The phone of G.

“In the apartment just next to them there’s this nerdy white
kid reading Infinite Jest in his living room. He has no idea
what’s going on through the wall.”

It’s 2pm in Brooklyn where Crane is playing Rear Window,
sat atop the roof of his warehouse apartment. rest of
his band – Jeremy Earl [vocals/ guitar], Kevin Morby [bass] and
Jarvis Taveniere [everything else] – live a couple of doors
down in a similar space they call Rear House: a rehearsal
space-come-studio and label HQ for Earl’s Woodsist imprint,
much like Minor Threat’s nerve centre, Dischord House.

Crane handles most press matters simply because, “I’m
one who talks,” he says “and if you want a one word answer you’d
ask one of other guys.”

quartet have also known each other long enough for one to
speak accurately for all, and besides, Woods hardly give
interviews, giving away little when they do. For this reason,
Crane’s forthcoming, excitable tone is all more welcome,
brought about, no doubt, by Woods’ current success as much
as baffling sights across the street.

In a world of Brooklyn garage bands, Woods are an anomaly;
folk where so many others are surf; rustic and rural in their
‘campfire pop’, as it’s more and more frequently known. They’re
fresh water (as new album title ‘At Echo Lake’ suggests), not
coastal. In many ways they couldn’t sound less New York, or
less urban at least.

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