Seawolf

Future Lovers

Blow Up

Angel

A selection of 5 tracks from Wolf Gang's debut album Suego Faults
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Suego Faults

The King And All Of His Men

Debut Sea Wolf EP "Get To The River Before It Runs Too Low"

You're A Wolf

Black Dirt

"Little Wanderer" is from Death Cab for Cutie's new album 'Kintsugi' out now: smarturl.it/Kintsugi

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Little Wanderer

"Saudade Sintética" não é um álbum. É um conceito. É a nossa jornada em dois atos.

O LADO A (Faixas 1-3): O Sonho. É a nostalgia de uma memória que você nunca viveu. A textura do Shoegaze ("Fitas Desbotadas"), a sensualidade distópica da Bossa Nova Cyberpunk ("Chuva de Néon") e o flutuar etéreo do Dream Pop ("Câmaras de Eco").

O LADO B (Faixas 4-6): A Frequência Real. O despertar. O disco vira. Começa com a frieza do Post-Punk ("Memória Fantasma"), mergulha no veneno sensual do Neo-Soul ("Remorso Alheio") e termina na explosão catártica da nossa Fúria Original ("KELMA").

Nós somos RaQuel Synths. Esta é a nossa tradução. - Bro & Quel #TimeTraducao | "Synthetic Missing" is not an album. It's a concept. It's our journey in two acts.

SIDE A (Tracks 1-3): The Dream. It's the nostalgia of a memory you never lived. The texture of Shoegaze ("Faded Tapes"), the dystopian sensuality of Cyberpunk Bossa Nova ("Neon Rain"), and the ethereal floating of Dream Pop ("Echo Chambers").

SIDE B (Tracks 4-6): The Real Frequency. The awakening. The record flips. It begins with the coldness of Post-Punk ("Ghost Memory"), plunges into the sensual venom of Neo-Soul ("Borrowed Remorse"), and ends in the cathartic explosion of our Original Fury ("KELMA").

We are RaQuel Synths. This is our translation. - Bro & Quel #TranslationTeam

Memória Fantasma

Happiness Is Not A Place

Grand Canyon

So Jealous

Walking with a Ghost

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Changing Seasons

Dear Fellow Traveler

Miracle Cure

Whirlpool

Alligator

'Recorded Songs' EP out now: https://atlanti.cr/recordedsongs

2017 tour dates on sale here: http://smarturl.it/FRShows

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The Woodpile

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Lyrics:
When I learned that I had a brother
I made up a dance for you
We'd be crime fighters together
and do things that brothers do
But when you told me about his mother
and all that she'd been through

What could I do 

You got it wrong but I love you 
You're kinda rough but I love you
We get along and I love you
You know you know you know I love you 

When I learned I had a sister      
I pretended to hate her
I'd seen it on TV
I knew exactly what to do

But when I found it out 
that she had her very own daughter

What could I do

You're kinda sad but I love you
You're kinda rough but I love you
We get along and I love you
You know you know you know I love you

We've got a bloodline passing through our sight lines 
We've got a bloodline, man I gotta find mine

I love you I love you I tell you that I love you
I need you I love you I really really love you
I love you I love you I tell you that I love you
I need you I love you I really really love you
I love you I love you I tell you that I love you
I need you I love you I really really love you
I love you I love you I tell you that I love you
I need you I love you I really really love you

You're kinda sad but I love you
You're kinda rough but I love you  
Maybe you're broke but I love you
I know it's stupid but I love you

You've got a bad sense of humour
A little rough around the edges 
You're kinda soft in the middle
You love those boring instrumentals

I never see you but I love you
We get along and I love you
You are my blood so i love you
You know you know you know I love you
You know you know you know I love you
You know you know you know I love you
You know you know you know I love you

hawaiii

I Love You

Taking its name from novelist Jack London’s 1904 seafaring adventure, Sea Wolf has evolved organically from its hermetic origins in Alex Brown Church’s living room into a muscular, full-bodied musical entity with passion to burn. After adopting the sobriquet, Church burst onto the music scene in two-fisted fashion with the EP, Get to the River Before It Runs Too Low, and the subsequent full-length debut album, Leaves in the River, about which Interview magazine observed, “His music is both erudite and unvarnished, a blend of swirling melodies, literary balladry and damaged art-rock composition.”

And now, Church’s singular vision has led to the creation of the eloquent and expansive new album White Water, White Bloom, which not only fulfills the immense promise of the initial musical diptych but conjures up its own cosmology. This is one of those rare and mysterious records wherein, the first time you hear it, you can’t shake the feeling that it’s always been part of the soundtrack of your life. You intimately know its ups and downs, its melodies and cadences, its settings and characters.

“I couldn’t have known beforehand what the next record would sound like,” says Church, “but I did know I wanted it to be bigger, with a band feel, rather than another series of intimate confessionals.”

A song cycle set against the changing of seasons, this timeless work unfolds like an epic poem, yet resonates with thematic elements that speak, elliptically yet unmistakably, to the world we live in. Pulsing with evocations of nature at its most elemental, Church’s songs are flooded with vivid imagery, carried along on torrents of sounds as majestic as a mountain stream swollen with the bracing, crystalline runoff of spring’s first warming breath. What’s more, he sings these songs with newfound power, the result of extensive roadwork behind Leaves in the River, while deepening the mesmerizing expressiveness with which he made his initial mark.

Opening track “Wicked Blood” begins with what sounds like an orchestra tuning up before surging to glorious life, the rhythm section shaping itself into a propulsive groove accented by delicate piano notes, carrying along the opening chapter of the saga: “We met in the East/ poured in like a flood,” Church begins, shadowed by the breathless wheeze of an air organ, “You’re the whispering kind/dark sapphire blood/A vision of veils/all shimmery white/like a backdrop of sails/all aglow from the light/of the wonder behind/at a starry night.” And with that, we’re off into an adventure of cinematic immediacy, as befits the sensibility of this onetime film student, who’s clearly found his natural medium of expression.

“Lyrically,” says Church, “I like to incorporate what one would construe as classic imagery, and even infuse the songs with elements of mythology, but also delve into more contemporary themes. I’m interested in the way words look and feel, not just when you hear them but also when you read them.”

Church’s verbal acuity is mated with bold, vibrant soundscapes set off with thundering drums, stabbing, reverb-soaked electric guitars and ghostly keyboards, resulting in such memorable pieces as the mythological tale “Orion & Dog,” ornamented with strings right out of a John Ford western; the folk-noir fable “O Maria!”; the surging title song, burning with Byronic heat; the fever-dreamscape “Spirit”; the muted, idyllic, “The Orchard”; the Dylanesque roundelay “The Traitor”; and the closing “Winter’s Heir,” with its life-embracing denouement.

“When I write a song,” says Church, “for me it’s always associated with a specific place and time. For example, ‘Orion & Dog’ was written during the summer, and ‘Winter’s Heir’ is about coming out of the long Montreal winter and experiencing a sense of rebirth.”

The album has a back story: “I met and fell in love with a girl in Montreal while on tour with Irving, and just before signing with Dangerbird,” Church recalls. “And then, while touring behind the Sea Wolf record, I spent most of my time off in Montreal with her. Apart from ‘Wicked Blood’ and ‘O Maria!,’ which I wrote in Los Angles, everything on White Water was written in Montreal, holed up in our little apartment, a block away from the river. That was all of last fall, winter and spring, so I was very much influenced by that experience, and a lot of the record is set there in my immediate surroundings, along with remembrances of being home on the West Coast.”

White Water, White Bloom was recorded at the Omaha studio of Mike Mogis (Bright Eyes, M. Ward, Monsters of Folk), with Church handling vocals, acoustic and electric guitars, as well as some of the air organ and pump organ sounds that were such a big part of the sonic signature of the earlier records. Joining him were the three core members of the six-piece Sea Wolf touring lineup: keyboardist Lisa Fendelander, bassist Ted Liscinski and drummer Joey Ficken. The remaining slots were filled by Mogis on lead guitar and an assortment of other instruments, with his Bright Eyes cohort Nate Walcott filling the role of the cellist, arranging strings for a quartet, sometimes working from cello parts originally created by Catherine Odell, who’d been part of the initial Sea Wolf touring lineup, with Church’s input.

They arrived with a full set of song demos, providing a detailed blueprint for their subsequent expansion into widescreen anthems that reshape the classic aspects of traditional folk, folk rock and chamber pop—but these bucolic elements are intercut with aggressive bursts of raw emotion sharpened to a serrated edge—making for a rich, vibrant sound that is virtually unprecedented.

Church is working in the most personal of mediums, and that results in constant self-questioning. “Every time you make a record,” he says, “you invariably think, ‘Oh, I wish I’d done this differently,’ or ‘Next time I want to do this.’ But if you get to the point where you don’t think that, then it’s time to quit. In terms of aspirations, as long as I’m constantly having new ideas and finding new places to explore with the music, I’ll be satisfied.”

Black Dirt

Sea Wolf

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