The self-titled release by Woodsman is charming, but limited. Carrying on from their last record, they've definitely kept their sound consistent going into this new release. Think freak-folk meets experimental psychedelic rock. With bursts of percussive energy and a sound that feels alive on this record, Woodsman is an impressive feat of cohesiveness and audio engineering; this record really is impressively 'alive', and at times you kinda have to just wonder at how they've managed to accomplish that.

This is a nine-track album, kicking off with the aptly named, 'Pre'. Roughly thirty seconds of noise and crashing of drums, it prepares your mind for what's about to follow. Diving into 'Gravelines', probably the most straight-forward track on offer, with a drum line that pounds everything forward, and an ethos which states that less ain't more. Third track, 'In The End Remember When?' is split into two distinct parts, the latter being a lot more experimental and psychedelic than the first. The split contrasts each half nicely, and so this track becomes the first to have a definite bite to it, a bite which recurs on the album a fair amount from here on out. 'Healthy Life' follows, probably the funkiest track, with a trippy bass line and noodling guitars that cause the track to shimmer at its edges. A destructive drum beat gives the track an edge at the mid-way point, which stops the track from being a meandering mess, and saves it from potential estrangement.

It's here where the album potentially takes a turn for the steady, as we get 'Rune', a fairly unadventurous track, which treads a very similar line to 'Healthy Life', but a great deal safer. It would possibly cause the album to falter, were it not one of the shorter tracks on offer, and also were it not followed by the stellar 'Loose Leaf'. Conversely, one of the longest tracks, it manages to evolve several times throughout its running time, and ends up being something almost unrelated entirely to its original tune. It hypnotises as it weaves its way through its various levels on show. However, we then get hit with 'Obsidian', a slow, '80s sounding, slab or stoner rock. After the frantic 'Loose Leaf', it really feels pretty tame and sticks out a little because of it. 'All Tangled Up', the penultimate track, traverses a multitude of different sounds over its five minute run, and manages to make it all sound very natural. Finishing the record with 'Teleseparation', a really beautiful track, is the sonic equivalent of pulling the plug out of the bath after soaking for an hour, and watching all the water gush past you as you sit still until its all gone. It's a really great closer, and finishes the album on a high.

Upon my first listen I was ready to say that listening to this record was more like looking at a really detailed painting, as opposed to actually watching something moving and fluid. However, this is a record which will show you something new every time you put it on for another spin. It is one of the best examples of a record that reveals more to you, and rewards you, on repeat listens. There's always an argument, however, with albums like this, whether the time invested is really worth it. I mean, you could put an awful lot of time into anything, and end up loving it, but maybe that time would have been better spent enjoying something else, and perhaps you'd have gotten more out of it. In the case of this album, it's hard to dissect because what you are listening to is, for the most part, a load of audio nonsense, from a trio having an awful lot of fun.

That's what sticks, and that's what makes the record dance from the speaker, and that's where Woodsman really make this self-titled album work.