Woody Whatever is actually a pair of brothers from Ohio, who’ve got a hell of a lot of cd-r releases out on their own Agriculture Records, but this is the band’s first release on another label. They sound like a bedroom version of the early Kleenex Girl Wonder records, but unlike 98% of the lo-fi bedroom pop bands out there, they actually have a pretty high ratio of quality songs in their repertoire. Sure, there are some throwaway tracks, but they’re not as common as they are with so many others. One major difference between this record and the previous ones (besides the noticeable improvement in sound quality) is that the songs on here seem to be a bit more worked out, but at the same time, they’re also longer on average. Some of their previous records would cram over twenty songs in 36½ minutes (if they even made it that long), but on this, we only get eleven. At times (”Just Enough Rope For You” and “I’ve Been Afraid”, for example), the songs suffer from the additional length, but for the most part they work well. This record is a bit better than their earlier ones in a few ways, but at the same time not as instantly gratifying. MTQ=8/11

Combining lo-fi indie sensibilities with quirky guitar pop infused with electronics, Ohio’s Woody Whatever showcase strong songwriting and interesting stylistic diversity on their latest full-length, The Great Pop. Sporting a Guided by Voices influence, among others, the band’s work on The Great Pop blends catchy guitar pop hooks with synths and drum machines for a unique 36-minute set with strong production and a sound that alternately, or sometimes concurrently, captures both upbeat eccentricity and emotional depth. The quirky pop of the opening “Drive an Uncle Through the Mountains”, both vocally and musically, certainly warrants comparisons to The Flaming Lips circa Transmissions from the Satellite Heart, while the following “Jesus Kill These Bombs” blends a beautiful guitar/bass line with reggae overtones. The lovely, hook-laden acoustic guitar pop of “Just Enough Rope for You”, complete with punchy new wave-infused electronic drums and handclaps, is one of the disc’s standouts, while “When You Get Home” is slightly more experimental, built around a structurally interesting programmed electronic riff. The later “Careers (Just Choose One)” notably falls into similar territory, a punchy pass riff at its heart.

The plodding, upbeat “Cherry Fountains” contains something of an odd island motif, while the more straightforward 2-chord guitar pop and reverb drenched vocals of “In Perfect Order”, clocking in at under 2 minutes, balances things out. “I’ve Been Afraid”, on the other hand, is an airy, lovely slice of atmospheric pop, its intertwining guitar and synth melodies juxtaposed by the minimal moodiness of the stripped down rhythm guitar/vocal track “Nevermind, Nevermind”. “I Boarded a Flight” is another mellow acoustic rock number, while “Stephani” is, perhaps, the perfect closer for this particular album, a blend of whimsy and romantic melancholia encased in a catchy indie pop shell with layered vocals again bathed in reverb.

While the album’s production is quite sharp and well done, the band’s indie sound is somewhat sparse and lo-fi, and it’s that very lo-fi aesthetic, in addition to their stylistic quirkiness, that adds a quaint, intimate, endearing quality to their work. That, blended with infectious pop hooks and sensibilities, creates a package that’s not only stylistically and sonically interesting, but one that will also have you humming its catchy melodies for days on end. Indie pop fans, particularly those that like their music to fall a bit left of center, should give this disc a listen.

Like Jewel and Paul McCartney before him, Jeremy Schmall — one-half of the brotherly duo that makes up the core of Woody Whatever — likes to write himself some poetry. (You can find samples on the band’s website.) Yet whereas Jewel and Macca’s forays into the poetic arena were more a result of ego-tripping than any real skill, Schmall is actually kinda good. Maybe not DC Berman good, but he’s entertaining nonetheless. Anyway, one of Schmall’s more dour pieces caught my eye, as it contains the following passage: “Sitting on the front stoop / with friends drunk wasted lives / at three in the morning … but what can you do?”

The answer, I think, is to listen to Woody Whatever’s new album, The Great Pop, and to drown your post-modern sorrows in the array of pop nuggets that it has to offer. The record itself is very lo-fi — imagine “Into My Arms”-era Lemonheads with scratchier production and shakier voices, or perhaps the Shins when they were still called Flake Music — but its melodic hooks are well thought-out. The opening track, “Drive an Uncle Through Mountains,” is single-worthy not only for its insanely catchy chorus, but for the jangly, REM-style guitars and Ric Ocasek handclaps that help it create a laid-back, we’re-on-a-road-trip vibe (hence the title). It’s probably the strongest cut on the album, but The Great Pop is also interesting for its flirtations with electronica. When Woody’s folky guitar-pop starts to get old, its sound is inevitably revived by the addition of synths (”When You Get Home”), a winding keyboard effect (”Careers [Just Choose Anyone]“), or flow-y, digital collages borrowed right outta the Flaming Lips’ musical workshop (”I’ve Been Afraid”). Nice.

Things head southward, however, when the Schmall brothers recede from the proverbial spotlight and drench their harmonized vocals in so much echo that songs become distant and aimless. “Nevermind Nevermind” hinges on the lyric, “I’m not goin’ in circles,” but after a few reverb-laden passes, it feels like the opposite is true! In a similar way, studio effects force the sunny chorus of “I Booked a Flight” to the back of the mix when it really deserves to have a spot in the forefront. Frustrating indeed, but these moments are the exception, not the rule, and thanks to Jeremy Schmall, the lyrics are always solid. In fact, I’d like to leave you with another excerpt from his poetry, one more indicative of The Great Pop’s shimmery goodness: “When I pat his leg to wake him … he raises his arm and says / ‘Rock ‘n roll!’” Now, that’s the spirit.

How sad, and what a waste. There is so much potential that Erik Schmall presents with his pop rock group. But much of it is squandered by the use of programming that steals its thunder. On the songs where it’s used to a minimum, like “Drive An Uncle Through the Mountains” and “I Booked a Flight”, the songs are fun and strong. On most of the others, where it’s drowned in bleep and bloops, or that tinny beat, such as “When You Get Home” and “Jesus Kill These Bombs”, well for me, it’s practically unlistenable. Again, this is a shame, because I could have really enjoyed this CD. The songs themselves are good, and the production is fine (though the vocals need to be more up front). RBF

Now this is some catchy goodness – Woody Whatever! I’d send (a copy that is – I’m keeping my own) this one to any of my friends who ever mentioned a love for the Twin Atlas (hear: “Drive an Uncle Through the Mountains:), a head nod towards Mazarin or a general fascination with duos that make sounds a band of five wished they could. Handclaps*, harmonies (”I Booked a Flight”) and a steady flow of casio-tinged beats – Woody Whatever are rockin’ the proper set of influences from the past 30 years. I’m guessing there are some Zombies, a few Beach Boys and maybe even some Danzig GBV laying around the house. The notes contained in this eleven-song player reveal two Ohio!ans with the last name Schmall – so be it brotherly love or just a really bizarre series of pairings, this album is to be cherished and enjoyed over fancy drinks and choice snacks. Woody Whatever may be the last American band, you won’t have to worry about drawing comparisons to Radiohead, ’cause it’s likely they haven’t even heard of Thom Yorke & Co.. If you do get into discussion with front Woody Erik Schmall, bring up the Action – that’s where the love begins. Yes – The Great Pop indeed. If you’ll excuse me – there’s a Woody Whatever back catalog that needs me to find it. *Those NOT in favor (bastard) of a healthy dose of “electronic handclaps” may want to steer clear of this one – but I wouldn’t advise missing The Great Pop no matter what your preference. Yep.

http://www.sctas.com/cdsW.html#WoodyUncle

If you are a fan of Hayden, Beck, The Eels, or other lo-fi popsters, you will for sure love Woody Whatever. They have an infectious pop sound that derives from acoustic guitars, drum machines, and dueling harmonies. This 11 song record is raw and full of emotions. From the upbeat opener “Drive An Uncle Through Mountains” to the Red House Painters-esque “I Booked A Flight”, these guys have a good variety to their music. The record doesn’t get dull with songs that blend together; each song has its own identity. Standouts here are “I Was Afraid” and “Stephani”, but really, all the songs are pretty solid. I highly recommend this one. If you’re interested, you can actually get this from Amazon.com. (Eddie Fleisher)

http://www.uttertrash.net/may05music6.htm

Ronald: Very cool indie-techno-folk-pop. Like Beck performing Euro-synth pop on happy pills accompanied by Air.
Jimmy: British influenced rock, very diversified, which is refreshing. Generally simplistic pop.
Gerald: Britpop type of sound – heavy on the synth. Hard to pin down

http://www.hybridmagazine.com/basement/0505/index.shtml

At first listen this record it sounds like some spotty 15 year old playing his first bunch of songs in his bedroom, a strummed acoustic, a drum machine, and thin reverby vocals. After a while the amateurish charm and tinny sound is fooling nobody, there are some songs here that could be described as really quite good. Since the band, founded by Erik Schmall in 2001, is from Dayton Ohio, the Guided By Voices influence is not surprising. So we get short snappy lo-fi pop songs with eccentric titles, like the opener “Drive An Uncle Through The Mountains”, followed by “Jesus Kill These Bombs” which at times sounds like a popped up version of the Junior Murvin/Clash classic “Police And Thieves.” There’s a way to go before things get to the GBV level, but considering Erik is only in his early 20s, on this evidence that could actually happen! PW (6 out of 10)

The Great Pop van Woody Whatever schijnt het meest ambitieuze project van de broertjes Erik en Jeremy Schmall uit Dayton, Ohio te zijn. Nou kennen we de eerdere platen van deze jongens niet, maar ik weet niet of we veel gemist hebben.

De band zegt geïnspireerd te zijn door de vroege Guided By Voices, maar we horen er in hun muziek niet veel van terug. Het zijn eerder vroege demo’s van The Clash ten tijde van Sandinista! of de nog onbedorven UB40 die we in de muziek van Woody Whatever terughoren. Jammer genoeg klinken maar een paar nummers goed genoeg om deze vergelijking te doorstaan. De songs intrigeren, zijn origineel en lijken een belofte te doen: “Beluister ons nog een keer en je zult versteld staan.” Maar als we dat doen, vallen ze nogal tegen.

We horen een beat uit een drumcomputertje, clapping, een geinig orgeldeuntje, een slordig slaggitaartje en een redelijke, maar ook wat rommelige zang. Het is lofi, dat is niet erg. Het is niet erg goed gespeeld, dat is niet zo heel erg. Het is los zand, dat is wel erg. Geen kern, geen visie, alsof de songs nog niet helemaal af zijn. Een handvol rock-, pop-, reggea- en skasongs die oké zijn en wel lekker wegluisteren, meer niet.

De teksten zijn wel prima: zwartgallig, kritisch en origineel. Titels als ‘Just Enough Rope for you’ en ‘Jesus Kill These Bombs’ geven een beetje weer wat we daarmee bedoelen. ‘Jesus Kill These Bombs’ is de single en wel een echt goede song. Sandinista! maar weer eens luisteren misschien?

Tekst: John Min

http://www.kindamuzik.net/reviews/article.shtml?id=9179