Spotify: https://open.spotify.com/track/62oksmP9enzXVPcNm1SCmB
iTunes: https://itunes.apple.com/se/album/buckle-up-ep/id862304929

WOW - LYRICS

I’m mr nice, I’m mr cool, I’m mr good and I’m in your bed
I’m mr know it all you know I got it all up in my head

And I wish that I could be a better man
And I wish that I could make you understand
And I’d risk it all just to get another chance
But it’s not in my hands 
 
From me to you

I’m seriously considering giving it up
Concerned about the fact that just enough is enough 
I won’t settle for less
G-g-go, go, go, go, go for the best
I’m seriously considering turning around
Motherf**ker bothering and bringing me down
I won’t settle for that
D-d-don’t, don’t, don’t, don’t ever give up!

Oh wow * 8

And in the fall we’ll move to Hollywood and make a lot of friends
And after all we’ll write some books and sing about it in our band
Mmm fix it

Do, do-do, do-do, do-do

And later on we’ll do the dance into the rock’n’disco land
We’ll post the picture to our friends and they’ll be likin’ it like hell
And when the moment comes again I’m gonna pick you up again
Send our condolences to France under the covers

And I wish that I could be a better man
And I wish that I could make you understand
And I’d risk it all to get another chance
But it’s not in my hands

I’m seriously considering giving it up
Concerned about the fact that just enough is enough 
I won’t settle for less
G-g-go, go, go, go, go for the best
I’m seriously considering turning around
Motherf**ker bothering and bringing me down
I won’t settle for that
D-d-don’t, don’t, don’t, don’t ever give up!

Oh wow * 8

I’m seriously considering giving it up
Concerned about the fact that just enough is enough 
I won’t settle for less
G-g-go, go, go, go, go for the best
I’m seriously considering turning around
Motherf**ker bothering and bringing me down
I won’t settle for that
D-d-don’t, don’t, don’t, don’t ever give up!

Oh wow * 7

Turn The Dirt Over

Debut Morningsiders EP

released 23 February 2015 
------
Magnus Ferguson — lead vocals, guitar 
Cody Gibson — bass, backing vocals 
Reid Jenkins — violin, tenor guitar, backing vocals (lead vocals on Cement and Sunshine) 
David Su — drums, backing vocals
------
Special Guests 
Corey Dansereau — trumpet, backing vocals 
Robert Frech — piano 
Stephanie Jenkins — banjo 
-----
Produced and recorded by Dan Knobler at MasonJar studios in Brooklyn, New York 
Mastered by Dan Millice 
-----
Special Thanks to: 
Our families, Max Bartick, our majestic and legendary management team

The forthcoming album from Good Old War. 

Release Date: March 6, 2012

Over And Over

09 Pretty Girl At The Airport

Through A Dark Wood

Blood Pact

Check out the new video for 'Smokin' Gun': http://bit.ly/17Jo5BG

Like us on facebook at
www.facebook.com/lilyandthebellowsmusic for the latest updates.

The debut single from Indie Retro-Rock outfit, Lily So & The Bellows flourishes with lush vocals, vintage charm and that big Phil Spector sound as a serenade to unrequited love. 

Triple J Unearthed: 
https://www.triplejunearthed.com/artist/lily-bellows

Follow us on Twitter:
https://www.twitter.com/LATBMUSIC

Smokin' Gun (radio edit)

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.

The Orchard

The new album from Water Liars is in stores March 05 on Big Legal Mess.

Pre-Order "Wyoming" now on CD/LP http://fatpossum.com/products/wyoming/

Wyoming

Water Liars "Linens"

Butterflies

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.”