Villagers - Everything I Am Is Yours (cover)

ÍSL LYRICS:

Hlauptu
Hlauptu, hlauptu hraðar
Hlauptu, hlauptu burt
Hlauptu, hlauptu frá mér
Hlauptu, hlauptu, annars mun ég ná þér
Ekki reyna fara frá mér
Farðu frá mér
Ég vil halda í höndina á þér
En svo taka höndina af þér, elskan
Hlauptu, hlauptu hægar
Hlauptu, farðu burt
Hlauptu, hlauptu, nær mér
Hlauptu, hlauptu mun
Ærast ef ég næ þér
Dragðu andann djúpt og hlauptu
Ég vil vera með þér lengur
En svo henda þér í burtu, elskan
Skeri, skeri, skeri
Þú ert folald, ég er meri
Skeri, sker, i passaðu puttana, skeri
Blóð og bein í baðkeri, skeri, skeri
Fyrst ég segi og svo geri og ég tek þig
Ég þrái, ég þrái,
Ég þrái, ég þrái
Að þú náir, þú náir
Að ná mér, að ná mér
Slakaðu, slakaðu ljúfur á
Ekkert liggur á, slakaðu á, ljúfur, ljúfur
Andaðu inn, út, inn, út, stingum smá
Beittum hnífum
Svart hár, svört augu, rautt sár, á
Skeri, skeri, skeri
Skeri, skeri, skeri
Skeri, skeri, skeri
Ég þrái, ég þrái,
Ég þrái, ég þrái
Að þú náir, þú náir
Að ná mér, að ná mér
Að ná mér
Ég þrái, ég þrái
Hvert sem þú hleypur 
Ég þrái, ég þrái
Er markleysan algjör
Að þú náir, þú náir
Vonbrigðin bíða
Að ná mér, að ná mér
Endastöð hnífa
Hvert sem þú hleypur
Er markleysan algjör
Vonbrigðin bíða
Endastöð hnífa

ENG LYRICS:

Run, run faster
Run, run away
Run, run away from me
Run, run, or I’ll catch you
Don’t try to leave me
Leave me
I want to hold your hand
But then take it off, baby

Run, run slower
Run, go away
Run, run, closer
Run, run, will go mad if I catch you
Take a deep breath and run
I want to stay with you longer
But then throw you away, baby

Slicey, slicey, slicey
You’re a foal and I’m a mare
Slicey, slicey, watch your fingers, slicey
Blood and bones in a bathtub, slicey, slicey
First I say and then I do
and I take you

I long for, I long for
I long for, long for
you to manage, to manage
to catch me, catch me

Relax, relax, honey
There’s no rush, relax, honey, honey
Breathe in, out, in, out,
Let’s stick some sharp knives
Black hair, black eyes, red cut, ouch!

Slicey, slicey, slicey
Slicey, slicey, slicey
Slicey, slicey, slicey

I long for, I long for
I long for, long for
you to manage, to manage
to catch me, catch me
to catch me

I long for, I long for (Anywhere you run)
I long for, long for (the aimlessness is absolute)
you to manage, to manage (Disappointment awaits)
to catch me, catch me (The terminal of knives)

Anywhere you run
the aimlessness is absolute
Disappointment awaits
The terminal of knives

hlauptu - CYBER ft. Hatari (LIVE at gamla bíó)

From the album ‘Beneath The Brine’ (2014) • Pay what you want http://tndr.lv/fam-crest

Maybe there's a heart
Slowly beating for you in the dark
That casts a sturdy sound
Slowly lifting out above the ground

But it's not mine this time
No it's not mine this time

Maybe there's a man
That's holding out love, his undying hand
With a warmth, a loving spark
To pull you out, away love, from the dark

But oh, my love, I am the winter
And my arms are cold
And dear my gale breaks us to splinters
And my wake is bold

The things I gave to take
The hearts I loved to break
The words that slowly fade to nothing

So maybe there's a heart
Slowly beating for you in the dark
But it's not mine this time
No it's not mine this time


The brainchild of frontman Liam McCormick, The Family Crest began as a recording project in 2009 with co-founder/bassist John Seeterlin. “We always liked making music with people—getting a bunch of people together and singing. So we put ads everywhere,” says McCormick. “We posted on Craigslist and emailed old friends from school.” The outcome was greater than the original duo imagined, with 80 people credited on the first recording the band produced. From that a seven-piece core band emerged, though the Crest boasts over 400 “Extended Family” members.

iTunes: http://tndr.lv/tfc-itunes
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Amazon: http://tndr.lv/1Jex0ub
Google: http://tndr.lv/1yU21lJ
Facebook: https://www.facebook.com/thefamilycrest

The Family Crest - I Am The Winter

Song: Young & Unafraid
Artist: The Moth & The Flame

I don't own the song!
Credits to: The Moth & The Flame

{Daycore} Young & Unafraid - The Moth & The Flame

Soon Goodbye, Now Love - Tom Rosenthal cover

Versionando una de mis favoritas de mi lista: Cómo hacer un océano de lágrimas en el vacío a través de la soledad. 

I Love You but I'm Lost (Sharon Van Etten)

Tiger Mountain Peasant Song (Fleet Foxes Cover)

Time Isn't Kind

Hope For The Hopeless contains eleven songs narrowed down from forty-three with the help of multi-platinum producer John Alagia (John Mayer, Dave Matthews Band). Themes of frustration buffered by optimism are consistent throughout. “San Francisco” is an uptempo, amusing response to heartbreak. “Heaven,” which Brett describes as “the whole album in one song,” is “about being consumed with day-to-day struggles, wondering if there’s more out there, and trying to remember that things can get better. It takes being present to a bigger picture.” 

Brett Dennen - Heaven

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

Buy iTunes

In Nothing

NEW SINGLE "NEPTUNE'S DAUGHTER" FROM MY UPCOMING ALBUM, OUT NOV 8TH. 

http://www.junecoco.de
http://www.instagram.com/junecoco_official

NEPTUNE'S DAUGHTER

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.”