin. The measured, cohesive interplay of the band is a product of their experience and comfort playing together going on 10 years. Yet, it’s a very meticulous sounding album. Recorded in a cabin in Alberta (see, my mental picture isn’t too far off) with retro California singer/songwriter/producer Jonathan Wilson at the helm, Jubilee was mostly recorded live. There’s very little that’s jubilant about this collection of deep dark Americana. The Deep Dark Woods mine the same hushed, somber mood on over half of the songs. Jubilee, however, is primarily a set of bleak songs of drinking, lost love, and misfortune. Their explorations through the cobwebs of a hidden, forgotten past contained an aura of experimentation and adventurousness. What’s different is that Dylan and the Band did a lot of covers of traditional pieces along with similar-in-style songs written by Dylan and mixed things up with material that could be eerie and mysterious on one song and humorous on the next. With Jubilee, Canadian band the Deep Dark Woods appear to be trying to emulate the folksongs of the “old, weird America” (as music scribe Greil Marcus referred to the stark, often strange folk songs of America’s past) in a similar style to what Bob Dylan and the Band accomplished on The Basement Tapes over 40 years ago. An air of stately melancholy hangs over the picture. They’re in a log cabin somewhere, dusty sunlight slanting through a curtained window while a record player spins the Smithsonian Folkways collection and records by the Band. They felt it “suited the sad, slow music we like, so the name went perfect with what we do.” It was also slightly inspired by Robert Frost, of course.I have a mental picture, while listening to the Deep Dark Woods new album Jubilee, of the band sitting in a smoky, semi-darkened wood paneled room. The band’s name was also a group effort, first suggested by guitarist Barlow and later agreed upon by the other members. It’s all about playing what they want and letting the pieces fall into place. Since each member has great freedom in the artistic process, new ideas are encouraged at every recording. His method varies, but the whole band works together to create their timeless sound. “You can force it, but it’ll come out bad every time.”īoldt writes most of the songs himself, admitting it’s easy at times, but painful at others. “Just anything where you can actually feel the soul, you know? If I can’t feel a song, then there’s no point in playing,” says Boldt. Reminiscent of all the great rock ‘n’ roll acts before them, they have evident influences ranging from Bob Dylan to Otis Redding to Neil Young, but R&B and the blues also have a place on this list, since the guys are encouraged mostly by music that evokes some kind of feeling. We’re always learning to listen to each other and we’ve definitely gotten better at playing our instruments, so that helps a lot.” “We’ve all learned how to play better together. I see some of them as kind of… dumb now,” jokes Boldt of their 2006 self-titled album. Especially compared to songs on the first record. “The songs have definitely gotten a whole lot better lyrically. Their follow-up to 2009’s Winter Hours, The Place I Left Behind is the band’s fourth album and shows great growth since their debut seven years ago. First coming together in 2005, The Deep Dark Woods is composed of Boldt, guitarist Burke Barlow, organist and pianist Geoff Hilhorst, bassist Mason and drummer Lucas Goetz. It’s the type of music that is so vulnerable and open that it makes you feel the same way as you listen. With singer and guitarist Ryan Boldt’s full and rich voice expertly balanced with simple, melodic rhythms, it’s easy to get lost in memories of home. Canadian quintet The Deep Dark Woods isn’t your everyday alt-country folk group.
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