In the last few years, Toronto has become one of the biggest exporters of two-piece dance and electronica groups. MSTRKRFT, Crystal Castles and Thunderheist have all reached some level of success on the international stage, but one of the most promising new Canadian acts is Woodhands, featuring Dan Werb (vocals, synths and drum machines) and Paul Banwatt (drums, vocals).

They've become the centre of attention amongst media in Canada and overseas, playing ridiculously catchy dance grooves with a dirty, grungy edge. It's fun, celebratory and a little sexual too.

“Our music is all about catharsis, and release, and giving into the moment,” Werb said over the phone, “[It's about] the rawness of immediate experience, and I think you can draw a correlation between that and having sex.”

The band themselves have described their sound to “hot problem sex” and Exclaim! Magazine called Woodhands “the sex bomb Tom Jones was talking about.”

But several things don't seem to make sense about them, like the fact that Woodhands make ‘sexual' dance music, while still being quite geeky.

Earlier this year Dan and Paul acted in part as organizers for the Trekzac Festicon, a mini Star Trek convention to benefit TRANZAC, an non-profit organization that works to promote the arts, and cultural exchange between New Zealand, Australia and Canada.

Confronted with inherent correlation (or lack thereof) between sexuality and geekiness, Werb got defensive.

“What? You think you can't get laid at a Star Trek conference? Come on, man.”

Perhaps more alarming, though, is that live, Werb can be seen playing a keytar, and he does it in a totally serious manner. Unlike bands who use the instrument as an ironic throwback to the ‘80s, Werb insists, “There's no way we could pull off our show without it! It's very necessary.”

And with the way Werb frantically moves about stage, there's no doubting his statement. In fact, Woodhands' live shows have become notorious for the vast amount of energy the two bring to the stage. It's how they've been discovered, too.

“[Concerts are] the only way you can find an audience, for a band like us,” Werb said. “We've built our whole reputation on our live show.”

That reputation has extended to tours of Japan, mainland China and Europe. They've been able to see a lot, and more importantly, incorporate those cultural experiences into their own music.

“The isolation that I felt in Paris and the party atmosphere that I also found there totally influenced my songwriting,” he explained. “And the love of people that I found in Toronto gives, in a lot of ways, the joy that you hear in the songs.”

Their first LP, titled Heart Attack, has been recorded to capture that live energy, and the response to it so far has been great. Now they've been touring extensively in support of it, which can be interesting when you're just a two piece.

“It makes travel way easier and way cheaper, but it also makes you open to meeting new people. When you're in a big band... you meet people, but you're always hanging out with your band,” Werb said. “But with me and Paul, we're always meeting new people and making new relationships.”

Woodhands played Call the Office last week, but with the amount of times they've crossed this country, it shouldn't be long before they return for another auditory assault. Check them out — it's worth it!