Vintage Americana is met with psychedelia-influenced grooves of the most erudite quality, sultry serenades and unstoppable sonic force in From Now Until Then, the incredible new album from the Derek Woods Band. Comprised of nine stunning tracks that fuse elements from a diverse array of influences into chic, seamless melodies that are as texturally expressive as they are lyrically relatable, From Now Until Then has no equal, on either side of the dial, due out this March. Songs like “Nothing Rhymes With Orange,” “I’ve Got a Notion” and “Fall of the Cards” stir us with their obtuse structures, but they’re never so far removed from the mainstream that we become overwhelmed by their boundless ambitions. Derek Woods leads his group with a stylish command of the microphone, and while there’s a touch of old fashioned rock n’ roll aesthetics present in tracks like “Built to Spill,” “Much Better Now” and “Sea of Swaying People,” it’s hard for me to describe this album as anything other than a wonderfully experimental piece that isn’t easily categorized by conventional genre standards. This band is firing on all cylinders and producing some really gripping musicality in From Now Until Then, and there’s no question that it’s become one of my favorite releases of the spring.
From Now Until Then boasts a very elegant production quality that helps us to fully appreciate all of the divinely-appointed layers of melodicism in the title track, “Respectful Man” and “Soul Under Control”. “Much Better Now” swings with a charismatic drawl from Woods that is sublimely positioned between rigid bursts of percussion and a slick organ melody that sounds as charming and evocative as it would in a live setting. “I’ve Got a Notion” plods along with a pendulous strut that is only rivaled by the confident exoticisms of “Soul Under Control” .
This new release from the Derek Woods Band is absolutely spellbinding. There’s so many lush textures to take in within the songs “Fall of the Cards” and “Built to Spill” alone that calling From Now Until Then anything less than an anthological offering from a one of a kind musical group would seem dismissive of the immensely dedicated efforts put into constructing it. The melodies are mighty, the harmonies are homespun and free from the restrictive parameters of scene politics, and for my money, rollicking folk-rock rhythm simply hasn’t sounded this good in years.