Woods wants no part of your lo-fi scene

Brooklyn’s Woods make music that’s at once pastoral and schizophrenic, akin to the notion of a band called “Woods” hailing from New York. Songs move from acoustic folk to epic guitar jams with little notice or trouble, from bedroom pop to moody psychedelia without blinking. Of late, critics and fans alike have anointed the band the ringleader of Brooklyn’s emerging “lo-fi scene.” But what is this fabled scene? Does it even exist? And is “lo-fi” really the best way to describe Woods’ recent, unpredictable Songs Of Shame? Before the beloved Brooklyn band headed out of town on tour—including a stop this week at the big Party In The Pines festival at Big Sur, Calif., with Gang Gang Dance, Ariel Pink, and more—The A.V. Club spoke to Woods about noise for the sake of noise, tape labels, and living in a DIY performance space.
The A.V. Club: Much ink has been written about the “lo-fi” scene, with bands like Woods and Vivian Girls cited as leaders. Are you consciously hewing to that aesthetic?
Jeremy Earl [vocalist]: There’s no conspiracy. Some bands might add some fuzz, but none of the bands we play with are doing that. It’s not like we’re recording the song first and then saying, “That sounds way too hi-fi. Let’s run that through a garbage disposal.”
G. Lucas Crane [tape effects]: I think the problem with “lo-fi” is that people take it as a genre term, or to come up with a name for a “scene.” It’s not so much a “scene” as it is a lot of people making music near one another. Some people move to New York and want to pay $1,500 a month for a one-bedroom apartment and work a job 40 hours a week. Some people come to New York to play music full time. And the time-versus-money equation works so you can do that—you can work three days a week and also play music. It’s more a mindset.
AVC: Songs Of Shame features a full band, while previous records were more solo projects from Jeremy. How was the transition?
Jarvis Taveniere [drums]: Probably pretty rocky at first.
JE: It took a while, but there was always a vibe. Even if it wasn’t up to our standards, there was always a feeling that we tried to take from the home recordings.