Discs are thick and thin disks, disks and other heavy and agile, which is something completely different to the previous classification. Woods especialsitas to make thin disks, the spirit of psychedelia formats candy, loud but so far, until Sun & Shade, had failed to ever make an album so fast. That's not bad: At Echo Lake, eighth best place in our list of best albums of 2010, was a seamless album, charming in all its nooks and brilliant, brilliant.
I would qualify of Faerie and I see no reason to change his mind: it has all the qualities for the fairies, starting with the feminine side (despite being Woods a male group) and followed by the playful, naughty, side loss that can hide or spell. And also it contains the essence of how young can sound both to the wisdom of the elderly.
Where lies special making Woods? Where are getting inspired to go in search of inspiration from folk songs sixties and return with beautiful, warm, intimate but not folk? It is so basic and yet so complicated as to make great songs like 'Pushing onlys', 'Who Do I Think I Am' (the 'Sunday Morning' of this decade) or 'Be All Be Easy'.
In doing compose music as if after a few seconds stared summer sun and still have Chiribitos eyes. To write songs to take drugs to just get into the girl to spend the summer lying beside her songwriting to take drugs etc ... This time they wanted a little more of themselves. Look at 'Out of The Eye': Seven minutes of synthesizers, guitars and percussion return as mantras, a soundtrack that is not surprising that many are comparing to Neu! and serves as evidence demonstrates, as does 'White Out' the need for Woods to use this disk to be as versatile as possible.
This does not mean that they have abandoned their militancy, there is the low fidelity and sounding garage garage, not a cathedral. Not only is Sun & Shade agile in its development, but uses its rhythm and tempo changes or predominant feeling breaks to make it clear that Woods increasingly less like to be assigned to gender or movement.
If until now dominated psychedelia and folk, in his sixth album, summer again like few others, have given more autumnal tinge entry, post-thrash, and those post-Smile Beach Boys. Although, of course, you can also see the reflections of the best songs of the Hollies or even Galaxie 500, I do not know why hardly anyone names when talking about Woods, when I find them in many places.
He spoke before the Sun & Shade had the gift to adjust to different environments. It's more than that Woods's new album gets a place on any time and anywhere, without disguise of intense experience, complete intellectual. Contains something more important: the gift of youth music. 
I would qualify of Faerie and I see no reason to change his mind: it has all the qualities for the fairies, starting with the feminine side (despite being Woods a male group) and followed by the playful, naughty, side loss that can hide or spell. And also it contains the essence of how young can sound both to the wisdom of the elderly.
Where lies special making Woods? Where are getting inspired to go in search of inspiration from folk songs sixties and return with beautiful, warm, intimate but not folk? It is so basic and yet so complicated as to make great songs like 'Pushing onlys', 'Who Do I Think I Am' (the 'Sunday Morning' of this decade) or 'Be All Be Easy'.
In doing compose music as if after a few seconds stared summer sun and still have Chiribitos eyes. To write songs to take drugs to just get into the girl to spend the summer lying beside her songwriting to take drugs etc ... This time they wanted a little more of themselves. Look at 'Out of The Eye': Seven minutes of synthesizers, guitars and percussion return as mantras, a soundtrack that is not surprising that many are comparing to Neu! and serves as evidence demonstrates, as does 'White Out' the need for Woods to use this disk to be as versatile as possible.
This does not mean that they have abandoned their militancy, there is the low fidelity and sounding garage garage, not a cathedral. Not only is Sun & Shade agile in its development, but uses its rhythm and tempo changes or predominant feeling breaks to make it clear that Woods increasingly less like to be assigned to gender or movement.
If until now dominated psychedelia and folk, in his sixth album, summer again like few others, have given more autumnal tinge entry, post-thrash, and those post-Smile Beach Boys. Although, of course, you can also see the reflections of the best songs of the Hollies or even Galaxie 500, I do not know why hardly anyone names when talking about Woods, when I find them in many places.
He spoke before the Sun & Shade had the gift to adjust to different environments. It's more than that Woods's new album gets a place on any time and anywhere, without disguise of intense experience, complete intellectual. Contains something more important: the gift of youth music.
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