The Double Headed Seagulls is a project by Dave Wirth, award-winning film score composer and music producer. The project's latest album, “Play Artful” now reaches the public, showing an expected versatility, between experiments and diverse styles, generating something unique and very characteristic. All with the artist's skills visible (or audible?).

In just over 15 minutes, Dave manages to deliver four soundfully winding tracks, where he can turn the experiments into tracks that end up generating various sensations and can have diverse functions, such as being themes of films, series, games and documentaries, even as something ambient.

The curiosity of “Play Artful”, is that a lot originates from the 2011 album “Slimline”, specifically from the numerous extra cassette recordings made during its long production process. Perhaps this explains the organicity of the work, which brings guitars, synths and keyboards blending in favor of the work set.

The opening track, “Full Oxford” is a perfect model of the record, with its variations of both sounds and weather, summarizing well what is to come. Another highlight is the closing track, “Doss Money”, which has a softer and more atmospheric appearance, closing the disc masterfully.

The Double Headed Seagulls is the brainchild of Dave Wirth, an award-winning film composer and music producer based in Austin, United States. Known for his cinematic vision and meticulous ear for texture, Wirth has long built his career by weaving sound into storytelling, creating works that balance emotional depth with experimental ambition. While his achievements in film scoring have earned him recognition for their ability to capture mood and nuance, The Double Headed Seagulls project allows Wirth to step outside narrative confines and embrace boundless sonic exploration. His approach blends the atmospheric qualities of post-rock, the intimate imperfection of lo-fi electronica, the rhythmic unpredictability of IDM, and the expressive phrasing of jazz guitar, layered into dreamy ambient soundscapes.

The project is rooted in curiosity, reinvention, and the art of transformation. Where other artists may leave archival recordings forgotten, Wirth finds new meaning in fragments, cassette tape experiments and sonic sketches that once served as background material become the foundation for fresh, imaginative worlds. In this way, The Double Headed Seagulls is not just a musical identity but an evolving experiment: a way of reshaping memory, texture, and emotion into something alive and playful. Officially released on August 28th, 2025, The Double Headed Seagulls’ latest EP, “Play Artful”, is a luminous fusion of lo-fi electronica, dreamy synthwave, IDM textures, jazz guitar modulations, and ambient experimentation. The record takes its inspiration from forgotten cassette recordings made during the years-long production of the 2011 album Slimline, reworked and reshaped into something entirely new.

“Play Artful” emerges as its vibrant counterpart, propulsive, melodic, and bursting with imagination. The EP captures a spirit of curiosity, described through the playful metaphor of “kids with crayons drawing on the walls while their parents roll their eyes but love every second of it.” Drawing on influences as varied as Pat Metheny’s early records (Pat Metheny, Watercolors), Brian Eno’s Ambient 4: On Land and Music for Films, Four Tet’s Everything Ecstatic, and Radiohead’s In Rainbows, the EP embodies both sophistication and spontaneity. It is music designed to surprise and delight, to reimagine what sound can mean when treated as both art and play. With its release, “Play Artful” stands as a statement of reinvention, a sonic reminder that even fragments of the past can become the foundation for vibrant new creativity.

Full Oxford

“Full Oxford” by The Double Headed Seagulls immediately establishes itself as a masterclass in sonic storytelling, opening with a serene soundscape that feels both expansive and intimate. From the very first notes, listeners are drawn into a meditative environment, where gentle ambient textures and subtle modulations create a sense of spatial depth. The track’s introduction is deceptively calm, a delicate layering of sound that slowly reveals itself as more intricate than it first appears. As the low-end frequencies begin to emerge, they do so not as intrusive elements, but as grounding forces that anchor the ambient layers, providing a rhythmic subtlety that pushes the track forward. This careful interplay between light, airy synth textures and grounded bass lines gives “Full Oxford” a sense of motion, almost as if the listener is being guided through an evolving soundscape, where every tone and frequency contributes to a larger, cohesive emotional arc.

The composition of “Full Oxford” showcases The Double Headed Seagulls’ remarkable ability to balance experimentation with accessibility. Throughout the track, there is a constant push and pull between contrasting textures: soft, ethereal pads float above nuanced rhythmic pulses, while fleeting melodic motifs weave in and out of the mix, never overwhelming the listener but providing enough intrigue to maintain focus. These elements are carefully orchestrated, allowing the track to evolve organically without resorting to abrupt changes. The transitions feel natural, almost like breathing, with new sonic layers emerging at just the right moments to sustain interest. What stands out most is the band’s precision in sculpting space and atmosphere, each sound occupies its own dimension, leaving room for reflection and emotional resonance. It’s this meticulous attention to sonic detail that transforms “Full Oxford” from a simple ambient piece into an immersive journey that resonates on both intellectual and emotional levels.

Emotionally, “Full Oxford” succeeds in conveying a narrative without words, a hallmark of The Double Headed Seagulls’ artistry. The track evokes nostalgia and introspection simultaneously, creating a complex emotional landscape that listeners can inhabit in multiple ways. Its meditative beginning evolves into a more layered midsection, where harmonics and subtle dissonances introduce tension and release, mirroring the ebb and flow of human thought and feeling. By the time the track reaches its denouement, there is a sense of fulfillment and quiet reflection, as if the listener has traversed a personal journey alongside the music. The careful modulation of dynamics, the interweaving of textural complexity, and the intuitive pacing all contribute to an experience that is both cerebral and deeply affecting. “Full Oxford” is not just a track to be heard, it is a track to be experienced, inviting repeated listening to uncover the layers of ingenuity embedded within its rich, contemplative structure.

Doss Money

“Doss Money” by The Double Headed Seagulls emerges as a contemplative and haunting finale to “Play Artful”, offering a marked departure from the EP’s earlier exuberance and playful textures. The track opens with a dramatic synth pad that immediately sets a moody, introspective tone, subtly enveloping the listener in a reflective sonic environment. Gradually, a lone guitar melody enters, delicate yet deliberate, creating a contrast between the electronic foundation and organic instrumentation. This juxtaposition crafts an atmosphere of solitude and introspection, as if the listener is walking through a vast, echoing space filled with both tension and serenity. As the piece unfolds, layers of soft, resonant organ tones and understated percussive textures are woven into the soundscape, adding depth and nuance. The sparse arrangement allows every note and tonal shift to breathe, emphasizing the emotional weight of each musical element. Toward the track’s closing moments, subtle buzzing textures interact with the guitar’s delicate phrasing, introducing gentle tension and release, which heightens the sense of narrative closure without ever feeling forced.

The composition of “Doss Money” distinguishes itself through its organic evolution and profound emotional resonance, demonstrating The Double Headed Seagulls’ mastery of pacing and texture. Unlike conventionally structured tracks, this piece develops gradually, almost imperceptibly at first, allowing listeners to become fully immersed in its meditative flow. The interplay between the guitar and synth elements feels like an intimate conversation, one that ebbs and flows with emotional subtlety, shifting seamlessly between moments of clarity and reflective ambiguity. The track’s measured pacing creates a space where the listener can engage deeply with the unfolding soundscape, noticing subtle modulations, delicate harmonics, and microtextural details that reward repeated listening. These elements work together to evoke complex feelings, from quiet melancholy to gentle reassurance, mirroring the unpredictability and richness of human thought and emotion. The lack of a rigid structure invites individual interpretation, enabling each listener to experience the track uniquely, uncovering fresh layers with each encounter.

“Doss Money” serves as a poignant and fitting conclusion to “Play Artful”, encapsulating the EP’s overarching exploration of sound, texture, and emotion in a way that lingers long after the music stops. Its introspective and measured nature provides a striking counterpoint to the more upbeat and playful tracks that precede it, offering a reflective space where listeners can digest the EP’s journey. The track’s evolving textures, harmonics, and nuanced layering showcase The Double Headed Seagulls’ ability to craft music that resonates on both an intellectual and deeply emotional level. By choosing to close the EP with this piece, the band not only underscores the thematic arc of exploration, creativity, and emotional introspection but also leaves a lasting impression of sophistication and depth. “Doss Money” invites repeated listening, as each play reveals subtle sonic choices and emotional cues, making it a memorable and essential component of “Play Artful”.

Play Artful transforms forgotten fragments into vibrant soundscapes, playful, nostalgic, and deeply immersive, blending experimentation with emotional resonance.

“Play Artful” is a reinvention of sound and memory, a work that transforms forgotten cassette fragments into a vibrant sonic canvas where experimentation meets playfulness. By blending lo-fi electronica, dreamy synth textures, IDM-inspired rhythms, and expressive jazz guitar, The Double Headed Seagulls craft a listening experience that feels at once nostalgic and refreshingly new. It is an EP that invites reflection but also delights in spontaneity, striking a rare balance between sophistication and childlike wonder, where every note feels both intentional and effortlessly free. With its imaginative soundscapes and emotional depth, “Play Artful” resonates as a reminder of the beauty found in reinvention and the joy of rediscovery. For listeners seeking music that rewards both deep attention and casual immersion, this record is a must-hear, best experienced in quiet, unhurried moments with headphones, where its layers can unfold like a story that reveals something new with every listen.

The Double Headed Seagulls aren’t your run-of-the-mill electronic artists — this outfit has been at it for a long time, right from their early explorations into the world of music, to their work of today — and after a hiatus, they present their latest album, “Play Artful” — keep reading for my thoughts!

“Full Oxford”, the first track off this 4-track EP, is a lush carpet of sound, delicately woven together; be it the pads that surround you with a warm, mellow sound, or the gentle plucks of the electric guitars in the background, this track sets the stage quite early on, almost as if to give us a glimpse of what the rest of “Play Artful” is going to be about. The basses make their rounds as well, and the woodwinds play yet another part to complete this beautifully ambient, atmospheric track.

Segueing into the second track, we get to the title track of the EP — and “Play Artful” (the track) is an excellent example of experimental sound design. From using guitar pick scratches as beatkeeping elements, to the sound design with the synths across every layer of the song, this song is nothing short of delicious tiramisu; in that you’re always left going for a second helping, and then another.

The whole of “Play Artful” has this sense of expertise and skillful sound design at the helm — and I shouldn’t be surprised; for in an era where music feels polished and predictable at every turn, there’s this element of surprise that this EP absolutely *nails*.

The production on the EP is varied yet cohesive — like multiple people coming together to spread one gospel. Contrast, complementing harmonies, and free-time is where this presentation shines; staying avoidant of the tried-and-tested, and doing a bang-up job of sounding pristine while at it.

As we round “Play Artful” out with Doss Money, the sound comes full circle — a grounded, relaxed number that brings you back to Earth from the cosmos. The sparkly synths dally delicately with the Rhodes pianos, while the clean electrics keep steady pace.

All in all, “Play Artful” by The Double Headed Seagulls — a livening breath of fresh air that isn’t afraid to push the boundaries — heck, *to redefine them entirely*. The epitome of self-expression, this album is more than worth a listen. Check it out here!

With Play Artful, The Double Headed Seagulls—an experimental project by award-winning film composer and producer Dave Wirth—delivers an album that feels both nostalgic and forward-thinking. Released on Fire, Fire, Red Star Down! Records on August 28th, 2025, the EP is a bold statement in the world of post rock, lo-fi electronica, and experimental ambient. Wirth reimagines fragments from his earlier work, weaving them into something playful, lush, and strikingly fresh.

The roots ofPlay Artful trace back to Wirth’s 2011 record Slimline. During its lengthy production, countless cassette recordings were captured—digital synths, guitar loops, and bursts of feedback. For years, these fragments lay dormant, until Wirth unearthed them as the raw material for this project. The idea of transforming forgotten sonic scraps into a cohesive new work gives Play Artful a strong conceptual backbone: it’s about creation through re-creation.

Where *Slimline* leaned heavy and noisy, *Play Artful* pivots toward a lighter, more energetic palette. There’s a whimsical quality to the sound—a childlike joy—that balances the seriousness of its construction. It’s as if Wirth traded industrial grit for watercolor pastels, retaining the depth but embracing a new sense of freedom.

Musically, *Play Artful* exists in a space where genres blur and bend. Lo-fi electronica pulses at the core, layered with dreamy synthwave textures, jazz guitar chords, and IDM-inspired rhythms. The guitar work recalls Pat Metheny’s *Watercolors*, while the atmospheric approach nods to Brian Eno’s *Ambient 4: On Land* and *Music for Films*. The unpredictable yet deliberate rhythms echo Four Tet’s *Everything Ecstatic*, and the layered melodic richness hints at the textured world of Radiohead’s *In Rainbows*.

The result is neither imitation nor pastiche. Instead, *Play Artful* uses these influences as guideposts, building a soundscape that feels uniquely its own. The juxtaposition of organic jazz guitar with glitchy electronica and ambient washes creates moments that are both grounding and otherworldly.

The title Play Artful is no accident. The EP embraces creativity as an act of exploration rather than perfection. Its energy is playful—like kids doodling crayon masterpieces across the walls while the parents, exasperated, can’t help but admire the raw creativity. There’s joy in the imperfections and curiosity in the experiments, which gives the music a refreshing openness.

Where some experimental albums risk alienating listeners with too much abstraction, *Play Artful* remains accessible. Its melodies and grooves, while complex, are inviting rather than intimidating. This makes it a record that can be appreciated by both serious audiophiles and casual listeners alike.

Dave Wirth’s work as The Double Headed Seagulls showcases the power of revisiting and repurposing the past. By drawing from recordings once left behind, *Play Artful* demonstrates how forgotten moments of sound can be transformed into something vital and alive. It’s not just an album but a reminder that creativity often lies dormant, waiting for the right spark to bring it back to life.

In a music landscape often saturated with repetition, *Play Artful* stands out as adventurous yet approachable. It’s a sonic playground that rewards careful listening while still encouraging you to simply let go and enjoy the ride.

With this EP, The Double Headed Seagulls not only build on their earlier foundations but also set a new course—one where experimentation is joyful, and where art is play.

Over a decade after their early explorations in sound, The Double Headed Seagulls return with 'Play Artful', a collection that feels both familiar and refreshingly unpredictable. Drawing from forgotten cassette tapes and studio experiments dating back to their 2011 release 'Slimline', producer Dave Wirth has reshaped fragments of the past into a vibrant, forward-looking EP. Where their earlier work leaned into grit and intensity, this offering pulses with an infectious sense of curiosity, blending intricate synth textures with jazz-infused guitar lines that twist and ripple through every track.

'Play Artful' thrives on contrast, where lo-fi electronics sit alongside lush, ambient washes, while melodic improvisation dances atop propulsive rhythms. Each song feels meticulously handcrafted, yet retains the spontaneous energy of discovery, as if he is uncovering new possibilities with every layer. The playful, almost childlike character of the compositions reveals an artist unafraid to embrace experimentation without losing their distinct voice.

'Play Artful' also excels in how it balances the cerebral and the emotive. Moments of sparkling, airy synths evoke wonder, while the interweaving guitar modulations provide a tactile, human touch that grounds the release in feeling. This is an EP looking to transform the sounds of the past, offering us a renewed sense of excitement and imagination.

In an era where much music feels polished and predictable, The Double Headed Seagulls has crafted a collection that is unpredictable, joyful, and utterly alive, confirming his place as an innovator in the indie-electronic landscape.

The title track to The Double Headed Seagulls’ new EP Play Artful (released August 28, 2025) composer Dave Wirth’s keen ear for melding melody with rhythm and texture in a continuous flow that eases and stimulates the mind at once. It sounds like music boxes attained intelligence and learned to communicate with each other via electrical wires in on the process of communication in a collective, harmonious process in which every entity involved contributes to a dynamic sound that reflects a joyful spirit sustained for the track’s two minute and thirty-seven seconds run time. Tones pulse slowly, a background wave of low end comes to the foreground in pleasing pulses and the simple but jaunty percussive sounds buoy the energy of all the other elements for a net effect of a gentle momentum that feels like a completion of some kind of journey at the end and arriving at your destination at ease.

The Double Headed Seagulls, the project of Texan artist Dave Wirth, works a subtle kind of magic with "Play Artful". This four-track EP, compact in its duration yet vast in its atmosphere, is not merely a new collection of sounds; it is an exercise in affective archaeology. The raw material consists of sonic seeds planted in the past, echoes from cassette tapes recorded during the sessions for their 2011 album "Slimline", now exhumed and reimagined with a completely new intent.

What emerges from this manipulation of analog fragments is a sonic universe that evokes the unpretentious curiosity of a child and the wisdom of an experienced artist. The jazz-like modulation of guitars converses with the ambient textures of synthesizers, creating a lo-fi IDM that is paradoxically both nostalgic and futuristic. The title track, "Play Artful", is a direct invitation into this state of mind, while pieces like "One Pot Screamer" and "Doss Money" pulse with a propulsive and melodic energy, distancing themselves from the noisy seriousness of the band's earlier work.

The feeling is that of finding an old chest in the attic and discovering that the toys stored inside still work, but now speak a more complex and enchanting language. It is like witnessing creative children scribbling on the walls with crayons – the parents might roll their eyes, but they secretly delight in that pure expression of joy. "Play Artful" is precisely that: a celebration of the creative process in its most playful and, consequently, most artful form.

Pitching their latest record to us, Austin-based sonic alchemist The Double Headed Seagulls mentions the likes of Pat Metheny, Brian Eno, Four Tet, and Radiohead… Cultured listeners out there will probably have a mixed reaction to that, same as we did. How’s that possible? Metheny AND Thom Yorke? Which kind of musical concoction is The Double Headed Seagulls working on? It turns out that the project is one of a kind. 

Led by American composer and producer Dave Wirth, The Double Headed Seagulls moves with intention and purpose, yet with a certain aleatory flair. His sonic choices don’t always make sense, at least not at first. ‘Play Artful’ is the perfect example of that; marking the project’s latest release, the record features leftover material from Wirth’s 2011 album ‘Slimline’. Cassette tape recordings packed with synthetisers, noisy guitars and otherworldly drones, now given a new lease of life on ‘Play Artful’. 

It’s an album that admittedly seeks a certain amount of randomness. It’s an imaginative, cathartic record, one that requires a certain amount of effort and commitment from the listener. At times melancholic, at times calming, otherwise bittersweet: The Double Headed Seagulls has mastered the art of communicating through aural fragments and liminal soundscapes. Despite its instrumental nature, ‘Play Artful’ looks boldly ahead, expanding the narrative of the world as we know it. That’s the most precious gift the album could offer: a space to escape an ever-chaotic reality. 

The Double Headed Seagulls’ upcoming album Play Artful is a mesmerizing blend of lo-fi electronica, dreamy synthwave, and jazz guitar, crafted from forgotten cassette fragments recorded during the making of their 2011 record Slimline. Reworking these lost pieces into something entirely new, the duo creates a lush, playful soundscape where digital synths, textured feedback, and intricate guitar modulations collide.

Influences from Brian Eno, Four Tet, Pat Metheny, and Radiohead subtly seep through, but the result feels distinctively their own — both experimental and inviting. Unlike the noisy seriousness of Slimline, this record leans into energy and melody, balancing ambient depth with propulsive grooves and unexpected bursts of color.

At its core, Play Artful celebrates creativity without restraint, capturing a childlike curiosity while maintaining masterful technical control. It’s immersive, inventive, and bound to delight listeners eager for sonic exploration.

The title track to The Double Headed Seagulls’ new EP Play Artful (released August 28, 2025) composer Dave Wirth’s keen ear for melding melody with rhythm and texture in a continuous flow that eases and stimulates the mind at once. It sounds like music boxes attained intelligence and learned to communicate with each other via electrical wires in on the process of communication in a collective, harmonious process in which every entity involved contributes to a dynamic sound that reflects a joyful spirit sustained for the track’s two minute and thirty-seven seconds run time. Tones pulse slowly, a background wave of low end comes to the foreground in pleasing pulses and the simple but jaunty percussive sounds buoy the energy of all the other elements for a net effect of a gentle momentum that feels like a completion of some kind of journey at the end and arriving at your destination at ease. Listen to “Play Artful” on Spotify and follow The Double Headed Seagull at the links below.

WeWriteAboutMusic:

On Play Artful, The Double Headed Seagulls, the project of award-winning film composer and producer Dave Wirth, it’s quite easy to say he’s achieved something rare. This record feels both like a culmination and a fresh beginning. It’s a collection of four tracks, but the experience stretches post-rock, IDM, and jazz for something extremely original and fresh.

From the outset, Wirth’s approach to sound feels tactile. It’s an aesthetic that is at once nostalgic and forward-looking, carrying the warmth of cassette-era experimentation while also embracing meticulous production polish. Listening on headphones (a must!!) reveals the craft at its finest. These sounds flicker and dance across the spectrum where melodies spiral and then dissolve into atmosphere, and the mix never loses its clarity no matter how layered or dense it becomes.

Compared to earlier Seagulls releases, which leaned toward darker and noisier territory, this record thrives on lightness. For us, it sort of felt Radiohead-esque in some ways without ever feeling derivative. Instead, Wirth builds his own universe, one where jazz chords float weightless against buzzing synths and fractured electronics, where propulsive beats can suddenly melt into ambient pools.

On one hand, it’s an intellectual delight. You can dissect the layers of production, trace the genre-bending experiments, and marvel at the intricate sound design. On the other, it’s deeply affecting on a visceral level, as the melodies and tonal choices cut through with warmth and immediacy. Even at its most abstract, Play Artful radiates accessibility and really gives the opportunity for repeated listens and experience what you might have potentially missed.

There’s also a cinematic quality to the work that embodies Wirth’s film composer background. Each piece feels like a scene in an unfolding dream, full of color and texture, each transition handled with an editor’s sense of pacing. Despite that polish, nothing feels too controlled. The music retains a looseness, a spontaneity that makes every detail feel discovered rather than engineered. You never really know where things are going, especially on “One Pot Screamer”, but collectively the whole record gives off the perfect experience.

It’s a masterclass in how to push the boundaries of genre while keeping the listener grounded in melody and mood. Both lush and spacious and classic in its influences, this is a record that rewards an actual close listen while turning off life around you.

For listeners, it’s an invitation into a world that feels strangely familiar yet endlessly surprising. Not only do we recommend you check out the record, but you have to check out the back catalog as well for some serious gems. Go ahead and click those links below to listen in, follow along, and of course to stay tuned for more.

BiographyWeb:

Dave Wirth, an award-winning film composer and soundtrack producer, created The Double-Headed Seagulls. This US artist’s project’s latest EP, “Play Artful”, combines post-rock, lo-fi electronica, IDM, jazz guitar, and experimental ambient to create a beautiful and dreamy sound universe. I am going to be your guide and take you through these four songs

“Full Oxford” is the title track of the EP. The song opens with these ethereal synth sounds. The song then takes a different direction with synth pop sounds that are initially very bright but, a little later, we see a darker side of it. This song to me, is yin and yang. It had a light side and a dark side and, the way they mixed together would not have been able to sound good, but I can vouch for this song that, it sounded amazing. The way the song oscillated from high to low throughout was quite beautiful. This lovely song opens the EP

The next song is the EP’s namesake “play artful”. This song opens with a synth sound but, a unique beat is added to it it giving it such a wonderful flair. This song was not one of those instrumentals that sound the same from beginning to end. We see the development of the sound and it’s exciting to see the genius mind of the artist and feel like we were there when he made it

“One Pot Screamer” is the second-to-last song. This song opens with a mid-tempo melody that is unlike anything I have ever heard. It sounded like a cross between different instruments. As the song builds, so does the excitement and this song was just an incredible song, you won’t regret listening to it

The concluding song on this EP is titled “Doss money”. The song opens with a dramatic synth sound and then the guitar melody sets in. The notes are bold yet lonely. The melody picks up a bit towards the middle of the song before the organ sounds set it. Toward the end of the song, a buzzing sound goes in and out of the guitar melody. This song was an odd but incredible arrangement by the artist. This amazing, yet out-of-this-world song ends the EP

This most recent release of this artist is an example of how old recordings can be altered, edited, and redesigned to make a whole different statement. The final product provides a more fun and youthful flair while maintaining a similarity to the project’s previous work. In contrast to his release “Slimline”, released in 2011, which was loud and solemn, “Play Artful” is more vivacious, upbeat, and melodically inventive. Although the tone and energy are different, the underlying sound is still quite similar. In a lively and engrossing way, Play Artful blends art-rock, jazz guitar modulations, lo-fi IDM, and rich ambient synthesizers. It seeks to astound and excite those who hear it. I vouch for this song but, if you don’t believe me, listen for yourself and see how wonderful it is.

Broken 8 Records:

When an artist with film-scoring credentials steps into the world of independent projects, there’s always a thrill in discovering how their mastery of storytelling through sound translates into personal expression. Enter The Double Headed Seagulls, the boundary-pushing project of Dave Wirth, an award-winning film composer and producer whose latest EP, ‘Play Artful,’ which came out on August 28th redefines the playground of instrumental music.

This is no ordinary record. It’s an exercise in turning sound into sketches, tones into brushstrokes, and rhythm into unexpected shapes. Wirth folds together post-rock dynamics, lo-fi electronica, IDM patterns, experimental ambient layers, and the fluidity of jazz guitar to create something vibrant and exploratory. The result is an EP that feels like creative kids scribbling on the walls—messy, colorful, imaginative, and ultimately, delightful.

“Full Oxford” –The opening track introduces the us to Wirth’s penchant for atmosphere. Floating synth textures drift like watercolor across a canvas, while carefully placed IDM-style percussion patterns add a sense of motion. Jazz guitar phrases weave in and out, at times contemplative and at times playful, creating a dialogue between order and improvisation. It’s an overture that sets the tone: thoughtful yet unpredictable.

“Play Artful” – The title track embodies the EP’s philosophy most directly. Here, the post-rock influence shines, with guitar modulations rising like waves against lush electronic backdrops. The piece sways between meditative passages and bursts of layered instrumentation, like a mural slowly filling in with bold, colorful shapes. There’s a balance of restraint and abandon, suggesting that art—like childhood creativity—should never fear chaos.

“One Pot Screamer” – As its title suggests, this is the wildest moment of the EP. IDM glitches and stuttering beats collide with experimental ambient soundscapes, forming a controlled cacophony that feels chaotic and hypnotic. Wirth’s jazz guitar licks punctuate the mix, giving it a human anchor amid the digital frenzy. It’s the sound of crayons snapped in half and still scribbling furiously—raw, visceral, and oddly joyful.

“Doss Money” – Closing the collection is perhaps the most introspective of the four. Here, the production leans heavily into dreamy ambient tones, with spacious reverb and shimmering synths that seem to hover in the air. The jazz guitar softens, taking on a reflective quality, while subtle rhythmic textures provide just enough grounding. It’s a gentle exhale, a lull after the bright colors of the previous tracks—a reminder that even play ends in moments of stillness.

As a composer, Wirth’s expertise lies not just in writing melodies but in orchestrating sound worlds. His delivery throughout Play Artful is not about virtuosity in the traditional sense, but about creating immersive experiences. The jazz guitar work never overpowers but instead converses with the electronics, bending and shaping around beats and textures like a painter adjusting hues on a canvas. Each track is sculpted with cinematic precision, yet loose enough to feel organic and free.

The production here deserves special mention. The EP is mixed with a warmth that makes its experimental nature approachable. Lo-fi elements keep the textures grounded, while ambient washes give the EP an expansive, dreamlike quality. The IDM influences—delicate glitches, off-kilter percussion, and electronic pulses—are executed with finesse, never overwhelming the organic guitar timbres. The combination of electronic programming and live instrumentation feels balanced, with no one element stealing the spotlight.

With ‘Play Artful,’ The Double Headed Seagulls mark a fascinating entry into the experimental scene, proving that playfulness and sophistication can coexist beautifully. Dave Wirth uses his filmic instincts to draw us into shifting landscapes—sometimes chaotic, sometimes serene, but always captivating. This is music for the imagination, a reminder that creativity is at its best when boundaries dissolve.

Listen to the ‘Play Artful’ EP on Spotify

Broken 8 Records

Song Web:

Rising from a unique spell of jazz guitar and lo-fi electronica, The Double Headed Seagulls’ EP, ‘Play Artful,’ feels like a rebirth. The seeds for this project were sown years ago, in the discarded cassette recordings from The Double Headed Seagull’s 2011 record, ‘Slimline’. While that album was a serious, often noisy affair, ‘Play Artful’ is a complete departure in tone, a burst of energy and melodic imagination that feels like a playful, joyous statement.

It's a playful, eclectic, and wonderfully textured ode to how old recordings can be manipulated and rearranged to create something completely new. Caught between deft fusions of digital synthesizers, direct-to-interface guitars, and vibrant real-time feedback, it echoes the work of masters like Brian Eno, Radiohead, and Four Tet, creating a world torn between styles. The result is a captivating and whimsical listen, the musical equivalent of a child with a box of crayons, happily drawing on the walls while their parents watch with amused affection.

‘Full Oxford’, the first track on the EP, develops like a well-written narrative. It starts off in an area of serene calm before bringing in a daring, low-end element that strides purposefully forward, slowly creeping into frame and becoming part of the overall sound. With each listen, the music takes you on a beautiful and inquisitive journey that becomes more intricate and captivating over time. 

‘Play Artful’, the EP's title track, is its stylistic centrepiece. It's a happy anthem for getting back in touch with a more carefree era; stripping away life’s noise to reconnect with simpler times. It’s a song that feels like the culmination of Dave’s influences thanks to its deftly woven percussion and expansive style.

In the latter half, ‘One Pot Screamer’, arrives as a brief but potent track that lasts just over a minute. The quality of the music and production is undeniable, and while brief, it’s light shines brightly, bursting into life to deliver a powerful and impactful composition. 

In the closing moments, ‘Doss Money’ delivers a more reflective experience, shifting between changing textures and instrumentals. It’s a song that gets under your skin and lets you imprint your own ideas upon it, building steadily and purposefully, and leading you to a powerful and memorable end.

While just four tracks long, ‘Play Artful’ is undeniably complex, creating a captivating sonic experience that doesn’t lack depth or flavour. In a landscape filled with heavy themes, ‘Play Artful’ stands out as a delightful and surprising artistic statement that is well worth exploring.

For more from The Double Headed Seagulls, be sure to check out the band on Spotify, YouTube, and Bandcamp.

Song Web

Play Artful by The Double Headed Seagulls

The Double Headed Seagulls – Play Artful – EP Review

Full disclosure…even though this would technically be my first time reviewing the music of The Double Headed Seagulls, it would be far from the first time I’ve reviewed the music of the man behind it all, Mr. Dave Wirth.  While it’s not something that comes across my desk each and every day, I’ve technically been listening to his music in a variety of forms since sleepingbagstudios was about a year & a half old, and I’ve genuinely cherished it for just as long.  Whether it’s been writing about or playing it on the ol’ SBS Podcast – this dude has been making music that’s been on my personal soundtrack for quite some time now, and I’m grateful for that.  Dave’s also what you’d call a proud, perpetual student of his craft, and one of those folks that’s always looking to be hit where it hurts when it comes to the feedback I provide.  Which, to be fair, you regular readers know that no one directly needs to ask for – I always say what I want to say, however I wanna say…always have, always will.  It just so happens that I tend to enjoy what this dude does for the most part, so he’s generally escaped my wrath throughout the years.  I think it’s basically crazy that this is the third project name I’ve reviewed his music under, which doesn’t count his solo work…so that’s four names you’ve gotta know in order to be able to track him down online and THAT is insane in today’s world for sure…but sound-wise, he’s always created stuff I’ve been interested in and that remains to be true here in the case of The Double Headed Seagulls.  What’s more true than anything else dear readers, dear friends, is that there can be no mistakes when there are no rules.  Sure things will or won’t be accessible based on the decisions someone makes in how they go about creating this or that…but that’s really all there is to comment on when you do your own thing.

So here goes anyway Dave…hope this helps.

With the warm digital glow of “Full Oxford” starting out the EP, I immediately felt like this was going to work out well for The Double Headed Seagulls in its debut.  The low-end that enters into the peaceful serenity is more than noticeable to the point where I suppose a few listeners might find it to be a little jarring when it first shows up, but I think that after you give “Full Oxford” a spin or two, you welcome it.  You’ll spend the opening two minutes in this strange sound-bath of sorts, which essentially serves as the audible amuse-bouche, before The Double Headed Seagulls begins to expand this first idea in the most delightful of ways as you head past the two minute mark into modulating frequencies and malleable sound.  You get the sense that change is coming, which will be welcome for those that were getting a little antsy I suppose.  Honestly, to me, “Full Oxford” felt akin to hearing a great story unfold – I don’t want anyone to rush those situations, so personally I was more than pleased to listen to the opening couple of minutes help build this song’s character and establish its presence.  That being said, hearing how it goes on to morph itself anew was absolutely fantastic…that’s when I guess you’d feel like it was almost difficult to go backwards from there.  Thankfully, that’s not how time, or songs work…we move forward, and the adventure of “Full Oxford” continued to get more and more interesting as it played.  As you trip into its third minute, it’s like you’ve become untethered to float around blissfully in the ether.  When that low-end comes back in minute four, it’s like the warm hug you always wanted to get, and it envelops you entirely as the music supplies a series of enchanting complements along the way.  It all feels new, exploratory, and absolutely beautiful…and by the time it ends, you’ll wish it would never stop.  The amount of work that’s been put in to make this opening song flow so fluidly is absolutely staggering.

What do they call those things in school…when you’re like…supposed to be familiar with something before you dive into something else…or like…at least it helps?  Prerequisites?  Is that the word I’m looking for?  The press release gives you insights into the inspirations for a lot of what you’ll hear on this EP…stuff like Brian Eno, Radiohead, and Four Tet for example…all names I’m intensely familiar with and have celebrated throughout the years on my own playlists over here.  Four Tet alone probably managed to shift my entire musical palette at one point in time long ago.  Anyhow.  I wouldn’t say you NEED to know all those names in order to enjoy what The Double Headed Seagulls is creating – but yes, it helps.  As I listened to the cleverly interlaced percussion of the record’s title track, “Play Artful,” it was like I could hear how each of those influences played a role in paving the way for The Double Headed Seagulls to exist today.  “Play Artful” feels playful…like reconnecting with the joy of discovery and what that’s like to experience when you’re listening to music.  It’s not a moment to take things too seriously, you know what I mean?  Don’t mistake that for a lack of craft…that’s not at all what I’m saying.  What I think I’m getting at more than anything else, is that the music of Mr. Wirth has often come with the weight of heavy emotional elements to it, and there’s something about “Play Artful” that really feels like he was much more focused on just having a moment where he could leave all that behind for a minute or two.  And heck – couldn’t we ALL stand to feel that way for a bit?  When I started to think about it, I wanted to make “Play Artful” my personal anthem for the year…a direct affront to all the bullshit we’ve all been forced to endure through the corruption & erosion of our politics in the modern era.  “Play Artful” gives you the opportunity to close your eyes and reconnect with simpler times, where the joys of finding new music you love, the beauty of the sun above, and the potential of every day was as exciting as it has ever been.  We might not be able to physically go back there anymore, but songs like this can transport you.

You want raw honesty Mr. Wirth?  Here’s some for ya – what’s the point of doing ANYTHING for a minute and twenty-six seconds?  Not just music…I’m talking ANYTHING in life, though I’m more than fine with declaring I’ve always been at war with shorter songs.  I certainly understand all too well what their place in today’s society would be with our ever-disappearing attention spans & all…but I kinda feel like it’s our collective job to rebel against that.  Now…do I like what there is to be heard on “One Pot Screamer?”  Sure!  Does that mean I’m in favor of its appearance in this lineup?  No!  Though to be clear, I’m not ever going to be completely opposed to hearing something I enjoy, no matter how short it is.  Plenty of those influential names we pointed out earlier on in this review all have shorter tracks of their own…it’s a thing…don’t get me wrong, I’m just complaining like an old man on the porch yelling at the state of the world.  Even “Play Artful” was like, right on the borderline of what I’d consider to be a worthwhile venture.  I mean…you should SEE some of the effort that folks like Dave pour into the making of “One Pot Screamer!”  You’d likely assume that a shorter song directly equates to having to spend a whole lot less time twisting dials and knobs to get everything where it needs to be, but more often than not, they’ll end up spending more time in pursuit of perfecting something that’s even shorter than the male orgasm…and that ain’t right, is it?  Shouldn’t we want music to be longer than that?  Shouldn’t it have taken you longer to listen to “One Pot Screamer” than it just did to read about it here?  No issues with what I’m hearing…production-wise, it sounds good…but at 1:26 in total length, it’s also really damn hard to argue that there’s anything so significant to be found here that it’d bring you running back for another repeat too.  “One Pot Screamer” is a quality cut for the length it provides I guess – that’s about the most I can say to support it, and even that seems like it’s as positive as I can be.  As I’ve said many times in the past, if song-length is all you’ve left a critic to pick on, you’re doin’ A-OK.

Alright…rant over…I think I got that outta my system…for now.  “Doss Money” is the final track on The Double Headed Seagulls Play Artful EP, and I’d say this is likely more representative of what I assumed the record would have sounded like, long before I pushed play.  “Doss Money” is like a somewhat logical progression from where we left off with Dave Wirth’s solo music…so this kinda makes sense to me and my ears.  That being said, I think “Doss Money” is probably the most mood-dependent track on the EP, as in, it might not always be the track you’re looking to listen to the most in this particular set of songs.  Again, I’m not opposed to it, and I’d argue that after about four minutes of floating around in a bubble, you finally land with a minute & change left to spare that will reveal all the most significant highlights that there are to be found within “Doss Money” – but overall, I enjoyed it.  This is one of those sit up close and listen, textural & sensory types of songs for the most part…bending notes, resonance and such…more based on how the music moves you, as opposed to the music itself moving in a more tangible way, if that makes any sense to ya.  We’re not so far off the deep end that “Doss Money” would play like a Robert Fripp experiment into Frippertronics, whereby he’ll play one note and let it ring for a half hour while he fiddles with the knobs and dials…nothing that extreme here at all.  I’d probably argue that “Doss Money” is more like what it’s like to hear the art of evolution in real time.  I’m not suggesting that it’s not rehearsed or doesn’t move with purpose – I absolutely think it checks both of those boxes.  I suppose what I’m saying is that “Doss Money” feels gradual and organic, once again unfolding like a great story does, without feeling like it needs to gloss over any chapters along the way.  And while like those great stories we know of, this final cut saves its largest doses of potency and impact for its last act, “Doss Money” ends up developing at a pace that takes a surgeon’s precision & patience, and delivers a conclusion to this EP that will certainly stimulate the curiosity required for you to want to spin it again.

Spotify this EP by The Double Headed Seagulls, or check it out at Apple Music by following this link here:  https://distrokid.com/hyperfollow/thedoubleheadedseagulls/play-artful

Through fifteen-plus minutes of saturated ambient textures, Wicked Cities From A Distance disseminates a comprehensive and dynamically intense soundscape on "Lodern", a sprawling single replete with sustained distortions and drones of celestial frequencies. WCFAD is the work of USA-based musician Dave Wirth, and this impressive single is released by the Austin, Texas-label Fire, Fire, Red Star Down! It creates a warm environment for the listener, but not an unchallenging one, lightly pressing at the seams of its semiliquid constitution with colourful flourishes. 

I’m still pinching myself that Bandcamp’s editors took a listen!

Chilling ambient music with mournful tones and barren textures, perfect to score and abandoned cityscape.

Queen City Sounds just gave Evil Gima a wonderful review:

One has to imagine that Evil Gima conceived of the song and video for “IT/AM” in some sort of creative tandem. The sounds themselves suggest spaciousness and texture like the snow and water droplets depicted in the video. The piano figure drifts while plinks of metallic sounds like processed windchimes or stringed instrument plucking and slowly resolving drones convey a languid atmosphere. It’s like the analog of natural processes unfolding like the accumulation of snow depicted in the video as it forms and melts into water and fills into ponds then evaporates and the cycle begins again. It’s a little like an orchestral piece Anthony Braxton might have written around the turn of the 70s if he had access to a robust electronic palette of sounds. That organic improvisational way of arranging noises in abstract, conceptual fashion that made him a rebel then and a style outside orthodox music making that ambient music and abstract free jazz aficionados appreciate now.

Pulling disparate threads of sonic traditions, Evil Gima creates a cinematic experience with the audiovisual project “IT/AM”. In the Jorge Martinez directed video for “IT/AM” the trailing melodies of Evil Gima’s forlorn piano arc across an alive sound palate of evolving drones and mechanical, almost bird-like musicbox percussion. Fans of dark ambient or deconstructed neo-classical music will find a lot in “IT/AM” and Evil Gima’s work to sink into.

(The full review)

This is fun! The Big Heavy just got quite a favorable review from Sleepingbagstudios. Check this out:

It’s a sad yet perfect day to discuss the music of Dave Wirth…so that’s what I’m going with today. If you’re Canadian…if you’re a fan of The Tragically Hip or if you’ve been lucky enough to hear any of the poetic words from the mind/mouth of Gord Downie…today has been a tough, tough day. A true ambassador & champion of creativity and expression is no longer with us…and it’s just fuckin’ sad man; it’s been hard enough to navigate through the shock today, let alone write anything at all. I did the standard tour through The Hip’s catalog and exhausted my tears as best I could…and then I suppose I did what I naturally always do in times of emotional-need – I searched for music that would help me through it all. This entire day has been ‘The Big Heavy’…but as it turned out, The Big Heavy was also what began to pull me out of the despair of the day’s events and shine a light on a path to a way out.

So thank-you Dave…I’ve been saving this record for a day when I needed it most…and today is that day.

It’s more than just a suitable narrative by the way. Downie was misunderstood by many for the somewhat bizarre approach he found in the melodies he wrote…Dave has some of that same artistic courage in his writing that creates a tangible strangeness in the beauty of the music. Also much like Downie, Wirth can be intensely poetic…and after the release of the instrumental record Flutters earlier this year – it’s awesome to hear him back at the microphone with his unique approach combining highly vibrant imagery in his lyrics with genuinely soulful expressions that give the words weight through the way he sings them. Is everyone going to ‘get it?’ Maybe…maybe not. I’ve been down this road with Dave’s music before…my ears are absolutely convinced that he makes truly stunning, gorgeous music from the heart that completely connects…but I’ve also encountered contrasting opinions due to the amount of artistic expression he’s put into his music before. Some people dig their music to be different – some don’t…doesn’t make anything bad or good, it just is what it is and we all hear things the way we hear them. Even a band like The Tragically Hip can be relegated to just one continent more or less due to those kind of signature sounds and uniqueness…to me, it’ll always be much more important to pursue your art as you see it, no matter where you end up or how far it takes you…be true to yourself.

After listening to Dave’s music for several years now, I feel like he’s always stayed true to himself. Years back, in his old band Sprightly Moans, he wrote one of my favorite tracks from the indie-scene still to this very day, a song called “Love Is Nothing Without Eternity” that showed a much different side of his music…a side that sounds much closer to this new EP, The Big Heavy. Certainly makes me happy…there’s a real comforting sound in Dave’s vocals that’s organic and real as it gets; he takes chances in how he expresses himself that way, but with a more refined approach now in his current work – it’s all paying off in the results. I’ll advocate on behalf of “Love Is Nothing Without Eternity” until I’m dead and gone…but I also can’t deny that Dave has certainly upped his game when it comes to his confidence, production and performance on these new tunes from The Big Heavy. What makes it exceptionally interesting to listen to is the fact that he’s put out a two-song EP with vocals after so long without…alluding to the fact behind the scenes that something about these songs needed to come out, perhaps if only to break the walls down to allow the rest to continue afterwards, I’m not entirely sure…but I’ve certainly been there. Sometimes it’s best to cut the cord before you potentially take an idea too far, or again, just to be able to separate one project from the next, say what you need to say, and move forward from there. Whatever his reasoning was…he nailed it; these two songs truly shine together and are a brilliant return to the microphone for an artist that truly belongs in front of it.

I’m not entirely sure which order these came out in…so I’m writing this in the order that I’ve heard’em, which I’d imagine is likely how it ended up. I started with “Eyelids And Oil” and was instantly hooked; knowing where he’s come from in his past music, I knew immediately he was heading into a style and sound that truly works in his favor. Again – Dave’s upped his game significantly from anything you’ve heard in the past through the amount of layering and work he’s put into this material…so while it might have a few sonic comparisons to what you know from his past music that make it comforting, inviting and welcoming to listen to – it’s also evolved into something that’s potentially going to last much longer. If I had to take a guess as to the inspiration might have been on a musical-level here for “Eyelids And Oil,” I feel like it wouldn’t be a guess at all – there’s an incredible amount of Thom Yorke-like tendencies here…not the Radiohead stuff, the solo stuff…listen and you’ll hear it. Particularly in the brilliant use of percussion that continually creeps into the mix of “Eyelids And Oil” – it sounds like rain on a hot tin-roof, changing, deepening and strengthening the sound as the rain continues to beat down as the roof begins to cool and changes the tone of each drop. I obviously can’t vouch for that completely being the intention – but the overall result is bloody brilliant no matter what it reminds you of, it sounds amazing. Listen to the layering at the very beginning! It’s so damn subtle it hurts! Right as the song begins, there are completely awesome things happening in the music that are threaded wonderfully underneath the vocals, and then “Eyelids And Oil” breaks to a simplified sweetness and brilliantly focused performance in the verse. Punctuated by Dave’s vocals providing the main hooks without words and just allowing the music and melody to guide his singing, he sounds amazing in these moments…the lead is spectacular and the backing layers give it all such amazing personality, character, charisma and charm that by the end when everything is all combined together, Dave’s found himself right in the swirl of a real time-stopping, breath-taking moment in the emotionally intense atmosphere of “Eyelids And Oil.” The way he makes this song develop, evolve, envelop and surround you is honestly one of the most beautiful moments I’ve experienced in music this year…everything is so immaculately subtle adding up to something so powerful…the progression of “Eyelids And Oil” and Dave’s choices here, the ideas, the execution…I think it led him directly to make the most stunning track I’ve heard from him in years. Love the music, love the way he sings it – I love everything about it quite honestly…this is Dave at his best in his vocals and certainly in the lyricism…it’s minimalist music with maximum impact and real sincerity.

“Open Mouth, Monstrous Teeth” takes a more traditional approach than perhaps “Eyelids And Oil” does…and I’ll admit it took me longer to get into this one by comparison as well…but by the end of several listens, I was pretty much just as hooked on this tune. Pretty much! I’m not going to take anything away from or tarnish the stunning awesomeness of “Eyelids And Oil” by pretending these two are completely neck-and-neck for me…close…but not quite. “Open Mouth, Monstrous Teeth” has a much more lethargic energy to it…not lazy by any stretch, that’s not what I mean; more like a comfortable droning, like being locked into an emotion, thought or moment in time. Where “Eyelids And Oil” succeeds most wildly is in how it evolves and takes us on that adventure in sound as it develops, “Open Mouth, Monstrous Teeth” takes the opposite approach by revealing nearly all of its cards at once in that sense. Completely different approaches in the writing, both songs yield stunning results…just depends on what you’re looking for & what ya wanna listen to as to which method might connect to you more quickly than the other. I’m still thinking I’m hearing the Yorke influence here on this track…I know that Dave and Thom have different tones, but listen to that mix of sweet haziness in his tone coupled with insightful, descriptive lyricism and try to tell me that there are comparisons to be made! Beautiful use of the pedal-steel guitar drifting in and out of this mix…the music is almost all complementary here to what Dave’s doing vocally, which is the essential driving force in this entire melody. “Open Mouth, Monstrous Teeth” is the kind of song you have to hear instrumentally as well to truly appreciate just how much the vocals are bringing to this tune…which is fairly true of “Eyelids And Oil” as well…he does really well inside of a minimalist approach and finds the perfect level for his vocals to stand out just as they should when taking charge of the main melody-lines as they are. His vocals have truly become an instrument in these new songs on The Big Heavy…and he’s really never sounded better on the microphone. There’s a beautifully warm glow in the music and sound of “Open Mouth, Monstrous Teeth,” even while he details the melancholy and metaphorical imagery in his words…it’s all oddly comforting, creating a wonderful contrast between the sound of the music and the lyrics that brings about another highly memorable moment in time from Dave’s highly capable musical-mind. He’s got the uniqueness in his approach and instincts that lead to authentically beautiful results…through songwriting that will truly last and music that always captures the heart & mind with equal strength.

I’ve got more to say about this…so you can expect that I will on the upcoming episode of the SBS Podcast, episode 035 coming out this week…check that out and I’ll tell ya some more details about The Big Heavy from Dave Wirth and play you one of these cuts on the show.

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