Name: Old Friend by Sea Wolf in Seawolf
Duration: 3 min 57 s
Description: Buy "Old World Romance" on iTunes: http://smarturl.it/oldworldromance

"The acoustic guitar juxtaposed with the synthetic drum machine sounding rhythm section from the top of the tune is musical minimalism at it’s finest. The chorus is so hopeful sing song-y while having such depth to the lyrics too. Alex Church has a way of making me feel the song in my soul with lines like, “Old friend come to me, everything I was I use to be.” I probably listened to this song and entire record for all of 2012" dropped by Sam Tinnesz from Wave & Rome @ www.trackdrops.com)

this song reminds me everything and nothing at the same time !

“My life is rolling over my head with scene after scene & adventure after adventure going thru my mind remembering you and you and you...”

Seawolf

Pre-order Celeste on iTunes from http://smarturl.it/iCeleste


Celeste EP

Celeste

Sea Salt

MORNINGSIDERS | http://wearemorningsiders.com/

Produced by Armand Hirsch

Mastered by Alex Sterling

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Ⓟ & © 2015 MORNINGSIDERS

Empress

when gravity's a palm pushing down on your head
like the devil's got a paw dug in your shoulder 
and the other one is rubbing your back
but the kitchen in this new place has a window 
yeah you can grow basil on the sill 
maybe you can call your neighbors by name now

berries on the dash is the sweetest kind of living
Still this feels like eating the meat of the mountain
It's all grit and gristle I can't chew and swallow, 
I'm gnawing my way back home
the clouds look a lot like wool gone through the wash
I check my phone for the time but I still wear my watch
yeah i’m confused about how i’m supposed to connect to anything now 

the kind of high I like is when I barely make the train    
And the people with a seat smile big at me cause they know the feeling
and for a millisecond we share a look like a family does
like we have inside jokes 
like we could call each other by little nicknames
and I could tell the story of how
My great grandmothers sister was deemed a saint
how they exhumed her body after years of being buried 
and they found she hadn't even begun to sully
so they moved her again, straight into the Vatican 

I think of all the billions of eyes 
all looking at something different at the same time
and I feel nauseous 
some days i can only see into my suitcase 
it's got everything I need 
plus some superstitious things I may also need
"music soothes the savage beast"
the pilot says to me and he asks me to sing
but now is not the time
I just want to fall into a pile of warm laundry 
i just wanna keep very very quiet yeah

it’s june where you sleep and july where I land 
thought I saw you on the platform in Amsterdam
and I nearly missed my train 
and I felt so defeated til I jumped on to see all the warm smiles were for me 
I made my train and it made me so happy
I made my train and it made me forget everything
it made me forget, made me forget made me forget made me forget everything
it made me forget made me forget made me forget made me forget made me forget everything

Download on iTunes

Billions of Eyes

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

You're A Wolf

San Fermin - Jackrabbit
Jackrabbit is now available for purchase on iTunes: hyperurl.co/4j01lh

San Fermin - Emily

You and me v2

09 walcott

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

Buy iTunes

Old Friend

Radical Face - Always Gold

Harbour Lights

Changing Seasons

Dear Fellow Traveler

Miracle Cure

Whirlpool

Shake, Shake, Shake

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.”

Old Friend

Sea Wolf

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