Let's make space for silence
Too many things are said in haste
We rush to fill the void
And are afraid to think
Afraid to hear the stillness
Afraid to just be seen
Afraid that we'll be noticed
If we lower our defense
Words are a mask
We cover insecurities
Words are a shield
We cover our thoughts
Let's be real
So few of us are
Let's be genuine
And earnest
There are wounds that only heal
When we are able to be seen
There are problems only solved
When we are free to express ourselves
When my heart can be real
When I can really be understood
I am able to untie the knots
That I've twisted my mind into
Our collective consciousness is a mess
A collective train wreck
With no collective conscience
Sometimes we struggle to know how to be ourselves
We know so many people
Yet we know no one
All we see are caricatures
Fun-house mirror people
Exaggerated projections of
who others want us to think that they are
When they themselves are feeling
Like no one understands them
We all long to be understood
Yet we're all afraid to be understood
Everyone wants to be left alone but
No one wants to be alone
Where silence is not an enemy
Not an awkward panic to be escaped
But a sense of comfort
A warm embrace
To be with someone
Who makes you feel like you're not alone
Even when words fail
Maybe this is where I belong
117 plays on the first day?! 🤯 My new song "I Won't Let You Go" went up today and it's already had 117 plays on YouTube before I could even post the announcement.
I have a brand new song releasing with Only The Label on January 3rd!
It's called, "I Won't Let You Go", and it's a response to my other synthwave song "Hold Onto Me"
I've dropped the price on "Keeper Of The Forest" CDs on Bandcamp to $10 + shipping, just in time for last minute Christmas shopping. Grab my ambient concept album at the link below.
CDs available - Keeper Of The Forest
I now have CDs available for "Keeper Of The Forest".
Order through Kunaki to have them shipped directly to you:
https://kunaki.com/sales.asp?PID=PX005PVR3Q&pp=1
Or order directly from Bandcamp: https://timwoodruff.bandcamp.com/album/keeper-of-the-forest
I'm now a part of the "OTH Presents" record label. Thrilled to be a part of this awesome roster of artists, which you can check out over at the label's BandCamp account:
othpresents.bandcamp.com
OTH Presents is run by @onlythehostmusic, a visionary musical artist who runs a YouTube streaming show featuring awesome music from indie artists of many genres, which runs daily. Only The Host also takes submissions to the show daily, from all independent artists regardless of label.
I now have CDs available for "Keeper Of The Forest".
Order through Kunaki to have them shipped directly to you:
https://kunaki.com/sales.asp?PID=PX005PVR3Q&pp=1
Or order directly from Bandcamp: https://timwoodruff.bandcamp.com/album/keeper-of-the-forest
This song is dedicated to the days when you don't feel like smiling, but feel like you need to. Here's to better and brighter days, and to the people who warm our hearts.
It's been a while since I released any music, because life has been extremely busy.
Here's a instrumental piano ballad that I've had in my collection for quite a while, "At Winter's End". I'm aware of the irony of releasing this in early autumn, but hey, it's new music! :D
Enjoy. Pay what you want this week only. Only on Bandcamp... for now.
I wrote a deep dive into the stories and lore behind my ambient concept album "Keeper Of The Forest", and I've partnered with Only The Host to share it exclusively on his blog.
Hi. I'm Tim, a music producer blending the best of my favorite #music, to create something really unique.
Each album is it's own world:
- Odyssey is a space-y #synthwave EP
- Keeper Of The Forest is an #ambient instrumental concept album
- upcoming #rock and dark synthwave albums
You can find all this on timwoodruff.bandcamp.com, or any streaming platform.
I'd love for you to check out my music and tell me what you think.
I love hearing bands evolve and change their sounds and explore new territory.
I absolutely love how clearly you can hear the progression of ideas, confidence, and access to equipment operating so clearly when listening to Radiohead's albums in chronological order.
Starting way back with Pablo Honey where they were little more than an above-average guitar & drum indie ensemble with summer catchy song writing.
Then the opening bars of Planet Telex on The Bends hit, and it's like, what the balls? There are feedback loops, phasers, flangers, filters, echoes and delays all over that. I don't know what sort of gear they used, and feel like looking it up would remove a little of the magic, but it seems like the kind of stuff you could fairly easily do with access to little more than a decent console, a reel-to-reel recorder, and a larger collection of guitar pedals than they had before, and I choose to hold on to that headcanon.
The album as a whole frequently veers back into familiar live ensemble territory, but there are all these little touches here and there that show them starting to branch out into new (to them) techniques, and I like to think they knew exactly what they were doing when choosing the heaviest showcase for all of that as the opener.
Then comes OK Computer. The use of layering really shines here; they're clearly getting comfortable with using the studio to "perform" as a much larger ensemble than they really are. Again, every track is littered with these little touches of filter sweeps in the background, haunting one-off appearances of things that might be sampled vocals, might be theremins, might be synths.
And of course the vocals on Fitter Happier.
Then a three year gap. Which isn't actually as large as I remember: there had been two years gaps between each of the previous three albums, but this one will always feel longer to me because I didn't discover them until the OK Computer days. It was actually the first time I started paying attention to contemporary music; up until that point I'd payed recorder in school (as in, I was the nerdy one who could actually play and kind of enjoyed it, in a class of kids who had it forced upon them and didn't care, as was the done thing in British schools of the era), liked the idea of classical but didn't really love it, had a singular played to death Kraftwerk cassette (The Mix), and knew I didn't care for what I was hearing on radio or TV.
Kid A. What a rollercoaster. Does the opening track, Everything in its Right Place, contain a single acoustic instrument apart from Thom's voice? Again, I think they knew exactly what they were doing putting this one front & centre. It's synths, but it's not synth pop in any way, shape or form. These aren't the cheesy FM presets of the 80s. They were a medium different from the guitars and drums that had come before, but the message is still unmistakably Radiated. To anyone who'd been paying attention, anyway: people fucking hated it. Even I didn't know what to make of it at first.
Then they doubled down a year later with Amnesiac, like a massive middle finger to all the haters who just wanted them to keep doing what they'd been doing.
Which, ironically, is exactly what they were doing: but what they'd been doing all along was growing and evolving, they just took a bigger step this time.
Years later people have come round; to Kid A, at least. But they took their time. Amnesiac still gets little love, but go back and give it another chance. Pyramid Song. Knives Out. Dollars and Cents. Even the meandering two-minute one guitar, one synth noodle that is Hunting Bears. It's not the monument people wanted, but I maintain that it IS a monument.
I could go on, but I won't. It's a shame that Radiohead as a band barely exist any more; they've all started various side projects, the gaps been albums are getting longer. A Moon Shaped Pool came out seven years ago. But sadly it makes sense, given that their whole thing was always about finding new ways to express themselves.