Woods' melodies bring to mind Scott Walker's dramatic tunefulness, while Dispeller's arrangements hit at the subtle, reactive instrumentation of late-era Fugazi, the glowing murk of Grouper, the Antipodean-gothic drudge of Tall Dwarfs, and the mechanical outer crust of Sparklehorse. On Dispeller, Woods' intimate experiments in rock paint a vivid portrait. Here, the New Zealand artist leans comfortably into intuition and abstraction. Expansive arrangements are anchored by heavy-lidded prose, while carrying the air of the portside shack it was made in. Dispeller was recorded throughout a year in Woods' hometown, Lyttelton, with Ben Edwards (Aldous Harding, Marlon Williams, Julia Jacklin) at the helm of the mixing console and co-producing. Utterings, footsteps, and the rattles of the room linger beneath the album's dense instrumentation, alluding to the familiar space the songs were captured in. Here, Woods' songs breathe and flourish into their own worlds. "I found my voice in trying to make atonality croon," he says. "With Dispeller it was less about harmony - the blend was capturing the songs very honestly in the room, and still making each of them to transport you somewhere different.".