Ben Woods - Dispeller - COMPACT DISCS [CD]

On Dispeller, Ben Woods's beguiling new album, his intimate experiments in rock paint a vivid portrait. Here, the New Zealand artist leans comfortably into intuition and abstraction. Expansive arrangements are anchored by heavy-lidded prose, while carrying the air of the portside shack it was made in. Dispeller was recorded throughout a year in Woods's hometown, Lyttelton, with Ben Edwards (Aldous Harding, Marlon Williams, Julia Jacklin) at the helm of the mixing console and co-producing. Utterings, footsteps, and the rattles of the room linger beneath the album's dense instrumentation, alluding to the familiar space the songs were captured in. Here, Woods's songs breathe and flourish into their own worlds. InchI found my voice in trying to make atonality croon,Inch he says. InchWith Dispeller it was less about harmony-the blend was capturing the songs very honestly in the room, and still making each of them to transport you somewhere different.Inch Even beside Woods's acclaimed debut, PUT (2019), which saw him sharing stages with Aldous Harding, No Age, Julia Jacklin and Steve Gunn, Dispeller enchants. The songs here are stronger, the instrumentation stranger. With chopped and screwed vocal contributions from underground hero Alastair Galbraith, InchSpeaking BeltInch snaps and pulses with the sordid clatter of a lost Xpressway single. Charlotte Forrester from Womb (Flying Nun) adds their diaphanous voice to InchThe Strip And Punishing TypeInch. On fragile duet InchWearing DivineInch, Lucy Hunter (Opposite S*x / Wet Specimen) threatens to steal the limelight, before a full hive of Marlon Williams's honeyed vibrato comes spluttering out of what sounds like a rusted can. Woods's melodies bring to mind Scott Walker's dramatic tunefulness, while his voice holds something of Gordon Gano's waver, pushed through New Zealand vowel mangling. Dispeller's arrangements hit at the