Big Hurt Boy

A Picture of Us Smiling at a Party 5 Years Ago

Everlasting Love

Sunday Drive

'I Watched'

Track 1 from 'Bedroom Mixes'.
Written and Produced by Ella Walker.

A new demo every friday.
Stream Lightly and Woman In Love now: https://awal.ffm.to/wildeslightly
https://awal.ffm.to/womaninlove

linktr.ee/wildesmusic

© 2022 WILDES
℗ 2022 WILDES

I Watched

Love Don't Let Me Down

'Sever'

Track 8 from 'Bedroom Mixes'.
Written and Produced by Ella Walker.

A new demo every friday.
Stream Lightly and Woman In Love now: awal.ffm.to/wildeslightly
awal.ffm.to/womaninlove

linktr.ee/wildesmusic
© 2022 WILDES
℗ 2022 WILDES

Sever

You Stay by the Sea

Tomorrow Will Be Gone

Phoenix made the stems to this song public on Wednesday. They're one of my favorite bands and I decided to give this a go. 

I do not own the rights to Alpha Zulu in any way shape or form.

Alpha Zulu (Charles Fauna Remix)

Future History

The Four Horses is a prophetic folk epic by Jupiter Morrow, tracing the rise and fall of mankind through the Four Industrial Revolutions — each one a rider in disguise.
From steam to silicon, from gospel to algorithm, humanity mistook invention for redemption, until the Pale Horse rode and silence followed.

But out of that silence come these songs — laments, prayers, and flickers of mercy still burning in the ruins.
They are not songs of despair, but of remembrance: the voice of those who saw the fire fall and still believed in light.

“We built the light that burned our days,
And still we kneel, and still we pray.”

This album is both warning and benediction — a cinematic hymnbook for the last age of men, and the dawn that follows.

The Fifth Horse

The university avenue sessions - the university of Toronto

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

A Picture of Us Smiling at a Party 5 Years Ago

DonovanWoods

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