Wish upon
A shining star
 Find what burns
In your heart

 Drink from the fountain
It’s water from the mountain 
Let it wash over you
If it feels alright to 

And if you are 
Unsure of 
The way things go 
Don’t give up 
Don’t lose hope 

 Drink from the fountain
It’s water from the mountain 
Let it wash over you
If it feels alright to
 
Put your hands 
By the fire 
We’re a long way from home 
Try to stay warm 
Rest your eyes
 If you’re tired
I’ll hold you in my arms
Keep you safe from the storm

From the storm
From the storm

Water from the Mountain

Continue as a Guest

Really Really Light

Cool Moderator

prod. all we left unsaid

(demo)

lyrics:

we're spinning round and round
all i want is to make you proud
i still hear your silent whispers
even if youre not around
i got too many problems
and you added many more
theres certain things i cant ignore
theres no explaining what i saw
i waited way too long my friend
and i cant give enough for both of us
set me alight
you go do what you wanted to
and i wont wait for you

i wanna be something to you

Lullaby + Exile

http://www.thewalkmen.com/heaven/ 

The Walkmen’s new album, “Heaven”, is the sound of a band hitting maturity, comfortable in its mastery, after a decade together. “When you’re starting out, you’re sitting there trying to come up with a big idea, but after a while, you learn about the process of writing,” says guitarist Paul Maroon. “You learn about your friends in the band and how they work best.” Singer Hamilton Leithauser backs him up. “I wrote more stuff that I liked for this record,” he says. “To me, they sound like classic American rock songs.”

It’s been ten years since the band made their debut album, Everybody Who Pretended To Like Me Is Gone. Ten years since they mixed the lovingly recorded analogue tapes down to the cheapest CD burner they could find. Ten years since Leithauser broke Maroon’s arm in a celebratory wrestling match. Ten years since critics attached them to a New York scene they never wanted any part of. But when Leithauser sings “We Can’t Be Beat,” on the opening track of Heaven, he means it, like Cool Hand Luke getting up off the floor for one more round. “The world is ours,” he declares. This time, he may be right.

This spring, the band played a series of tenth anniversary shows that demonstrated how far they have outstripped their peers: two sets over two hours, no filler, rapturously received. In contrast, fellow graduates from the class of ’02 have burned out or faded from view.

The Walkmen are the great New York band of their generation, and in Heaven, they have delivered their third killer album in a row. Although Leithauser states that “our biggest accomplishment is just being here,” they are making the best music of their career and filling their largest venues yet, including a sold-out show at Shepherd’s Bush Empire in 2011.

‘In The New Year’, a standout track on their fourth record, You & Me, implies that at one point there was pressure to quit: “My friends and my family, they are asking of me, how long will you ramble, how long will you still repeat?” Lauded as a stunning collection of songs, beautifully arranged, the 2008 album revitalised their career.

Lisbon, released two years later, confirmed that trajectory, garnering 4 and 5 star reviews for its short stories and spare, Sun Records sound. The clanging tones of Paul Maroon’s Rickenbacker Capri 360 and Gretsch Streamliner set the 1950s mood, as Leithauser channelled Orbison and Sinatra, in all their melancholy defiance.

On last year’s tours with Arcade Fire and Fleet Foxes, the Walkmen formed enduring friendships. “There’s a kinship,” says multi-instrumentalist Pete Bauer. “You feel like someone else is out there taking music as seriously as you’re taking it. You realise that you’re a lifer.” So when Fleet Foxes producer Phil Ek approached them, asking if they’d like to make a record with him, they travelled to the studio he uses in the woods outside Seattle for the most intense recording sessions they had ever experienced. “He was relentless,” says Maroon. “And in the end, you can hear the difference.”

“We have never been on better behaviour,” agrees Leithauser. “When Phil had an idea, we would be ‘OK, let’s try it.’ That’s not who we are! But we came up with a sound that we love.” Although the chime of Maroon’s guitar is unmistakable in the cascading arpeggios of Song For Leigh or the driving metallic riff of Heartbreaker, the setting is fuller, the production lush.

“There can be something brittle about our sound,” Maroon says. “He made it just a little bit warmer, a little bit stronger. When I play it in my car, it sounds strong, which I love.” On We Can’t Be Beat, Leithauser is Dion and his bandmates The Belmonts, singing pitch perfect doo-wop. On No-one Ever Sleeps, Fleet Foxes vocalist 
Robin Pecknold plays Don Everly to Leithauser’s Phil, supplying a low harmony at once classic and contemporary. 

The one song that the Walkmen insisted on, over Ek’s objections, turned out to be the track that pulled the record together and gave it a title. “Our children will always hear romantic tales of distant years,” sings Leithauser. “Don’t leave me, you’re my best friend. All of my life, you’ve always been.”

All five members of the band have kids now and if the impact of parenthood is hard to pin down in a single lyric, there is definitely a new openness and emotional honesty to the songs. “The detachment you can feel throughout our younger records is gone,” Leithauser says. “We felt like it was time to make a bigger, more generous statement.”

After ten years, the Walkmen have everything that a great band needs. Leithauser is a mature singer of phenomenal stamina who can trade The Rat’s raw anger for the yearning of Southern Heart in a beat. Drummer Matt Barrick can pummel ferociously and drop down to Buddy Holly’s tramcar click. Bauer is a consummate sideman, effortlessly switching from guitar to farfisa to piano as required, or trading instruments with bass player Walter Martin, who has also written his most resonant lyrics yet.

Most importantly, the old gang mentality has deepened, becoming something worthwhile and lasting. “I’m very proud of what we’ve done. We’ve stayed friends and those friendships have grown,” says Bauer. “We have survival experience and real love that children generate in your life.” Heaven is a definitive statement of purpose and commitment, from a band at the peak of its powers that is finally winning the recognition it deserves.

The Walkmen - Heartbreaker

The Louder I Call, the Faster It Runs

The Louder I Call, the Faster It Runs (Acoustic)

Get "Justice" here: https://ffm.to/heroinhelicopters
New Citizen Cope album Heroin and Helicopters OUT NOW: https://ffm.to/heroinhelicopters

Spotify: https://ffm.to/heroinhelicopters/spotify
Apple Music: https://ffm.to/heroinhelicopters/apple
iTunes: https://ffm.to/heroinhelicopters/itunes
Amazon: https://ffm.to/heroinhelicopters/itunes
Pandora: https://ffm.to/heroinhelicopters/pandora

Tour Dates:
11/23/19 - Corpus Christi Food & Wine Festival (Corpus Christi, TX) - http://bit.ly/2BY85P6
12/12/19 - Laverne’s Sports Bar (Kailua-kona, HI) - http://bit.ly/cope12-12
12/13/19 - Mulligans on the Blue (Kihei, HI) - http://bit.ly/cope12-13
12/14/19 - Porter Pavilion (Kilauea, HI) - http://bit.ly/cope12-14
12/15/19 - Hawaiian Brian’s (Honolulu, HI) - http://bit.ly/cope12-15
12/26/19 - The Capitol Theatre (Port Chester, NY) - http://bit.ly/2PzMmVB
12/27/19 - The Paramount (Huntington, NY) - http://bit.ly/2ptL1Ff
12/28/19 - The Wellmont Theater (Montclair, NJ) - https://livemu.sc/34f9SLS
12/29/19 - Rams Head Live! (Baltimore, MD) - http://bit.ly/2JBG5VN
12/31/19 - Franklin Music Hall (Philadelphia, PA) - http://bit.ly/2Wr9Rln
1/14/20 - The Grey Eagle (Asheville, NC) - http://bit.ly/32Xf9r8
1/15/20 - Bijou Theatre (Knoxville, TN) - http://bit.ly/2N1NDmO
1/16/20 - Harvester Performance Center (Rocky Mount, VA) - http://bit.ly/2PvmGcL
1/17/20 - Neighborhood Theatre (Charlotte, NC) - http://bit.ly/2MYPRDy
1/18/20 - Lincoln Theatre (Raleigh, NC) - http://bit.ly/2MYPXeo
1/20/20 - The Basement East (Nashville, TN) - http://bit.ly/36hY0dP
1/21/20 - Walker Theatre (Chattanooga, TN) - http://bit.ly/2pqgBni
1/22/20 - Iron City Bham (Birmingham, AL) - http://bit.ly/2pi88CU
1/24/20 - Vinyl Music Hall (Pensacola, FL) - http://bit.ly/cope124
1/25/20 - Victory North (Savannah, GA) - http://bit.ly/cope125
1/27/20 - Ponte Vedra Concert Hall (Ponte Vedra, FL) - http://bit.ly/cope127
1/28/20 - The Key West Theater (Key West, FL) - http://bit.ly/cope128
1/30/20 - House of Blues Orlando (Lake Buena Vista, FL) - http://bit.ly/cope130
1/31/20 - Jannus Live (St. Petersburg, FL) - http://bit.ly/cope131
2/1/20 - Culture Room (Fort Lauderdale, FL) - http://bit.ly/cope2-1
2/5/20 - Carnegie Lecture Hall (Pittsburgh, PA) - http://bit.ly/cope2-5
2/6/20 - Center for the Arts of Home (Homer, NY) - http://bit.ly/cope2-6
2/7/20 - Horseshoe Tavern (Toronto, Canada) - http://bit.ly/cope2-7
2/8/20 - Club Soda (Montreal, Canada) - http://bit.ly/cope2-8
2/9/20 - Le D'Auteuil (Quebec, Canada) - http://bit.ly/cope2-9
2/11/20 - The Music Hall (Portsmouth, NH) - http://bit.ly/cope2-11
2/12/20 - Infinity Hall (Hartford, CT) - http://bit.ly/cope2-12
2/13/20 - State Theatre (Portland, ME) - http://bit.ly/cope2-13
2/14/20 - The Wilbur (Boston, MA) - http://bit.ly/cope2-14
4/29/20 - The Fillmore (Minneapolis, MN) - https://livemu.sc/33bwi0B

Lyrics:
I found this brand new gift
Looking for somebody to share it with 
I found this brand new light
Something within me all my life
      
There’s so much trouble in the world 
Surrounded by miracles
There’s so much hatred undeserved 
But it will not work
      
Cause still our love will be received
Better yet still my heart is in need of release 
Yeah still my love will be received
Better yet still my heart is in need of release
      
When it ain’t about justice
When it’s not about what was what is 
When it’s not about what’s left
When it’s not about the next step

Justice

Young Lovers Do (OBX Version)

Jenn Wasner and Andy Stack of Wye Oak have spent most of their lives in Baltimore, Maryland. But after two years of constant touring with Civilian, their highly lauded 2011 album, they landed on opposite sides of the country with an unforeseeable future ahead. Despite this newfound uncertainty, the two bandmates embraced their physical distance, passing ideas back and forth, allowing new work to evolve in their respective solitudes. Shriek is Wye Oak’s fourth full-length and the culmination of their intent to express the emotional and intuitive self by acting out animalistic exclamations through cathartic release. It is their most personal and confident declaration yet.

Newly inspired by playing bass, Jenn took up songwriting in a setting where the guitar did not dictate harmonic boundaries or require a call-and-response relationship with her voice, a hallmark of previous Wye Oak records. With her phrasing freed, now it is often Andy who interacts with Jenn’s vocals, playing syncopated and meditative keyboard parts, and the duo’s collaborative arrangements provide a backdrop in which both the arcs of melodies and the new rhythmic elements flourish.

To engineer, mix, and co-produce, they brought in Nicolas Vernhes of the Rare Book Room in Greenpoint, Brooklyn, whose inventive and forward-thinking approaches to production complemented their new direction. The result is a record of indisputable humanity. Shriek is a complete narrative of disorientation, loss, renewal, and empowerment.