![]() The Redwoods kids care more about their rivalries than the impending Dark, and Leonardo is forced to join the game in an effort to dismantle it from the inside.Įvery plan is dashed by a new setback, and the Dark draws closer by the day. Leonardo's party is magically whisked to their treetop world, where they face a race against time. Meanwhile, an ancient and bizarre game takes place high above the ground in the canopy of the Redwoods, a distant corner of the woods ruled by a leader who calls himself the general. Any semblance of clan life has crumbled in the aftermath of the Dark. But when they reach the Darkwoods, they find it even bleaker than they had feared. Leonardo and the survivors return north to where their journey began, in search of allies to fight The Dark-a tangible nightmare in search of blood. Produced by Boldt, the new album also features touring companions Kacy & Clayton and the guitar stylings of Evan Cheadle.The Cove has fallen. Lush and devastating, Boldt’s gothic surrealism is stark in detail and full of emotion, a murder balladeer for our time.įollowing their JUNO nominated album Yarrow (2017), Changing Faces is The Deep Dark Woods reimagined. ![]() Originally from Saskatchewan and now based on the east coast of Canada, The Deep Dark Woods take up a deep tradition of forlorn storytelling, drawing lines from Celtic folksongs to country blues, John Fahey to Shirley Collins. With Changing Faces, Boldt arrives in a new place, the culmination of a project both historical and personal. Lyrically, the homesick headspin of “When I Get Home Tonight” explores the feeling of not knowing where you belong. In the modulated Farfisa churn-up of 50s doo wop on album opener, “Treacherous Waters,” and the dizzying experimental pastoral voyage of “In The Meadow,” arrangements layer the familiar with the disorienting. Throughout Changing Faces, there is a push and pull between place and placelessness. The addition of strings, arranged and performed by Russian composer and violinist Maria Grigoryeva, carve the song’s deep longing with graceful swells and swirls. Directed by Craig Range, the video reminds us, in fact, that all of life’s small daily rituals add up to something profound and beautiful. The bittersweet melancholy of “Everything Reminds Me,” is brought into focus with its accompanying video, out today. Standout track “How Could I Ever Be Single Again,” featuring Kacy & Clayton, haunts with a gently lilting lament. The Deep Dark Woods, a band with few fixed members, is a vessel for Boldt, keyboard wonder Geoff Hilhorst and frequent collaborators, Kacy & Clayton and Evan Cheadle, among others, to find their own vocabulary for translating traditional folk forms – Irish waltzes, Broadside Ballads, ominous lullabies – to contemporary electric terms. Boldt’s delicate melodies and metallic-stringed bite rattle centuries-old folkloric ghosts and personal demons alike. ![]() On Changing Faces, you will be surprised by how gradual yet complete a turn The Deep Dark Woods have made from cabin cozy jam band to pan-Atlantic folk revivalist collective. On Changing Faces, The Deep Dark Woods’ sixth album, Boldt works through the complications, unique to him and recognizable to many, of leaving one place for the next. The house is also an emotional dwelling, an inner place for processing upheaval, finding new direction and making peace with the past. It’s a house by the ocean, far from the rural prairie landscapes of his childhood and a defining feature of The Deep Dark Woods’ sound and lyrics. Boldt’s house is now full of pets and plants, and happiness. “The air in the house is different now,” says Ryan Boldt, the creative force behind The Deep Dark Woods.
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