heaven and hell, i love you both (Nov '19)

Seawolf

Choices Of The Grasshopper December 2019

Dec 2019

Songs of January 2020

Zusammengestellt von Norman Zielasko für www.indieberlin.de/

Fear of Failure

Follow us to get the best new 2020 indie rock songs and playlists. 

Much more at https://indierockcafe.com
Submit Your Music at https://indierockcafe.com/submit-music

Fresh 2020 Indie Tracks, Vol. I

Mixahulababy 625

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

You're A Wolf

Bouncy new one from the homie @aaronbrockovich ! Go show him love with a follow and a mention! 

For everything else, head over to :
www.damnsonmusic.com

LIFESTYLE MUSIC 
<a href='https://theartistunion.com/tracks/6141da'>Download for free on The Artist Union</a>

Download

Aaron Brockovich - loveumore

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

Buy iTunes

Changing Seasons

Dear Fellow Traveler

Miracle Cure

Whirlpool

The new single "Crepuscular Child" by The Proper Ornaments taken from their new album "Six Lenins" (out on April 5th).

Six Lenins

Buy CD/LP/DL

The Proper Ornaments - Crepuscular Child

This song was recorded around the same time as my first EP. This was early in my career as a solo artist following a rough year with personal losses. Luckily I managed to channel this to creativity resulting in this song (and my upcoming new EP) and more music yet to come.

Stream "Shadow" here: https://vacation4ever.lnk.to/shadow

Shadow

Softly

Summer Girl

think of me

Red Shoulder is taken from the debut Squirrel Flower album "I Was Born Swimming" out now. Buy it here; https://smarturl.it/born-swimming

I Was Born Swimming

Squirrel Flower - Red Shoulder

Lighthouse

Lucky Me (feat. Great Good Fine Ok)

Nightseason- Dying in the Heat

Written and produced by: Patrick Zeinali and Jordan Caiola

Follow Nightseason
---------------------------
Instagram.com/nightseasonmusic
Facebook.com/Nightseasonmusic
Twitter.com/Nightseason_
www.Nightseasonmusic.com

Broken Glass

N Y C

mini bloom

find my way home

Hold You Dear

Lost In Love

Love the new Billie Eilish so much, had to make my own edit of it. 
If you enjoyed it, click the [↻ Repost] button! :)
Free radio and extended download -> Buy button.

• Follow Stisema
spotify.stisema.com
facebook.stisema.com
instagram.stisema.com
stisema.com/
@stisema

• Follow @billieeilish
https://open.spotify.com/artist/6qqNVTkY8uBg9cP3Jd7DAH?si=J7x9zaC_Tk6K--rdjVXr8g

Billie Eilish - Everything I Wanted (Stisema 6AM Unofficial Remix) (Free DL)

This Christmas

Most of Us Are Strangers

Love Won't Let Me Leave

'You Wouldn't Know' is about a girl telling her boyfriend’s best friend she’s going to leave her man, but the boyfriend is too oblivious to realise. 

Written and performed by Sienna Wild
Produced, recorded, and mixed by Oscar Dawson
Mastered by Matthew Redlich of Massive Masters

You Wouldn't Know

Subscribe to us on YouTube for more music:
➡️ https://www.youtube.com/channel/UC-HHJWCzskrsPdEjYulBg4w?sub_confirmation=1

Subscribe on Spotify:
➡️ https://open.spotify.com/playlist/3lD42YuSOtDiAu9bhCZTKe

Our favorite tracks, pressed on postcards that play on your turntable:
➡️ www.vinylpost.co

BIRP.FM - 100+ track playlists featuring new music, every month!
► Instagram: www.instagram.com/birpfm
► Facebook: www.facebook.com/birp.fm
► Twitter: www.twitter.com/birp
► Snapchat: www.snapchat.com/add/birp.fm
► Website: www.birp.fm

Send me your music:
www.submithub.com/blog/birp-fm

Ghost

Sipper - Ghost

Broken Sleep

Hope you enjoy the second single from our upcoming record, Disco Volador! 
Heavenly Recordings 
Produced by Marta salogni, Engineered by Joel Patchett 
Artwork by Raissa Pardini

Space Samba (Disco Volador Theme)

Written by Michael Wexler
Produced by Michael Wexler & JP Levac
Mixed by Marcus Paquin
Mastered by João Carvalho

Recorded at Studio Plywood & Studio Madame Wood (Montreal)

Michael Wexler - Vocals, Acoustic Guitar, Electric Guitar, Piano
Marie-Claudel Chénard - Backing Vocals, Bass Guitar, Electric Guitar
JP Levac - Drums, Percussion
Marilyse Senécal - Backing Vocals

Kimberlite

Downtime

From the album Stray Fantasies available January 31, 2020 on Western Vinyl.

Pre-order / Stream: http://hyperurl.co/2f98x8

Stray Fantasies

Mint Julep - "Stray Fantasies"

Taken from the album 'Simulcast', released 28 February on Mom + Pop Music X Ninja Tune: https://tycho.lnk.to/simulcastSo

Follow Tycho -
Spotify: https://found.ee/tycho-sp
Apple Music: https://found.ee/tycho-am
Instagram: https://found.ee/tycho-ig
Facebook: https://found.ee/tycho-fb
Twitter: https://found.ee/tycho-tw
Youtube: https://found.ee/tycho-yt
Bandcamp: https://found.ee/tycho-bc
Soundcloud: https://found.ee/tycho-sc

Outer Sunset

Is This A Dream? 
Out now on Badly Draw Boy's new album ‘Banana Skin Shoes’: https://badlydrawnboy.ffm.to/bss_album

Follow Badly Drawn Boy: 
Website: http://badlydrawnboy.co.uk
Spotify: http://bit.ly/BDBSpotify
Shows: http://bit.ly/BDBSongkick
Facebook: https://www.facebook.com/badlydrawnboyofficial 
Instagram: https://www.instagram.com/badlydrawnboyofficial 
Twitter: https://twitter.com/badly_drawn_boy 
Youtube: http://bit.ly/BDBYoutube

Is This a Dream?

Check out the music video aswell: https://youtu.be/9tZAAvE2Uxs
Spotify: https://spoti.fi/30DeXgk
iTunes: https://apple.co/38o6SyL
Apple Music: https://apple.co/2G88QaE
Artist website: https://unknownneighbour.com
Instagram: https://www.instagram.com/unknownneighbour
Facebook: https://www.facebook.com/unknownneighbour

________

Lyrics: 

HOME

You’ve been brought up 
In an unfamiliar town
And boy you got used to 
Strangers and their frown
They brought you up
By holding you down
By holding you down

It felt so rough
To stand on your own
With no scope for
Somebody to moan
It’s been so rough 
To have a room but no home
A room but no home

But you grew up and you swore
To add chapters of ease
May they cover your core
Like the rings of old trees

I will hold yours
And you will hold mine
I’m gonna hold yours
And you're gonna hold mine

________

Music & Lyrics: Unknown Neighbour
Producers: Unknown Neighbour & Sascha Bercik
Mixing: Sascha Bercik
Mastering: Dimi Conidas

Under exclusive license to Revanche Records and Sony/ATV

Home

Watch the music video!

Written, recorded and produced by Hanging Valleys
Artwork by Chester A. Rivera

Music Video: https://youtu.be/CZiJBtus2BM
Director: Andres Arochi
Director of Photography: Galo Olivares
Actors: Doña Eva, Don Benito
Editor: Sergio Beltran
Color Correction: Paulina Felicidad
Produced by: Diego Morales, Javier Quijano, Gonzalo Romero & PYL Records
Music: Hanging Valleys

Behind the Backs of Houses

Through Winter Eyes is an intimate piano and cello duet featuring a breathtaking performance by cellist James Bush. This is the first new track from my upcoming album A Shifting Lightness.

Watch the music video on Youtube - https://youtu.be/KVycUG7h44w

A Shifting Lightness

Through Winter Eyes

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.”