Woodpigeon is itself a container, less a band or project than a repository for multi-instrumentalist Mark Andrew Hamilton’s aural anthologies of modern reckonings. His stories strike at the difficult-to-parse moods and flights of fancy that struggle beneath our quotidian selves. We are better than we are, they sing.
 
Post-genre in an orchestral folk-pop context, Woodpigeon embellishes with echoes from other forms and eras: a swell of remorseful strings, the distant rousing call of horns, an urgent rhythmic skiffle of frustrated ardour, textural ripples of atmospheric noise. But oh, the melodies! Those are the soul of a Woodpigeon song, erudite lyrics borne by Hamilton’s spooky bittersweet vocals – like the ghost of a choirboy teetering on the cusp of manhood reincarnated into gently rustling autumn leaves. Yes, absolutely.
 
Woodpigeon can be counted among contemporary idiosyncratic songcrafters like Andrew Bird, Damien Jurado, Jens Lenkman, Laura Veirs, Jose Gonzalez, John Vanderslice, Iron & Wine, and Antony & the Johnsons, and alongside fellow mercurial Canadian artists like Arcade Fire, Chad vanGaalen, Chet, Great Lake Swimmers, The Acorn, Culture Reject, Christine Fellows, Human Highway, and Kathryn Calder.
 
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