Vape Away

"Travelin' On" is the 2nd song on Wiretree's first album, Bouldin, released in 2007

Travelin' On

"Fakutori, Mon Amour" was written for an art installation in San Antonio, which opened March 5, 2016 at Period Modern.  Curated by Hills Snyder, "That Thing on the Side of the Road" brought together artists and musicians who created original pieces based on the titular theme.

I wrote my song on February 10, 2016 drawn from my personal history working in factories and with inspirational debt to the painting above I first saw at Period Modern last year.  It is titled "Factory" by Cindy Tower,  2008.  The emotional center is from the film "Hiroshima, Mon Amour" [1959 Pathé Films]

The song is a broader tale about unintentional consequences and the abandoned detritus of human history, played out at mankind's inglorious end.  Even our dead factories will likely survive us.

I started tracking on March 7, 2016 in New Braunfels with Chris Compton and Luke Leverett.  We'd talked about them producing something for me so we did this in a few days at Chris' home studio.  I did acoustic guitar and vocals, all the other tracks were done by them.
JJ Golden mastered it on April 8, 2016.

"Fakutori, Mon Amour"

In a while, grass will find its way through the concrete cap
Black drops of rain through expansion gaps
And twisted fists of iron like

Metallic flowers
Blooming in the empty fields of hanging wire
Inch by inch, the color back into her skin
Not like it's been but soon enough

She'll throw off the chemical peel
Shrug off her cloak to slowly reveal	
The beauty we all worked so hard to conceal 
Waited us out anyway

In a while, sky of blue will change its hue from ashen grey
Chemtrails of overreach will float and fade away
Soft summer clouds made of

Big mistakes	
We knew how it'd end without apple or snake
Paradise lost writ by William Blake and
Painted by Hieronymus Bosch

A garden of decaying machines
Rusted and hulking and stuck in-between
Never to be the rocks they'd once been
Fakutori, Mon Amour

And I, I remember disposable cans
And I, I remember disposable plans
And I, I remember disposable life

Written by DMC
Performance by Chris Compton, Luke Leverett & DMC
Engineered & Mixed by Chris Compton
Produced by Chris Compton & Luke Leverett
Mastered by JJ at Golden Mastering in Ventura, CA


Fakutori, Mon Amour

Music

Produced and recorded live at Wolverton Home Concerts, 2015, from the Wolverton EP Things Left On Earth. Produced by Brant Sankey. Jeremiah Teutsch, vocals and guitar; Kate Terrell, vocals and keys; Caralyn Snyder, vocal; Hills Snyder, electric guitar; Brant Sankey, bass.

Nothing (Jeremiah Teutsch, 2014)

woke up early morning in the rain 
in the alley by the Outpost trying to catch the next dream
we split our last hand-rolled between us 
and we were just waiting on the Land of Nothing, never was
waiting on the Land of Nothing, never was

Hayes and Mary with a baby in a van sitting on the front lawn
4,3,2,1 and the Race is on 
"If we found a few more bucks, we could buy a bus" 
and they were just waiting on the Land of Nothing, never was
waiting on the Land of Nothing, never was 

sitting on the front porch, trying to fight back the tears
it's been too many cigarettes too many lonely nights and beers
all I need is a hug right now, but all I got is a buzz 
and I was just waiting on the Land of Nothing, never was 
waiting on the Land of Nothing, never was

now the cars and clouds and years they pass me by 
I'm on the back side of thirty now, and I don't know why 
but looking back now maybe I think it was because 
I've been, looking for the Land of Nothing, never was 
looking for the Land of Nothing, never was

Things Left On Earth

Nothing

Church Hole

Old West

Paper Kisses  
These songs are nostalgic but arch, serene but gently confounding—they snake and zag until one is happily lost in a canyon at sunset.
--- Neil Fauerso 

"Standout tracks for me are ‘Tabernacle’, infused with mellotron and octave fuzz guitar. The barroom piano led ‘Oh Well’. The lilting title track ‘Paper Kisses’. ‘Birds Of Rockport.' Also of note is the surprising arrangement of ‘Shakin’ Grape Jelly’, incorporating some lyrics from Prince’s 'When Doves Cry’, it’s a purple dream where the world is a big fat bowl of shakin’ grape jelly."
--- Terrascope

Wizard Land
"On this latest album, the songwriters are on top of their game influenced by folk, psych, pop, jazz and beyond yet retaining a sonic framework that ties every tune together wonderfully, each song perfectly formed and a delight for the ears. These influences though are just that, the band has their own identity, they cannot sound any other way..."
--- Simon Lewis, Terrascope

"contagious fun...mescaline in the pocket."
--- James Killen, Houston Music Review

"Wolverton songs - grand adventures in tiny, shiny packages - tend toward the cerebral and the mystical. Wolverton is its very own many splendored creation, spinning art folk as only magi may."
--- Gene Fowler, Glasstire

"Approaching their songwriting with the carefree spirit of kids on a playground, the three core members (vocalist and keys player Kate Terrell, guitarist and singer Hills Snyder, and vocalist Caralyn Snyder) all take turns leading listeners thought the weird and twisting experimental folk journey of Wizard Land."
--- Chris Conde, San Antonio Current

"Wizard Land is the latest album by eclectic Texas based band Wolverton. Their brand of folk rock has elements of chamber pop, and sneaking cabaret/noir vibrations, especially in the dramatic delivery of the dual vocals and kaleidoscopic lyrical imagery. A basic, central sound of piano, percussion and guitar is fleshed out here and there by strings, banjo, theremin and other production touches. Wolverton's musical influences seem to range wide, from roots rock and americana to broadway-style show tunes and classical flourishes."
--- Josh Moss, The Modern Folk Music of America

Things Left On Earth
“mesmerizing music."
--- David Hintz, DC Rock Live

“Wolverton imposes constructs of interpretation which veer…”
--- Tim Whale, Emerging Indie Bands

Horse Head Dawn
"For their latest collection Wolverton have become an entire band, giving their songs a rich full sound topped of with some excellent vocals that tie the whole thing together… Exhibiting a creepy Doors-like atmosphere, Pool is a highly effective slice of psychedelia… Over six songs, the quality and atmosphere remains high, great stuff." 
--- Simon Lewis, Ptolemaic Telescope

"This is folk music that has that psychedelic sensibility with a sense of space in the vocals and the staggered timing in the guitar notes. There is some distant violin and piano punctuation that creates intriguing atmospheres and tensions, but the lead male vocals and female harmonies lead the way in these six songs…" 
--- David Hintz, FolkWorld

"The reassuring vibe projected by the subdued vocals, the fragile harmonic nature of the arrangements, and the laid-back sensibility articulated in the plain-spoken songwriting all cohere to make this sweetly dulcet honey one to relish."
--- Jim Testa, Jersey Beat

Tiny Chair
"Their music, which I like a lot, has got a durable alt-rock-folk-country top hand and is excellently rendered, and what it leaves out is as important as what it throws together but is gloriously free of twang or self-conscious neo-traditionalism. Contemplative, affectionate, warm and gently flawed, it’s roots music sans self-importance, and Hills Snyder’s songwriting is witty and doleful and full of unexpected touches; as in Guts, a small song that sounds like deeply personal footnotes to the human epic. "
--- Sarah Fisch, Glasstire

Nothing

Wolverton

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