As any of its predecessors, ninth album by a psych-folk collective Woods represents the indicator of their industrious work, only this time they have significantly distanced themselves from the recognizable matrix that marked the first decade of their career. This is obvious from the very beginning of City Sun Keeper In The River Of Light. On opening track Sun City Creeps, the shift in style is reflected in reggae and jazz elements with Afro rhythms and island trumpets.
Even though they initially sound different, Jeremy Earl and his crew have kept their base in the 60s pop and Americana, in the same way in which Calexico is playful with Mexican tradition. A multi instrumentalist and bassist Jarvis Taveniere is responsible for the authentic production that set Woods apart from everyone else on the indie alternative scene. Recording this album in a first class studio gave him an opportunity to perfect his technical skills, and to make Earl sound even more effective and convincing.
Woods do not give up on infectious pop melodies, such as Politics of Fire and Hollow Home are. Dub sound is dominant on Can't See At All and The Take, while neo-Kraut moment on I See In The Dark totally got me hooked. Morning Light is a chilled country ballade, and the title of the most balanced indie pop hit goes to Creature Comfort.
City Sun Eater In The River Of Lights is a peculiar name, but it definitely suits this album. The first impression might be the abundance of styles, or that psych-Americana frame is too conservative for this type of experiment. In reality, this album gives you layers and allows you to discover new soundscapes with each new listen. With that being said, not one single will be a hit because these songs work best when played one after another (which is a case with any true psychedelic).
