Name: Dear Fellow Traveler by Sea Wolf in Take me to the moon
Duration: 3 min 41 s
Description: Buy "Old World Romance" on iTunes: http://smarturl.it/oldworldromance

Watched a caleb and not video came here in tears. love the song

this song just hits, man. i dont even know what they were singing about but it doesn’t matter. it has this feeling to it. sounds awesome, i live for instrumentals and vocals like this hahaha

Does anyone know any other songs like this?

Sometimes on trips with my family I look at the windows and see many things be it the calm sea or the tree the covers the road with it's branches and I always find that this song captures that feeling the appreciation of the journey is rare nowadays

I completely forgot about this song an then I found an old comic and looked up the song it said it was for 😍😍😍

Take me to the moon

support official release please, i just really needed this for a playlist!!
https://www.youtube.com/watch?v=8VXkFO0h75w

Wolves Of The Revolution - The Arcadian Wild

I did all writing, producing and playing myself, so even though it's not where I want it to be, I told my friends I'd drop a song before hollow knight silk song came out.

Third eye

"Searchlight", Only Son's second LP,  was released in 2011 and features guest appearances by Regina Spektor, Kishi Bashi, and members of The Strokes and Little Joy.

Call Them Brothers (featuring Regina Spektor)

Carnivore

Air - Traffic - Controller - This - Is - Love

Follow Air Traffic Controller on Twitter: http://twitter.com/atcmusic
Facebook: http://www.facebook.com/atcmusic

US TOUR AUGUST 2014, tour dates here:
www.bandsintown.com/AirTrafficController

New single "The House" available on iTunes July 29, 2014, preview here:
www.youtube.com/watch?v=zYMNlikQA4A

We're working on even more new songs in 2014, stay tuned!

Tour dates:
Sat 02 Seattle, WA - Barboza's (21+)

Mon 04 Reno, NV - Singer Social Club (21+)

Wed 06 San Francisco, CA - Bottom of the Hill (AA)

Thu 07 Los Angeles, CA - Bootleg HiFi (21+)

Fri 08 Phoenix, AZ - Electric Ballroom (AA)

Sat 09 Las Vegas, NV - Container Park (AA)

Sun 10 Salt Lake City, UT - Loading Dock (AA)

Mon 11 Denver, CO - Lost Lake (21+)

Wed 13 El Paso, TX - Lowbrow Palace (18+)

Thu 14 Austin, TX - Holy Mountain (AA)

Fri 15 Houston, TX - Warehouse Live Studio (AA)

Sat 16 Dallas, TX - Prophet Bar (AA)

Sun 17 Little Rock, AR - Rev Room (AA)

Tue 19 St. Louis, MO - The Demo (AA)

Wed 20 Chicago, IL - Schubas Tavern (AA)

Thu 21 Pittsburgh, PA - Hard Rock Cafe (AA)

Fri 22 Arlington, VA - IOTA Club (21+)

Sat 23 New York - Mercury Lounge (21+)

Sun 24 Philadelphia, PA - Ortlieb's Lounge (21+)

Tue 26 Boston, MA - Great Scott (18+)

Blame

Pomegranate Seeds-Julian Moon

Buy "Old World Romance" on iTunes: http://smarturl.it/oldworldromance

Buy iTunes

Kasper

Blue Stockings

Saint Catherine St

Changing Seasons

Dear Fellow Traveler

The Horror and the Wild

That Unwanted Animal

SHAKE! SHAKE! SHAKE!

Everything Moves

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.”

Dear Fellow Traveler

Sea Wolf

Recent comments

autumn girl

Moonpie&Fries12345

Keith

Inngi

Related tracks