Wooden Arms is Patrick Watson’s highly anticipated follow-up to the critically acclaimed Close to Paradise, which vaulted the man and his band to international stardom in 2007. The Montreal band toured non-stop for two years following the initial Canadian release of Close to Paradise, and in many ways Wooden Arms is the story and sound of a band waking up in strange places all around the world.
Less dense than its predecessor, Wooden Arms is a stunning progression. Throughout the record, Watson’s gorgeous voice and orchestrations shine bright against a backdrop of clanging, percussive rhythms that show the band have lost neither their ability to write stunning, heart-break pop or their single minded determination to experiment. Robert Kirby’s string arrangements meet the ethereal orchestration of Ladies and Gentleman We’re Floating in Space, as Wooden Arms showcases Watson and his band mates as genuine composers.
Whether it’s the bicycle-city sound of Beijing, or the country-pop warmth of “a hole in the wall” in “sweet New Orleans” on Big Bird in a Small Cage, or the haunting European waltz of the title track, you can’t help but feel in listening to Wooden Arms like you’re on the road with the band.
Close to Paradise won Canada’s prestigious Polaris Prize in 2007, turning more than a few heads in beating out offerings from Arcade Fire and Feist. In the UK, tiny early London clubs shows garnered plaudits and fans alike. As the band’s profile blossomed, they played spellbinding gigs at London’s ICA and then a triumphant headline show at The Scala last year.
When the dust had settled the band had written enough songs on the road to lay down a new record in a few short months at the end of 2008 in Montreal. On the album’s opener, Fireweed, Watson sings, “So we dug ourselves a hole, and planted all our skin; like a seed in the ground, to grow again.” And you can hear stripped down rejuvenation all over Wooden Arms; from the orchestral pull of Tracey’s Waters, to Simon Angell’s noise-twang on Traveling Salesman to drummer Robbie Kuster’s jaw-dropping performances and his string arrangements on Hommage, to the anchor of Mishka Stein’s bass on the instrumental freak-out, Down at the Beach.
Live:
Thursday June 4th - Union Chapel, London
Less dense than its predecessor, Wooden Arms is a stunning progression. Throughout the record, Watson’s gorgeous voice and orchestrations shine bright against a backdrop of clanging, percussive rhythms that show the band have lost neither their ability to write stunning, heart-break pop or their single minded determination to experiment. Robert Kirby’s string arrangements meet the ethereal orchestration of Ladies and Gentleman We’re Floating in Space, as Wooden Arms showcases Watson and his band mates as genuine composers.
Whether it’s the bicycle-city sound of Beijing, or the country-pop warmth of “a hole in the wall” in “sweet New Orleans” on Big Bird in a Small Cage, or the haunting European waltz of the title track, you can’t help but feel in listening to Wooden Arms like you’re on the road with the band.
Close to Paradise won Canada’s prestigious Polaris Prize in 2007, turning more than a few heads in beating out offerings from Arcade Fire and Feist. In the UK, tiny early London clubs shows garnered plaudits and fans alike. As the band’s profile blossomed, they played spellbinding gigs at London’s ICA and then a triumphant headline show at The Scala last year.
When the dust had settled the band had written enough songs on the road to lay down a new record in a few short months at the end of 2008 in Montreal. On the album’s opener, Fireweed, Watson sings, “So we dug ourselves a hole, and planted all our skin; like a seed in the ground, to grow again.” And you can hear stripped down rejuvenation all over Wooden Arms; from the orchestral pull of Tracey’s Waters, to Simon Angell’s noise-twang on Traveling Salesman to drummer Robbie Kuster’s jaw-dropping performances and his string arrangements on Hommage, to the anchor of Mishka Stein’s bass on the instrumental freak-out, Down at the Beach.
Live:
Thursday June 4th - Union Chapel, London
