Fred Woods - Small, fragile documents

Emotional and reflective, a small collection of songs that stayed off the radar of both critics and audiences, “Documenta” by Fred Woods has proven to be one of the most interesting singer-songwriter releases of this year, rightfully placing the sharp Canadian artist among the best emerging talents of 2013. We caught up with him via email for a long interview that sheds light on the past, present, and — why not — the future of a musician full of promise.

Let's start from the beginning of your musical adventure. When did you realize you wanted to become a musician?

I think I've always wanted to be a musician… at least for as long as I can remember. The first time I found myself alone with a guitar was undoubtedly a hugely important moment in my life. For me, writing a song is one of the most satisfying things there is, so why not try to make it a full-time job?

In the past you were known as the singer of a band called Château. What memories do you have of that period? Did that experience help you in any way in developing your sound?

It really was a great time. We didn't have any particular ambitions, and in the end we just played music for fun in my parents' basement. It was also the first time I included vocals in my music. I actually started singing pretty late, around 18-19, and from then on I worked hard to find my real voice, which is really difficult. I spent countless nights singing and recording in that basement. I wrote a lot of songs back then, and actually, two of them ended up on my record too.

Where does the stage name come from (the singer-songwriter's real name is Frédéric Boisclair, ed.)? Judging by the “surname”, it would seem inspired by the vastness of Canada's forests.

Ha, that would have been nice, wouldn't it? Actually, the story is much simpler. Both my parents' surnames contain the word “bois”, which means “forest” in French. I was desperately looking for a name, until I thought of taking that word, translating it into English and adding an “s” at the end, since there are two of them.

Let's talk about your album. It features quite a few collaborations with other musicians, including an entire horn section. Could you tell us about the recording and production process behind “Documenta”?

Well, the whole recording and production process was definitely a group effort. My band is made up of Francois Zaidan and Alexis AM, who are two of my best friends. They helped me enormously throughout the making of the record, especially with the arrangements. Initially, my idea was to record everything in my apartment. In the end though, nothing went as I'd planned: the result was really bad. So eventually I decided to call Alexis, who was the drummer in Château and had set up a whole studio in his apartment, and asked him if I could record some tracks there for 3-4 days. Those 3-4 days slowly turned into an entire year! I realized I would never be able to make a record completely on my own, probably because I'm lazy, but also because I want to collaborate with musicians who are much more capable than me. So most of the album was recorded in Alexis's studio, apart from a few overdubs that were done at my place instead.

Although mostly accompanied by acoustic guitar, your songs have a very recognizable sound, thanks to the use of keyboards and a very wide range of instrumentation, as mentioned earlier. In a way, they can be compared to the current American indie-folk scene. Either way, do you consider yourself a folk musician?

I don't pay too much attention to being labeled a folk musician, indie-folk or whatever else. I don't think it's my job anyway to label myself. I like writing songs with a guitar in my hands, and that's fine by me. I simply love the physical aspect of playing. I'll probably get tired of this approach at some point, but for now this is how I work. I decided to bring electronic elements into the album because I also work with that side of things in parallel. I create sounds, and it's something I love doing. It's a great distraction when I'm not in the right mood to write songs. I tinker with stuff here and there in the meantime. Also, I think synths and an acoustic guitar go really well together.

Which musicians and bands have influenced you and your music? Are there any records you'd consider essential to the shaping of your sound?

Many artists have influenced me on different levels: to give an example, PJ Harvey. I love her last two albums, their sound. They're so stripped-down and direct, and that's exactly what I tried to achieve with “Documenta”. Bonnie “Prince” Billy, Thom Yorke and Robert Wyatt are my favorite singers. I also listen to a lot of electronic music, mostly techno. Another source of inspiration for me is cinema: I'm a big fan of Dogma 95 films. They definitely inspired the atmosphere of my songs.

Is there any particular meaning behind the title “Documenta”?

I was looking for a way to say that this is a collection of songs belonging to a specific period of time. You know, a way of saying: “This is what I've made over the past few years. This is 'Documenta'”.

What inspired the lyrics? Is there a particular concept that ties them together?

My writing starts out as a stream of consciousness. I fill pages and pages, but in the end I probably use about 10% of what I've written. I'm particularly frugal when it comes to my lyrics: I don't think it takes all that much to write a song.

There's no concept that unites the songs, but a recurring theme running through them is identity. You know, finding your own place in the world and trying to figure out who you really are. Are we playing a role all the time? And if we're not, when are we truly ourselves? So, honesty, mainly.

This very melancholic, minor-key atmosphere that permeates your record — is that incidental, or is it your usual approach to songwriting?

I think that simply comes down to the way I sing. Even when the lyrics are warmer and more uplifting, everything ends up sounding decidedly melancholic and sad! I've tried my hand at more upbeat songs in the past, but they were truly awful, haha! I'll have to work harder at it!

You decided to release your music completely on your own, without the backing of a label. Do you think platforms like Bandcamp and similar services represent the future of music?

Well, I decided to put out my work as quickly as possible because I felt that was the best thing to do. Bandcamp is such a solid platform that in the end I didn't want to wait around for a label to knock on my door, sign me and license the record. That said, I do think there's still room for physical releases. I didn't go about it this way because I want to be independent at all costs. I'd love to have a team of people helping me out in the future, but for now I have to do everything myself, which honestly isn't a bad thing.

You live in Montreal, which in recent years has seen a remarkable musical and artistic flourishing. What's your take on the city's current music scene?

Of course, it's a very good thing for Montreal's music scene to be getting this much attention. There's a lot of great music being made, but I think that's more or less true of every big city in the world. And as for the "scene", you know, it's not something that tangible, it's all pretty abstract. As for me, Montreal is honestly just the city I live in, mostly for practical reasons. I don't think "Documenta" was particularly influenced by the city's environment.

What are you listening to right now? Any artist or band you'd recommend to us?

Right now I'm mostly listening to electronic music. Stuff like Terrence Dixon, Huerco S., Hieroglyphic Being, Actress is really exciting. The new album by Nick Cave is really great too. You should also check out my friends from Montreal, Technical Kidman. They're a really energetic band.

Last question. What are your plans for the future?

Over the next few months I'll be in Europe for a few dates in Paris and Berlin. I'll write more songs, play as many shows as possible, and finally record my new album.

Fred, thanks for the interview!

Thank you!

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