Sea Wolf Albums (3)
'White Water, White Bloom'
Release Date 9/22/2009
Tracks 10
Label Dangerbird
See Album Tracklist and Review
What The Critics Say
Sea Wolf emerged in 2007 as a tuneful alternative to Bright Eyes, with both bands championing a mix of tremulous vocals and sharp, Americana-styled songwriting. White Water, White Bloom doesn't do much to dispel those similarities, but it does widen the band's sound, with bandleader Alex Church carefully splitting his time between the organic and the orchestral. Church wrote the entire album alone, yet all ten tracks feature contributions from an army of musicians, including several members of Sea Wolf's touring lineup. With producer Mike Mogis (one of the chief architects of Bright Eyes' sound) behind the boards, White Water evokes a lush, chamber-country ambiance, sounding intimate one minute and grandly expansive the next. At the center of everything is Church's attention to melody, which shines as brightly on the album's sparsest songs -- "Orion & Dog," "The Orchard," "Winter's Heir" -- as on the more bombastic numbers. Even so, it's the fully orchestrated material that makes the biggest impact. Church and Mogis lace their autumnal anthems with strings, organs, woodwinds, and clash cymbals, creating mini-symphonies that leave their mark but rarely overstay their welcome. The resulting tunes are lush, but few are truly dense, and White Water's biggest asset is its ability to wield such a large sound without replacing the woodsy, cozy feel of Church's solo performances. ~ Andrew Leahey, All Music Guide
'Leaves in the River'
Release Date 9/25/2007
Tracks 10
Label Dangerbird
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'Get to the River Before It Runs Too Low'
Release Date 1/1/2007
Tracks 5
Label Dangerbird
See Album Tracklist and Review
What The Critics Say
Seattle producer Phil Ek (Built to Spill, the Shins) recorded a chunk of Sea Wolf's debut, Get to the River Before It Runs Too Low, in the studio, and the rest was recorded in Alex Church's living room. This homey setting adds a personal and intimate feel to his weary but warm acoustic-based songs about insecurities and heartbreaks. Despite these sad undercurrents, the majority of the album feels upbeat and affectionate. Imagine background music for a spring road trip with Tom Petty, Mark Knopfler, Jeff Tweedy and Conor Oberst. The tunes feel modern, but also classic and timeless, as if they were composed in a different era. Sometimes the instrumentation is heavily layered with cello, keys, and washed guitars, but the vibe always remains delicate and simple. These are five fine songs that gracefully play along the lulling pastures of introspective indie pop. ~ Jason Lymangrover, All Music Guide
