On hand topick up the pieceswere its owners, the Grammy-winning folk duo,Gillian WelchandDavid Rawlings.
Its the first co-authored by the duo in seven years.
But its a different one that Welch recalls during the conversation.
Gillian Welch and David Rawlings in front of Woodland Studios in East Nashville: the building played a major role in the folk duo’s new album.Alysse Gafken*
By 2001, the derelict studio was condemned, not to mention the site of particularlycontentious litigation.
I am really happy that Dave and I, though it is absurd, were able to do it.
One gets the notion that Woodlands evolution is a convenient metaphor for Welch and Rawlings own creative and otherwise.
Now in their mid-fifties, theyre thinking more than ever about the passage of time.
For every glance back, another lingers on what lies ahead.
And for each loss, a new discovery.
Some hear a song and some hear a warning.
Its like, Which is it?
I definitely feel like the album is full of contrast, even contrast withinonesong, Welch echoes.
Theres a lot of change, theres a lot of conflict, but theres also a stillness.
Thats never been our experience.
I wish it was…it sounds fun, Rawlings jokes when asked whether satisfaction has ever come easily.
It wasWoodlands undeniable narrative thread and the way the tracks flowed in easy succession that gave him pause.
In these moments of abundance, one would imagine its difficult to know when to stop.
When we talked, theyre both heartened by a recent performance a live debut of much ofWoodland.
Last month, they played eight of the new songs at theNewport Folk Festivalto warm reception.
They hope all those listening will feel similarly.
You know…a painful experience isjustan experience, Welch says.
Thats where the real sort of growth and transcendence happens.
Maybe you wish it wasnt, but why even wish?
I mean, do you not want the spectrum of life?
I think you do.
