This song was written in 2008 and was recorded during the "White Water, White Bloom" sessions.  I'd spent a good deal of  time working on the song, but never could quite get it to a place where I was happy with it. Once in the studio however,  producer Mike Mogis suggested we start from scratch and build the song live as a group.  It was a fun experience, because while I'm more of a puzzler and like to spend time really arranging all of the little details, Mogis tends to like things loose and spontaneous, which gave us permission to just let go and let the song happen…

- ABC

Where The Wind Blows

[Lyrics]
All my friends tell me I’m different
But I don’t know what’s changed but
When I look at you I know that
They were tellin' me the truth
I don’t really know where my smiles gone
But one day I will find it
Notice you no longer call me
Wonder if my texts will green
all I wants to hold my dog cuz
One day all I love will be gone
Don’t wanna stick around for the end
Rather live fast die with my friends
Colors faded in my eyes and
Miss the mountain filled horizon
Take me back to sandy roads I
Need the slow peace of my old life

Photographs of better days when
Nothing mattered but an event
Don’t know who’s smiling next to me but
Feels a bit more like an old dream
Is this really the life that I
Signed up for when I was younger
Can I ever go back to the
Days of never ending summer
All I wants to call my mom cuz
Soon the love I have will be gone
But I ain’t afraid of the end
I just wanna hang with my friends
Windy City, howling skies and
Orange, blue, and pink horizons
Cruisin' down my sandy roads I’d
Die for some peace in my new life
Colors faded in my eyes and
Miss the mountain filled horizon
Take me back to sandy roads I
Need the slow peace of my old life

Windy City, howling skies and
Orange, blue, and pink horizons
Cruisin' down my sandy roads I’d
Die for some peace in my new life
Colors faded in my eyes and
Miss the mountain filled horizon
Take me back to sandy roads I
Need the slow peace of my old life
Windy City, howling skies and
Orange, blue, and pink horizons
Cruisin' down my sandy roads I’d
Die for some peace in my new life
Colors faded in my eyes and
Miss the mountain filled horizon
Take me back to sandy roads I
Need the slow peace of my old life

SANDY ROADS

Dear Wormwood is out now!
www.theohhellos.com



Dear Wormwood

Rediscovering this song of mine after not listening to it for a long while...realising I should organise a music video for it...

Funeral Bell

Blue Healer

Of Monsters And Men   Silhouettes

Wind Blows

Amarante's Cover of 'Meet Me In The Woods' by Lord Huron
https://lnk.bio/amarantemusic

OFFICIAL MUSIC VIDEO for our cover here: https://www.youtube.com/watch?v=z-I5tgSPTy8

The song is now up on Spotify and other digital services: https://distrokid.com/hyperfollow/amarante/meet-me-in-the-woods

WE ARE SELLING VINYLS:
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If you enjoyed our cover, check out our other music:

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Original by Lord Huron

Cover by Amarante

LYRICS: 

I took a little journey to the unknown
And I come back changed, I can feel it in my bones
I fucked with the forces that our eyes can't see
Now the darkness got a hold on me
Holy darkness got a hold on me
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
How long, baby, have I been away?
Oh, it feels like ages though you say it's only days
There ain't language for the things I've seen, yeah
And the truth is stranger than my own worst dreams
The truth is stranger than all my dreams
Holy darkness got a hold on me
I have seen what the darkness does
(Say goodbye to who I was)
I ain't never been away so long
(Don't look back, them days are gone)
Follow me into the endless night
(I can bring your fears to life)
Show me yours and I'll show you mine
(Meet me in the woods tonight)
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Yeah, the truth is stranger than my own worst dreams
Holy darkness got a hold on me
I have seen what the darkness does
(Say goodbye to who I was)
I ain't never been away so long
(Don't look back, them days are gone)
Follow me into the endless night
(I can bring your fears to life)
Show me yours and I'll show you mine
(Meet me in the woods tonight)
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
Oh-Oh-Oh-Oh-Oh
La-Da-Da-Da-Da-Da-Da-Da-Da
La-Da-Da-Da-Da-Da-Da-Da-Da

Meet Me In The Woods (Lord Huron Cover)

The Fold

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

Buy iTunes

Old Friend

Mercy Street [Feat. Emy Reynolds]

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.”

Where The Wind Blows

Sea Wolf

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