TeethOfWolves Part 1: Introducing

A wolf howls for many reasons. It is a signal to let a pack know where a member is located, it could be a warning of danger or even a rallying cry. “Skeleton Bones” begins with a yell that is more than a release of aggression, it carries with it a statement of presence: “I’m here. And you will listen.”

The self-titled debut album of TeethOfWolves is one of the best new albums of 2015. This experimental folk rock sounds something of a modern Jim Croce in style, with the voice of Daniel Rossen (Grizzly Bear) or Jose Gonzales. There’s a characteristic of Jeremiah Bredvad’s voice that is hard to describe. His voice is textured but not raspy and the self awareness of the lyrics feel one step ahead of our assumptions.

According to the duo: “Longtime friends and music collaborators Jeremiah Bredvad and Travis-T began working on acoustic tracks written and performed by Jeremiah back in 2010 when they met at a now defunct coffee shop/music venue in San Antonio, TX. With limited time and funds, they were able to connect with legendary producer Gordon Raphael (The Strokes, Regina Spektor) to create the bare bones of the tracks that would become Teethofwolves.”

The songs combine a  singer-songwriter quality with freak folk and Americana rock in unexpected ways. At times, TeethofWolves take dizzying turns into crunchy riffs, big drums and vocal intensity with raw emotion. My first exposure to Bredvad came in February of this year at a show with the band Aliens With Halos. I described his solo set as somewhere between Shaky Graves and Omar Rodriguez-Lopez and was pleasantly surprised by what I saw & heard. TeethofWolves' self-titled album is possibly the best indie-folk rock album to (partially) come out of San Antonio. 

In Part2, I interview Travis T and Jeremiah Bredvad to talk about TeethOfWolves, it's conception, the process and production and what lies ahead for this project. 


 the band received Vasil Woodland's permission to use his artwork for the album

the band received Vasil Woodland's permission to use his artwork for the album