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.”

- Booking/General Enquiries: francesco@defragartists.com / info@prospectrec.it
- Publisher: mario.manganelli@looseclub.com
- Promo: music@hollenofficial.com
- Demo: demo@prospectrec.it

ALI BARTER: A SUITABLE GIRL

Growing up is kind of like a pop song.
The structure is familiar; you know how it goes. But the ebbs and flows — the bold, uplifting highs and softly-tread lows — they’re quite another thing to really feel. Australian musician Ali Barter knows all about those pop-induced moods.
From the heart-stirring catharsis brought on by the anthems of her youth, to her own candid musical outpourings today, the artist understands a thing or two about capturing frank, sometimes messy emotions in memorable song form.
Her debut album,  A  Suitable Girl, is the result. And a new generation of music fans get something they need now perhaps more than ever. A kind of mirror. A voice that says simply and authentically “I get it.” Ali Barter is that voice.
The former choirgirl and triple j unearthed winner has been in no great rush to push out a full-length album. Sin ce 2015’s  AB-EP she’s been busy living, and it was through living that she captured a couple of formative years worth of emotional growth. But the kind of scruffy growth that only comes through raw honesty — imperfect and unfiltered.
On her debut single ‘Girlie Bits,’ it manifests in frustration. Written on her holiday in a moment of beachside insecurity that most people could relate to, Barter says she was thinking “’I’m not skinny enough or not pretty enough’ and it just f*cking pissed me off that I was thinking that way.”
With its wry lyrics on gender expectations and bold, burning rallying cry of “you don’t understand what it’s like to be a man,” (uttered by an ex in a moment of amorous ignorance, apparently) the track is already being blasted in thousands of bedrooms across the country.
The melodic sway of ‘Cigarette’ conjures the puncturing experience of romantic invalidation (“I’m not the girl you wanted me to be”) with graceful command and rattling guitar. Meanwhile ‘Please Stay’ captures the gentle pleading of a woman feeling messed up and craving affection, with an adeptly Nina Gordon-like, almost cinematic affectation — both sweet and muddy.
In fact, those filmic sensations are the curling, pulsating waves Barter rides across the whole record. “I kind of wanted to write an album like a movie soundtrack,” she says. “When I have too much time on my hands I imagine what part of the movie each song would play in.”
The scene in which ‘Live With You’ plays would be right at the film’s climax — a revelatory moment that calls for long, breathy vocal highs and blistering guitar solos. The kind of song that could make anyone burst into a liberating run while out walking.
 
The honeyed crescendo of ‘Tokyo’ on the other hand, showcases Barter at her most vulnerable, emotionally — hurt and even hopeless. Yet there is power even here. With her heart on her sleeve and electric guitar strapped, Barter’s poignant yet common meditations become her listener’s medicine.
And in that sense, the entirety of  A Suitable Girl, with all its nuanced emotional snapshots, becomes one big cleanse. Kind of like the feeling you get when you cry bittersweet tears at the peak of your favourite movie.
Takin g its name from Vikram Seth’s novel, A Suitable Boy, the album is also about the power of self-acceptance. Like rock music, that’s a power that reverberates. It can spread out and touch listeners like a wave. And it’s as simple as “owning the thoughts that go through your head,” says Barter. “I have them, you have them. We can let them go.”
She continues: “I just want a song that makes me feel good. I wanna know that the chorus is going to lift me up, and it’s going to be big and bright. Like a release.”
And if that involves turning up the volume, jumping on your bed and screaming the lyrics, even better.
Ali Barter’s debut album,  A Suitable Girl, is out now.

Bookings/Demos: 
Ethantink@gmail.com

https://linktr.ee/ethantink

Releases On:
https://soundcloud.com/subcarbon
Headbang Society - https://soundcloud.com/digitalvibrationshq
https://soundcloud.com/wubaholics
https://soundcloud.com/sweetsoundscollective
https://soundcloud.com/aspirehighermusic
https://soundcloud.com/nohypemusicofficial
https://soundcloud.com/electrostepnation
https://soundcloud.com/ayyofree
https://soundcloud.com/basscapscollective
Wicked Records

Bookings - Phil York  
phil@yorkartists.com
anthony@yorkartists.com ( USA )

ALL ENQUIRIES: GS@285.Group


Lee Walker’s swift, yet assured ascension up the ranks of the DJ leagues is the result of his staunch dedication to music. Lee’s work ethic has always been high, ever since he started playing around with music production he knew he’d found his calling which spurned him on to keep working, learning and refining. Fuelled by a deep-set love for electronic music, and the grafter mentality instilled in him through growing up in the north-east of the UK, Lee is riding the crest of a wave and working hard to make sure he stays there, perfectly balanced yet moving ever forward. 

Over 10 years since he started playing around with electronic sounds in his bedroom at home, Lee Walker is living out his dreams, performing at some of the world’s best-known clubs and rubbing shoulders with his idols in the process. Early support of his music came from some of the scene’s most influential players, house and techno royalty you could say – the long list of supporters includes Marco Carola, Dixon, Loco Dice, Seth Troxler and Disclosure. Thanks to his upbringing though, Lee is taking it all in his stride, and rather than let the early successes go to his head, he’s been channelling his energy into maintaining the high standards set with his first few releases. 

2015 was the year Lee Walker was thrust into the limelight. His cheeky edit of DJ Deeon’s ‘Freak Like Me’ hit Soundcloud, and before he knew it Marco Carola had spun it in Ibiza and over a million YouTube views came flooding in. The track was signed by Defected and sat at the top of Beatport’s revered chart for six weeks, picking up a slew of accolades including “Hottest Record in the World”, “Essential New Tune”, and “Future Anthem” in the space of a week – and also took home ‘Best Remix’ at the DJ Mag Best Of British Awards. 

Far from being a one-hit wonder though, Lee has been hard at work in the studio ever since - utilising that first burst of fame as the catalyst for a slew of releases with respected labels. EPs with the mighty Defected, Nurvous, No Idea’s Original and Wiggle, together with solo tracks and remixes on Hotflush, Circus Recordings and Hot Creations, have demonstrated Lee’s production prowess, delivering one slinky club-ready cut after another – keeping it groovy, with hypnotic rhythms and funky basslines designed to fill the dance floor with energy. 

Gig-wise, Lee’s DJ skills have captured the attention of world-renowned promoters and is now a regular face at Elrow’s flamboyant shows, as well as being booked to play at Hideout Festival and Creamfields, and club gigs including Studio338 (London), Motion (Bristol), Yousef’s infamous Circus (Liverpool) plus the legendary Space Terrace and Zoo Project in Ibiza and a whole host of club and festival bookings across the UK and Europe. 

Lee’s achievements have given him a life he has always dreamed of, and rather than take it for granted, he has opted to channel his success back into the industry, setting up his own label which will support the music of up and coming artists. Called We, The People, the idea is to give up and coming artists a head start, in the same way that Lee was supported back when he first caught the attention of the scene’s tastemakers.

Lee Walker is hardworking, humble and dedicated to the progression of club culture through his musical endeavours. Whether he’s spinning in a club and sending the dance floor into uproar, in the studio cooking up another hot new jam or scouting for new talent to support via his label, he does it all with a positive outlook, a wicked sense of humour and a genuine love for music. With such a wealth of positivity around him, Lee is an unstoppable force and one of the UK’s most exciting young artists…



Other Enquires/remix requests (not including DJ booking requests): graeme@threesixzero.com

Booking: jadenraxel@gmail.com

𝑰𝒏𝒇𝒊𝒏𝒊𝒕𝒆 𝑫𝒆𝒑𝒕𝒉 | 𝑺𝒐𝒎𝒂𝒕𝒊𝒄 𝑹𝒆𝒄𝒐𝒓𝒅𝒔 | 𝑹𝒖𝒏𝒏𝒊𝒏𝒈 𝑪𝒍𝒐𝒖𝒅𝒔.

Jaden Raxel is an artist who love to play and produce Melodic Techno music. He grew up in Arnhem and is still living there. He started producing when he was 16 years old and never stopped making music ever since. His style is distinctive due to his dark and heavyhitting techno synths, progressive melodies and deep grooves.

With his initial release, remixing the classic ‘We Come 1’ by Faithless, Jaden Raxel burst onto the scene. The track was quickly played by big names, likes Tale of Us, Moonwalk and Kevin de Vries. Afterwards, he released some originals and remixes on Infinite Depth, Somatic Records, Running Clouds & Bull In A China Shop. 

His remix of 'Two Of Us' and the collaboration with Severin Su, called 'Words Of Zeus', were definitely the most successful tracks so far concerning artist support. Both tracks were played multiple times by Tale Of Us at several Afterlife events all over the globe. 
Jaden Raxel's music appeared in live sets from Tale Of Us, Artbat, Kevin De Vries, Moonwalk, Stephan Jolk, Fideles, Ae:ther, Øostil, Cristoph, The Element, Massano, SOEL, Mark Tarmonea, Paradoks, Heik, Nick Devon, Aly & Fila, Blancah, Senses Of Mind, Mitch De Klein, Erly Tephsi, Wurtz & many more.

Right place, right time. It's an old cliché, but it's one that's been the definition of Dennis Ferrer's musical career. Just as the dance music world was heading into the world of afro-centric house, Ferrer was there. And then, when it began to embrace the mix of tech and soul, Ferrer was there again, leading the way with his impeccable productions. As Ferrer goes, it seems, so does electronic music. And, as someone who's never content to do the same thing twice, it's clear that he'll be staying on top for years to come.

Ferrer burst back into the consciousness of most dance music heads with the release of "Sandcastles," (Ibadan) his collaboration with Jerome Sydenham in 2003. But, to his credit, Ferrer didn't simply repeat the formula afterwards. He has continued to push a variety of genres all at once. It's clear that Ferrer isn't content to rest on his laurels: he's too busy dreaming up new ways to shock and delight audiences.

In the mid-90’s, Ferrer was crafting techno records as Morph and then had success in the Afro and gospel house scenes with releases via his Sfere label, an imprint he began alongside Kerri Chandler. But it's this past work that gives his new productions such resonance: unlike many of this house peers, Ferrer's techno experience has given him an edge that you can hear in his recent work.

"Son of Raw," (Ibadan) "Church Lady," (Defected) "Underground Is My Home," (King Street Sounds), "Touched the Sky" (King Street Sounds), “Transitions” (King Street Sounds), “P 2 Da J” (Defected),  “Sinfonia Della Notte” (Strictly Rhythm), “Hey Hey” (Objektivity), “Red Room” (Objektivity), “Underground” Nick Curly – Dennis Ferrer Remix (Defected), to name a few, have all been huge dance floor anthems and all show a different side of the Ferrer personality as well as his impressive range as producer and remixer.

Ferrer has brought his ‘anything goes’ approach to his label, Objektivity.  Celebrating its 8th anniversary in 2014, the imprint has thus far focused itself on vocals, featuring often unlikely turns from indie heroes like Ane Brun and Télépopmusik. Low slung and deep, Objektivity is a cutting-edge label in touch with its time, putting a uniquely American spin on the deep house revival that is currently making waves in Europe. Objektivity is a living, breathing thing - one that's set to drop bombs on the dance floor for years to come.

While Ferrer closes out 2013 with “Mind Ur Step” (Defected), “Mind Ur Dub” (Objektivity) and a remix of Coyu - “Salvation” (Noir Music), the best is yet to come. With a deep knowledge of the past and a constant push for the future, Ferrer remains one of the true greats of house music - a leader and innovator whose enjoying the buzz around him but keeping on pushing the limits. Stay tuned.

Hosted by celebrity esthetician & industry expert Lori Crete, each Beauty Biz Show episode is designed to help you tap into your best success and leave you feeling inspired to build the beauty biz of your dreams! Featuring industry icons and gurus, revenue-driving tips and motivational messages, Lori and her guests inspire you to burst through stagnant industry norms to flourish in your profession and make a beautiful, abundant living doing what you love.

A finalist for American Spa Magazine’s 2017 Women in Wellness Mentor of the Year, Lori is a highly sought after industry expert and licensed celebrity esthetician. Owner of Southern California’s Spa 10, she is also the founder of The Beauty Biz Club™, a success-based society dedicated to helping beauty practitioners around the world fill their schedule, increase profits and break through to the 6-figure mark. For more about Lori & the Beauty Biz Club, visit https://beautybizclub.com.

Hayes Ronda is following