Wood/Water

Wood/Water is the fourth and final album by the Promise Ring. While touring in support of Very Emergency (1999), the group was in a van accident; guitarist and vocalist Davey von Bohlen was later diagnosed with meningioma. As a result of Bohlen's surgery, the band could not tour for the remainder of the year. In early 2001, the Promise Ring made demos with Kristian Riley or by themselves. After signing with Epitaph Records imprint Anti-, the band recorded a track with Mario Caldato Jr. in Los Angeles. They then flew to the UK, recording with Stephen Street for six weeks before recording in Milwaukee.

Wood/Water
Studio album by
The Promise Ring
ReleasedApril 23, 2002
RecordedMid-to-late 2001
Studio
  • Jacobs
  • Sonora
  • MCJ Sound
  • Polish Moon
Genre
Length51:49
LabelAnti-
ProducerStephen Street, Mario Caldato Jr.
The Promise Ring chronology
Very Emergency
(1999)		 Wood/Water
(2002)
Singles from Wood/Water
  1. "Stop Playing Guitar"
    Released: July 9, 2002

The album was released on Anti- on April 23, 2002; its vinyl version was released on Foreign Leisure Records, the band's own label. It had a mostly-favorable response from music critics, many of whom praised the reinvention of the group's sound. "Stop Playing Guitar" was released as a single, and its music video followed in early May 2002. The band appeared on Late Night with Conan O'Brien before supporting Jimmy Eat World on a UK tour; a US support slot followed in July and August. In September and early October, the Promise Ring played on the 2002 Plea for Peace tour before breaking up in mid-October 2002.

Background

Writing and Bohlen's illness

The Promise Ring released its third album (Very Emergency) in September 1999 on independent Jade Tree Records,[1] fulfilling its three-album contract.[2] Very Emergency expanded the band's fan base and received some airplay on college radio. Vocalist-guitarist Davey von Bohlen and drummer Dan Didier worked on the acoustic side project Vermont around this time;[3] Vermont also released the album Living Together in September 1999.[4] The band tired of playing what drummer Dan Didier called "those stripped down power type songs" while touring to promote Very Emergency in February 2000,[5][6] and released the Electric Pink EP in May of that year.[7] Although the Promise Ring was then scheduled to leave for a two-month European tour,[8] Bohlen was diagnosed with meningioma on the day of departure.[9][10]

The tour was canceled;[10] Bohlen had surgery,[3] and the band took the next few months off for his recuperation[11] and to work on new material.[2] They then supported Bad Religion, and guitarist Jason Gnewikow said that the band had five new songs which were closer in style to Nothing Feels Good (1997).[2] Bohlen developed a post-surgical infection which forced the Promise Ring to drop out of the Bad Religion tour,[10] and they were unable to tour for the rest of the year.[12] Although they had planned to write and record,[2] the band members spent little time together. Gnewikow worked at his graphics company;[13] Bohlen and Didier focused on Vermont,[14] and Didier relaxed with his family. They brought recording equipment to their rehearsal room, which allowed Didier and Gnewikow to experiment for hours at a time.[15]

Pre-production and label change

In February 2001, the band went to Bionic Studios in Milwaukee to work on material with Kristian Riley of Citizen King.[16] Pre-production was done for "Stop Playing Guitar", "Wake Up April", "My Life Is at Home" and "Say Goodbye Good",[17] and the demo session resulted in songs which differed from those on Very Emergency.[18] In May, they band demoed material[5] on Pro Tools.[6] This was a change from the group's previous process of jamming in rehearsal, playing songs live and recording them as quickly as possible in the studio. They attempted to reinvent their sound, although initially writing material in the vein of Very Emergency.[5] After some difficulty, they re-evaluated and decided to write material at a steady pace.[5] The band was no longer with Jade Tree by March 2001,[19] and signed with the Epitaph Records imprint Anti- later in the year.[20]

The label contacted the Promise Ring when it became known that they would not release their next album on Jade Tree. They contacted the band's manager, but the group was cool due to their unpleasant appearance on tour with Bad Religion. Epitaph was also primarily known for one style: Californian pop punk. Brett Gurewitz of Bad Religion, who founded Epitaph, flew the band out to Los Angeles.[21] Although he wanted them to sign with Epitaph, the Promise Ring wanted to record for Anti- because they were more familiar with that label;[22] it featured artists, such as Tom Waits, Tricky and Merle Haggard, who did not fit into Epitaph's roster.[14]

The label was understanding, since it was aware that the group wanted move away from emo.[21] The Promise Ring also wanted more money than Jade Tree could offer, which was the main reason they left the label.[23] Bohlen said that the band and label "became more or less synonymous",[21] and they wanted to distance themselves from the Jade Tree sound.[13] Another issue was Jade Tree's reluctance to license the group's releases to labels in other countries. The band had to convince Jade Tree to license the Electric Pink EP to Epitaph imprint Burning Heart Records for European release and to license their albums in Japan, where the Promise Ring was becoming more popular.[2]

Production

The band wanted to work with Stephen Street because they thought he could understand the sound they wanted.[5] Didier, Bohlen and Gnewikow were fans of the Smiths and Blur, both of whom Street produced.[24] Since Street did not want to fly to the US, the group flew to the UK to record with him.[23] They were in the process of finalizing details when Street went on vacation, and they had no way to communicate with him. Beginning to panic about their budget, they decided to split the recording between Street (in the UK) and Mario Caldato Jr. in Los Angeles. The band went to Los Angeles[6] in mid-2001[5] and recorded "Say Goodbye Good" at Sonora Studios and MCJ Sound with Robert Carranza.[17] The song included bassist Scott Schoenbeck,[17] who was unhappy with the change of sound[25] and unenthusiastic about being in a band.[22] He was replaced by Ryan Weber of Camden for the remainder of the recording;[26] the band had toured with Camden earlier in the year.[27] When Street returned from vacation he said that he would charge less than his usual fee,[6] and the group sent him demos of material they had recorded.[28] They flew to the UK and went to Street's house, where they played him the songs' session files.[28]

Street and the Promise Ring then went to Farnham and recorded at Jacobs Studios,[17] a converted farmhouse.[10] The band stayed above the studio, and waited every morning for Street to arrive and listen to the previous day's recordings.[16] He and Cenzo Townsend engineered the sessions, assisted by Jon Olliffe.[17] On the first day, Street and the band ran through separate lists of songs on which they wanted to work. Although "Become One Anything One Time" was at the bottom of the group's list, it was at the top of Street's; working on it turned out to be enjoyable. During the sessions, the band wrote "Size of Your Life" and "Get on the Floor".[28] The sessions lasted for six weeks,[5] beginning in September[20] and ending in early November.[29] Additional recording was done for "Suffer Never", "Half Year Sun", "Letters to the Far Reaches" and "Feed the Night" at Polish Moon in Milwaukee.[17] The sessions cost between $100,000 and 200,000, 10 to 15 times the recording budgets of the band's past releases.[16] Street mixed the recordings at Jacobs except for "Say Goodbye Good", which was mixed by Caldato at Sonora and MCJ Sound. Stephen Marcussen mastered the final recordings at Marcussen Mastering in Los Angeles.[17]

Composition

Overview

Wood/Water has been described as an alternative country,[26][30] indie rock[31][32] and pop album,[30][33][34][35][21] with elements of roots rock, alternative pop[36] and psychedelic pop.[24] The band moved away from their older emo sound,[30][6] incorporating keyboards, percussion,[37] pianos, acoustic guitars and soft vocals in the vein of Cat Stevens and Travis.[38] Vermont's acoustic guitars and folk-based melodies were also present.[14] The album was reminiscent of Wilco,[3] Guided by Voices, Superchunk, the Flaming Lips, Wheat and the Delgados.[33] Its title is from the opening line of "Become One Anything One Time".[5]

Gnewikow viewed the album as the "older cousin" of Nothing Feels Good (1997, and said that recording in England was a positive influence: "The area that we were in was very lush and green and in some ways that's how I see the record, sort of warm and comfortable."[39] Bohlen's vocals were compared to the Kinks frontman, Ray Davies,[40] and its lyrics addressed the themes of change and re-evaluating one's life.[41] Didier said that most of the lyrics were related to touring, especially touring for Very Emergency.[28]

Songs

"Size of Your Life", the opening track, begins with guitar work which was compared to that in R.E.M.'s "What's the Frequency, Kenneth?" and audio manipulation over Bohlen's vocals.[37] The garage rock-pop song[42] evoked "Tender" by Blur,[34] and its abrupt keyboard ending was compared to Spiritualized.[43] The song set the lyrical tone for the rest of the album.[34] Street told the band to stand at the other end of the studio and interact with objects; Didier hit a fire extinguisher, Weber opened and closed a wooden chest, Bohlen banged two croquet mallets together, and Gnewikow played on an upside-down tennis-ball can. The resulting sound was the song's percussion track.[15] "Stop Playing Guitar" is a power ballad[33] showcasing Bohlen's storytelling ability,[36] as he describes spending more time reading books than playing with the band.[44] "Suffer Never", a primarily-acoustic song using synthesizers and distorted electric guitars,[33] resembles the band's earlier material[45] and the Flaming Lips' "Race for the Prize".[37] "Become One Anything One Time", originally called "Wood/Water",[28] features slide guitar; its "la la la" chorus is reminiscent of "Downhill" by Mysteries of Life.[33]

"Wake Up April" opens with a drum machine and a keyboard as the group shifts from a minor to a major scale.[33] Reminiscent of 10cc,[46] Bohlen wonders what it would be like to drink his morning coffee in the afternoon.[5] It has a percussion loop which the group had used as a click track; at Street's suggestion, they left it in the final version.[47] The drum pattern and guitar riff of "Get on the Floor" recalls "Death of a Disco Dancer" by the Smiths, which Street also produced. According to Gnewikow, he was unaware of the comparison – despite listening to Strangeways, Here We Come (1987) at the time – until it was pointed out to him.[14] "Half Year Sun" is an ambient country song which borrows from the early work of Wilco.[48] The folk rock "My Life Is at Home"[46] was compared to the Beach Boys and Weezer;[49] it is followed by the Mercury Rev-inspired "Letters to the Far Reaches".[34] The piano ballad "Bread and Coffee"[50] is followed by "Say Goodbye Good", which features a phaser effect.[37] With its choir section,[48] the song was compared to a Stereophonics rendition of the Beatles' "Hey Jude".[34]

Release

On December 17, 2001, Wood/Water was announced for release the following April.[51] On February 9, 2002, the album's artwork was released:[52][17] a photograph by Christopher Strong, referring to the greenery surrounding Jacobs Studio.[5] "Get on the Floor" was posted online on March 3.[53] The group played a few shows around their appearance at South by Southwest later in the month.[10] During their performance at South by Southwest, Bohlen passed out; he had additional surgery over the next few weeks in which a plate was implanted in his head.[54] Wood/Water was made available for streaming on March 26[55] on a microsite[56] before its April 23 release;[57] the double 10" vinyl edition was released on Foreign Leisure Records, the band's own label.[58] The vinyl release contains one bonus track, "All Good Souls", and has a slightly-different track listing.[59] To promote the album, the band made two acoustic in-store performances. They then headlined a US tour in April and May, supported by the Weakerthans.[60] Former Camden member William Seidel was drafted as the group's touring keyboardist.[18]

A music video for "Stop Playing Guitar" was posted online on May 3, 2002;[61] filmed at a Los Angeles guitar factory, it was directed by Arni + Kinski (formerly of GusGus).[62] On May 24, the band performed on Late Night with Conan O'Brien.[63] They then supported Jimmy Eat World on its UK tour,[64] where Wood/Water was released on May 27.[12] "Stop Playing Guitar" was released as a single on July 9;[65] the 7" vinyl version included an edit of "Stop Playing Guitar" and "You Only Tell Me You Love Me When You're Drunk", and the CD version featured edit and album versions of "Stop Playing Guitar" and "All Good Souls".[66][67] The band again supported Jimmy Eat World for a handful of US dates in late July and early August.[64] In September and October, the group appeared as part of the 2002 Plea for Peace tour.[68] Although the Promise Ring planned to film a video for "Suffer Never" after the tour,[22] Epitaph and Anti- announced on October 14 that the band had broken up.[69] The group explained a week later that they had decided to focus on other projects, and had considered a breakup for a month or two.[41]

Reception
Professional ratings
Aggregate scores
SourceRating
Metacritic69/100[70]
Review scores
SourceRating
AllMusic[36]
The A.V. ClubFavorable[33]
E! OnlineB[38]
Exclaim!Favorable[71]
LAS MagazineMixed[26]
Milwaukee Journal SentinelFavorable[72]
Ox-FanzineFavorable[73]
Pitchfork3.2/10[37]
PopMattersFavorable[12]
Rolling Stone[74]

According to the review aggregator Metacritic, Wood/Water received generally-positive reviews from music critics.[70] The A.V. Club's Noel Murray wrote that the album "purposefully leaves aside youthful aggression in favor of probing, thoughtful musicality",[33] and the "maturation process is like a bold rebuke to those who'd rather not grow up."[33] Ox-Fanzine's Joachim Hiller wrote that the "latent punk-rock hardness has disappeared", replacedby "soft, tender songs" which have "gained the upper hand."[73] Stuart Green of Exclaim! wrote that the album was a "dark and sombre journey through the mind of the artist as a survivor" and "a testament to [Bohlen's] growth as a songwriter."[71] PopMatters music critic Adrien Begrand called Wood/Water "a great little album" and enjoyed hearing the band "stretch out their sound."[12] E! Online liked its change from "the fast track to the, um, slower track", and the band's "jagged riffs and emotional intensity" were a "distant memory."[38]

For the Milwaukee Journal Sentinel, Gemma Tarlach called the album acombination of "lyrical introspection and a ... lack of inhibition musically" which saw the group "taking its creativity to a new and exciting level."[72] Jon Caramanica of Rolling Stone found it "less blatantly melodic, peppy and cloying" than the Promise Ring's three earlier albums.[74] LAS Magazine founder Eric J. Herboth wrote that the album's "structuring, layers, effects and ... mopey pace" made it sound more like Vermont than the Promise Ring;[26] it wasn't a "bad pop album, but it's totally impossible to digest as a Promise Ring album."[26] According to AllMusic reviewer Kurt Morris, it "features hooks aplenty, vocal manipulations, and quite a few mellow numbers to boot."[36] However, the album "starts out lukewarm" and has a "subdued feel, alienating die-hard fans and not doing anything daring enough to attract new ones."[36] Pitchfork's Brent DiCrescenzo criticized the album for "miss[ing] the boat"; although he found the experimentation "admirable", "you can't put a Sizzler sirloin on a gold plate and call it a filet."[37]

Track listing

All songs written by the Promise Ring.[17]

No.TitleLength
1."Size of Your Life"3:09
2."Stop Playing Guitar"5:05
3."Suffer Never"4:10
4."Become One Anything One Time"4:19
5."Wake Up April"5:07
6."Get on the Floor"4:07
7."Half Year Sun"5:40
8."My Life Is at Home"4:16
9."Letters to the Far Reaches"2:29
10."Bread and Coffee"3:53
11."Say Goodbye Good"6:37
12."Feed the Night"3:04
Total length:51:49

Personnel

Personnel per booklet.[17]

gollark: And nice iterators.
gollark: Plus Rust has algebraic data types.
gollark: Non-manual memory management also makes it easier to reason about code and not put `free`s everywhere.
gollark: Zig, but it's veeeery alpha.
gollark: Nim? Rust?

References

Citations

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Sources

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