Trying to nail down the disparate genres explored by the Wooden Sky isn’t an easy task. When pressed, the band tosses out tags like “folk rock”, but the words don’t hint at the nuances in their sound. Since 2003, the Toronto collective has been pushing the limits of folk and country, adding pieces of outside influence and slowly growing their own unique sonic aesthetic. It’s all led them to If I don’t come home you’ll know I’m gone, a massive undertaking that sweeps through rock and roll subgenres with the deftness of the Allman Brothers, the songwriting focus of Wilco, and the experimental sonic cacophony of the Flaming Lips. It’s a career-defining record, grown and built organically over months spent living, writing, and recording in cramped apartments between Toronto and Montreal.
The result is the kind of democratic rock and roll record that requires the total shedding of ego and the equal involvement of all parties; If I don’t come home you’ll know I’m gone is epic in its scope and contributions, but never bombastic or crowded. It’s a lot of people playing when they need to, not just when they want to. Ultimately, the Wooden Sky is the sound of collective will; a group of individuals coming together to forge something bigger. It’s a sound that started in a garage in downtown Toronto and found its way into the hands one of the most respected studios and producers in North America. With a new record and new friends to help them play it, the Wooden Sky are poised to push “folk rock” into something new, exciting, and earnest.