A View of the Woods

Self titled debut album out now

The wait is over

Get the Woody goodness now

Buy a copy of the album from iTunes

Cover art by Chris Worfold

You can also purchase the album through Google Play and Amazon and anywhere else that has taste

A few videos to help activate your visual and aural senses

High Time - Teaser video

A little taste of the rock epic High Time featuring Dan on vocals

Crescent - Teaser video

A taste of the psychedelic rock out from Crescent featuring a wailing solo from Nicholas over the mesmerising backbeat of the rhythm section. All to one of the most amazing barrels you will ever see.

Question: Great videos but how do I get me some ROCK?

Answer: You get your ROCK here

Ostrich - Live at the West End Fiesta - 2013

Live version of the track Ostrich.

Meant To Be - Official video

Film clip for the song Meant To Be edited by Alex Choros.

"A sultry, hook heavy track with dynamic to spare. The divinely distorted vocal melodies and gritty grooves make this song especially exquisite." - Elizabeth LeGear (Independent Music Promotions)

"A wistful sort of psych with elements of classic rock and a hint of blues. Not the usual the sort of thing you hear coming from cricket loving, VB swigging Aussies." Ride With The Devil

The making of an Album…

A View of the Woods was born way back in May of 2011.

Dan (Bass, Vocals), Julius (Drums), and Nick (Guitar, Vocals) had been playing together on and off since school. In 2010 they found themselves in the same city for the first time in a while and commenced a regular Thursday night jam session at the local practice studio. They started working up some new material as well as revisiting some of the old stuff they had played in the past. Things were coming together quite well, and the talk of having a dedicated “front man” on board with the band started up.

Enter Tom. Julius met Tom locally in West End in early 2011, and invited him down to the practice room to see if there was any chemistry. Tom had previously worked as an opera singer and was keen to give “rock” a go. Everyone hit it off from the get go and the sessions started to reach a new level. In addition to his vocal prowess, Tom also brought keyboard skills and harp playing which complemented well with the other band members. His lyrical and musical inputs were also welcome freshness to the band.

It wasn’t long before talk turned to putting an album together. Dan, Nick and Julius were still pretty proud of some of the material they had produced in the past, and which had never been properly recorded, but perhaps not surprisingly most of this material took a back seat to a new sound and a new range of songs that developed from the time of Tom’s involvement with the band.

Most of the members of AVOTW had had some experience recording music. In fact, in a previous life, Dan had actually owned and operated a small recording studio in Byron Bay. Between them, both Dan and Nick had sufficient preamplifiers, microphones and other outboard to successfully capture bed tracks to work on. A plan was therefore hatched, to head out to an empty country farmhouse that was available, in order to record a song for release as a single. The rocking number “Meant to Be” was chosen as the Guinea Pig. The recording of the track “Meant to Be’” with their own recording equipment, and with mixing and engineering admirably accomplished by Dan in his “Red Room”, was an important step towards the realisation of dreams of an album. Buoyed by the success of this first country trip, the group returned to the Felton farmhouse a few months later to record beds for a number of songs including Triangulating and Ostrich. The Felton bed for Ostrich forms the basis of the version included in the AVOTW album release.

In spite of some successes, the recording of a full album seemed to be stuck in the planning stages. In late 2012 the band received some news that spurred them into action. Julius and his family were set to leave Brisbane for at least a 12 month sojourn in Cairns. It was decided that the band would go into a professional studio in an attempt to record beds for as much material as they possible could. Lush Studios was chosen for the job. The plan was to play everything two or three times and then just move on to the next song. There was no time for niceties. No one really believed that the basis for an album could be recorded in such a short time, there were hopes that perhaps an EP could be put together.

In February 2013, AVOTW entered the studio. The day started nervously enough with monitoring issues impeding early progress. Once going, the pace was frenetic, there was no time to lose.

Enough already. I want ROCK

In early 2013 the various versions of each of the songs were listened to and a “best” version selected. This was then whittled down to a handful of songs that were considered good enough to warrant working on further. Surprisingly, with the addition of the single “Meant to Be” and “Ostrich” from the Felton sessions, there looked to be enough material for an album, in fact just about the right amount of material for a vinyl record. It looked as though there was an album in the making.

There was still an extraordinary amount to accomplish. Work started in earnest (or what passes for earnest with AVOTW) in the home studio in Nick’s basement. Thursday night band practices were replaced with Friday night vocal, keyboard and synth sessions at Nick’s place. Guitars were added on Saturday mornings when possible. With limited time available due to family and work commitments, AWOTW slowly chipped away at recording the overdubs until finally sometime late in 2013, over six months later, tracking for the album was complete.

Various options for mixing the album were discussed, including returning to a professional studio to do the job and attempting to do it in Nick’s basement. There were questions about whether there was enough outboard available in house (among AVOTW members) for dynamic control and equalisation. Ultimately, attempting to do it themselves was the only reasonable option. As such, at this time Nick’s home studio was reconfigured from a “tracking” basement to a “mixing” basement. With expert guidance from Dan and encouragement from Tom (picture of Tom sleeping), acoustic treatment was put in place (photo of door mat), and a patch-bay was installed.

Mixing took even longer than the tracking. It was not until deep into 2014 that the boys could sit back and rest a bit from their weary toils. But finally, the album could be sent for mastering.

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