Name: Miracle Cure by Sea Wolf in Seawolf
Duration: 4 min 14 s
Description: Buy "Old World Romance" on iTunes: http://smarturl.it/oldworldromance

saw you guys at the el rey theatre, incredible. love your music

I found my miracle cure..this song fits so well..ty guys

Thanks you are a great writer and very good guitarist!

Just heard it and fell in love.  Magic.  It makes me dream.

Seawolf

Trees

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

You're A Wolf

lonely love

Leaving London, the focus song of the Lost At Sea EP, and the beginning of the journey. Close your eyes and you may just feel yourself flying through the air. Now available on Spotify & iTunes!

Leaving London

Sub-Radio's brand new single, "Flashback", available everywhere now!

Follow us on Spotify: open.spotify.com/artist/2lCUVconWp5YjxdYssfZ8J

Sub-Radio Social Media:
www.sub-radio.com
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Flashback

Listen everywhere here: http://smarturl.it/Notos
Thank you to NPR for the premiere: https://www.npr.org/sections/allsongs/2017/11/15/564156775/song-premiere-the-oh-hellos-torches

Notos

Torches

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

Buy iTunes

Changing Seasons

Dear Fellow Traveler

Miracle Cure

Whirlpool

not mine,, simply a post because the song wasn't on here. <3

Eddie Baby - Felix Hagan

Flowers In My Hair

Daniel in the Den - Bastille

Hands up if life is getting stressful
And shout if you are saddened by the news
I need some tips to cope,
some data or some anecdotes,
'cause right now nothing's workin' for my blues

Sometimes I deal by playing music
and sometimes I relax by reading books
Sometimes I go downtown,
climb a tree and don't come down
and throw a bunch of pinecones at people

A crowd has formed around my tree,
just out of reach, and the police have
blocked the street on every side
But no one can climb it and
I think its 'cause they know I have
a pinecone here for everyone who tries

I yell: I'm gonna live to be a hundred
I'm gonna see them cure disease
Then I'm gonna watch them
go to war over the royalties so
if you need me, I'll be in the tree

If you need me, I'll be in the tree
There's several cameras pointed up into my tree
it seems the world's concerned with what I might do next…
Throwing pinecones at photographers
from up here in this conifer
like Tarzan getting scouted by the Mets

Yeah, I'm gonna live to be a thousand
Got robot arms and run on robot feet
Got robot legs and robot head
and my robot ass don't know it yet but
I'd be better off back in the tree

So if you need me, I'll be in the tree…

'Cause no one's asking what would drive me up this pine
Is it protest? Am I being paid to preach or advertise?
No, this non-deciduous decision was all mine
You can show a horse the ropes
but no, you cannot make him climb

And this tree's a makeshift metaphor and I prefer to think
I'm just a stressed out Christmas ornament
who needs some space to breathe
And if the camera crews and crowded streets
and dozens of police
are my endless pressures manifested down below my tree
Then this giant stack of pinecones…
They are the lame and immature ways I deal with them
But also how satisfying it is to do so...
To dome one... when they're not looking... yeah

I'm gonna live to be a million
Longer than the flowers, birds and bees
but if I start to come undone,
make like a tree and hug someone
Everybody needs a place to breathe
just recognize when it is time to leave

I'm probably gonna live forever
but should I die (and that may be preferred)
take me out and bury me
and plant a tree right over me
so I may help someone escape the world

Yeah, I may help someone escape the world

Pinecones

Mostly Dead

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.”

Miracle Cure

Sea Wolf

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Mr. India

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MAR..)))

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