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Painted Shrines: Heaven and Holy

Open share drawer Woods founder Jeremy Earl and psych-folk veteran Glenn Donaldson team for an effortlessly warm debut that feels alive with a sense of mutual discovery. Featured Tracks: “Heaven and Holy” — Painted ShrinesVia  Even in the inchoate early days of Woods, the sweet coo of founder Jeremy Earl turned his most elliptical lines into ready hooks. But like the collectives Elephant 6 or Lambchop a decade earlier, the amorphous band around Earl treated songs like playhouses, spaces where they might try anything. Harmonies spilled out through a mess of tape hiss; guitar solos curled like question marks. This casual idiosyncrasy was charming, a timely counter to indie rock’s burgeoning professionalism. In the decade since, however, Woods co-founder Jarvis Taveniere has become an adroit producer, and Earl has built a homespun empire of like minds through Woodsist. The stakes now

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Painted Shrines Heaven and Holy - Loud And Quiet

Loud And Quiet Painted Shrines is a new partnership between Jeremy Earl (Woods) and Glenn Donaldson (Skygreen Leopards). The pair met in the mid-’00s and have collaborated numerous times, most notably on the 2011 Woods album Sun And Shade.  Their first official collaboration, Heaven And Holy, was recorded in a week in 2018 after Earl accepted an invitation to visit Donaldson’s coastal studio in Northern California. Jeff Moller (Papercuts) added bass and the final touches were made during lockdown. The 12 tracks maintain the effortless feel of the initial recording session, sounding fresh and unforced . Given the pair initially bonded over their love of tambourines and DIY there’s little that will surprise on their debut. This is the psych-folk sound of The Byrds being played through the jingle-jangle morning of ’80s indie, especially the Stone Roses. There’s nonetheless a sweet melancholy to the harmonised tracks that make them comforting.

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