Download "Old World Romance" : http://smarturl.it/oldworldromance

Buy on iTunes

Old World Romance

Felix

Sasquatch 2013 Playlist

And the wolves howled...

Sea Wolf

FRIDAY14

Sea wolf

You're A Wolf

Song For The Dead

Debut single from Future Classic's new band signing New Navy.



New Navy - Zimbabwe

A Project Produced, Arranged Orchestrated and Directed by Saifeddine Helal

Composer : 
- Göksel Baktagir (Turkey)
- Ceyhun Celikten (Turkey)
Additional Theme :
- Saifeddine Helal (Tunisia)

Rhythmic Section : 
- Piano : Benjamin Furman (Santiago, Chile)
- Acoustic guitar : Daniel Antão de Vasconcelos (Recife, Brazil)
- Electric guitar : Hernan M. Castro Fioravanti(Buenos aires, Argentine)
- Drums : Valentin Franceries (Lyon, France)
- Electric and Upright Bass : James Heazlewood Dale (Sydney, 
Australie)

String Orchestra :
- 1st Violin : 
     Antoine Beux ( Paris, France)
     Gabriel Majou ( Paris, France)
- 2nd Violin :
     Bengisu Gokce ( Istanbul , Turkey)
     Cansu Ozyurek ( Adana, Turkey)
- Viola :
     Güney Tamer ( Adana, Turkey)
     Juliana Pontón ( Quito, Ecuador)
     Gerson Eguiguren ( Quito, Ecuador)
- Cello :
     Alberto PaulBerg ( Spain)
     Peter Fedak (Connecticut, USA)

Soloist :
- Balaban : Alp Akmaz ( Istanbul, Turkey)
- Fretless Bass : Han Beyli ( Ukraine / Azerbaijan)
- Trumpet : Tzahi Carmona ( Israel)
- Oud : Fares Btoush ( Amman, Jordan)
- Violin : Layth Sidiq ( Baghdad, Irak)
- Cello : Naseem Alatrash ( Beit Sahur, Palestine)
- kanoun : Tony Barhoum ( Palestine)
- Percussion  : Gilbert Mansour ( Mont-Liban Lebanon)
- Percussion : Saifeddine Helal ( Maxula Rades, Tunisia)

Recording and Mixing Engineer : 
- Oscar M. Coen ( Miami Florida/ Cuba)
Soloist Recording, Editing, Mapping and Additional Mix Engineer :
- Napat Khaopaisarn (Bangkok, Thailand)
Assistant Engineer/Protools Op :
- Nick Calpine (Agoura Hills, California)
- Venjamin Milchev (Skopje, Macedonia)

Recorded and Mixed In Berklee College of Music Studios

Berklee College Of Music, Boston 2015

Hicaz Saz Samai (Garip)

From Grimes' "Visions"
Arbutus Records 2012

Visions

Oblivion

Grimes - Oblivion

from the 2012 album valtari. http://www.sigur-ros.co.uk/valtari

ekki múkk

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

Buy iTunes

Old Friend

In Nothing

Priscilla

Kasper

Blue Stockings

Saint Catherine St

Changing Seasons

Dear Fellow Traveler

Miracle Cure

Whirlpool

Angels XX

'Clash the Truth' will be available February 19th, on Captured Tracks.

This single is now available on iTunes: http://goo.gl/5ikcp
Vinyl Pre-order on InSound: http://goo.gl/xeznp

Beach Fossils // Careless

03 Fiction

05 Reunion

"A Tattered Line of String" from The Postal Service's 4/9/13 10th Anniversary Deluxe Reissue of Give Up 
http://www.subpop.com/releases/the_postal_service/full_lengths/give_up

The Postal Service / Sub Pop  http://www.subpop.com/artists/the_postal_service

Order the 10th Anniversary Deluxe Reissue of Give Up  
iTunes Album :
https://itunes.apple.com/us/album/give-up-deluxe-10th-anniversary/id597936899
iTunes Track: A Tattered Line of String
https://itunes.apple.com/us/album/tattered-line-string-single/id599766537 

Amazon
CD: http://amzn.com/B00BB5OLLM
LP: http://amzn.com/B00BB5OJV4

Sub Pop / Limited Edition Vinyl 
http://www.subpop.com/releases/the_postal_service/full_lengths/give_up
 

The Postal Service Website http://postalservicemusic.net/
Like The Postal Service on Facebook  https://www.facebook.com/thepostalservicemusic
Follow The Postal Service on Twitter https://twitter.com/postalservice
The Postal Service on Tour http://www.subpop.com/tours/the_postal_service

Sub Pop Records  http://www.subpop.com
Follow Sub Pop on Twitter  https://twitter.com/subpop
Like Sub Pop on Facebook  https://www.facebook.com/subpoprecords
Follow Sub Pop on SoundCloud  http://soundcloud.com/subpop
Subscribe To Sub Pop's YouTube Channel http://www.youtube.com/user/subpoprecords

Give Up (Deluxe 10th Anniversary Edition)

A Tattered Line of String

The Postal Service - A Tattered Line of String

This is my remix for Lykke Li "I Follow Rivers"

Enjoy !
The Magician

Subscribe to my Spotify Playlist :
https://open.spotify.com/user/themagicianclub/playlist/44RrTPi70vJYNUqlF3TGVz?si=3F9WVsaFRdS4vs7Rzhq10g

FACEBOOK : www.facebook.com/themagicianmusic 
TWITTER : www.twitter.com/themagicianclub
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© 2011 The Magician

Lykke Li "I Follow Rivers" (The Magician Remix)

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.”