Name: Whirlpool by Sea Wolf
Duration: 3 min 52 s
Description: Buy "Old World Romance" on iTunes: http://smarturl.it/oldworldromance

Really reminds me of Travis, The Man Who album

I Could Say, taken from the Odyssey EP.

Release date: November 10th 2013

Pre-orders available soon.

Produced and arranged by Hugh Worskett.
Engineered by Ben Mclusky, Hugh Worskett and Mark Bishop.
Mixed by Mark Bishop.
Mastered at Abbey Road Studios by Christian Wright.
Recorded at Snap Studios, London.

facebook.com/leostannardmusic
twitter.com/LeoStannard

contact mark@mmglondon.com

I Could Say

First track from the new Los Angeles indie-pop quintet

Milo Greene - 1957

Now a hit from Sam Feldt and The Him, this is the original indie pop version from LA's The Donnies The Amys.

Drive You Home

Vita Bergen's debut EP is due on October 22 via Kning Disk/Telegram Studios.
Pre-order the limited 12" vinyl here: tgr.am/vitabergen

Vita Bergen - Curtains

Dream pop, epic synth music from Reading, UK.

New Album "Symbols" OUT NOW!

Symbols

Fires At Night

Find “Lifetime Ago” on iTunes here: http://smarturl.it/LifetimeAgoiTunes

LYRICS: 
Oh look at you
Everyone approves
Oh my God, your dream came true
Everyone loves you
 
Oh look at you
You freeze so soon
I might up and move to the sun
And outlive you
 
It seems like a lifetime ago now
Since you've had your heels on the ground
 
What are you going to do when gravity gets to you?

Lifetime Ago

Premièred on The Line Of Best Fit: https://www.thelineofbestfit.com/new-music/discovery/jake-houlsby-howl
Stream on Spotify: https://play.spotify.com/track/7d7uefLUTOhy9nEfWoBd1G
―――
Recorded and produced by Mick Ross (Mono) and Jake Houlsby
Mixed by Mick Ross
Mastered by Simon Heyworth
―――
This is the calm before the storm
This is the sea between the isles
And this ain’t the time to chase the dawn
This is the time to count the miles

So hold your fire and clear your mind
You won’t get left behind

I was a shadow on the screen
I was a drifter on the prowl
Now I’m the lights behind the scenes
Now I’m the wolf that’s yet to howl

Yet to break out and yet to run
Yet to be outdone
―――
Website: www.jakehoulsby.com
Facebook: www.facebook.com/jakehoulsby
Twitter: www.twitter.com/jakehoulsby
Contact Email: jakehoulsby@gmail.com

Vondelpark

Howl

Foy Vance - "Be The Song"

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

Buy iTunes

Whirlpool

Time Go - Caught a Ghost

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.”

Whirlpool

Sea Wolf

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