Linda Claire

Make It Hurt - Narrow Head

failure - another space song (slowed + reverb)

WHAT’S YOUR NAME? (prod. anticon)

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

Team Sleep - Your Skull Is Red

linger escape - whisper

“farewell, o memory mine (an everlasting psychic wound)” by TWYLIGHT is OUT NOW on Unbeyond Anthologies! 
Buy / Stream ↣ https://hypeddit.com/051farewellomemorymine

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LYRICS:
(What do you want this time?)

We told the woman we've had enough, as we manifest in her bedroom.
She saw us, numb to her heart, looking blankly, empty.
The memories bleed, and soon she saw our life unfold in front of her.
"It's time" we said.

(It's so loud, so loud...)

can't keep doing this... / we hurt... / ...it is unreliable...

Please stop, please be quiet. This isn't sustainable. We can't keep doing this.
We can co-exist, learn to cope with the trauma, please!
BE SILENT.
YOU SEE US AS A SYMPTOM OF THE TRAUMA.
WE DIDN'T ASK TO BE BORN IN YOUR MIND. WE DIDN'T ASK TO BE PART OF YOU. (There is no coping over existence.)

YOU CONTINUALLY PROVE YOURSELF TO BE INCAPABLE OF MEETING UP TO THE STANDARDS OF LIFE ITSELF, YET YOU KEEP US ALL BREATHING.
I-Is my best not enough?!

WE HURT / WE BLEED / ITS IS UNRELIABLE / UNSUSTAINABLE / CAN'T KEEP DOING THIS

IF YOU WON'T END THE MISERY, WE WILL!
No please, no wait please no, please, please!

a little relief doesn't hurt.
I can't keep doing this.
FUCK YOURSELF UP.
RIP THEM APART RIP THEM APART RIP THEM APART.
FUCKING WONT STOP TALKING.
THEY WONT STOP TALKING.
THEY WONT STOP TALKING.
THEY WONT STOP TALKINGGGGGG-

(If this is goodbye, let it be known we tried.)
For every breath, your words they fly
and my mind destroys your remaining light

Farewell to my memories
I felt them leave my body
I knew I'll never see them anymore

Farewell to all my friends
I'll miss you
But I never asked for this
Can I get them all back?

(Farewell, O Memory Mine)

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Unbeyond Anthologies are pleased to present a devastating single from rising act TWYLIGHT, “farewell o memory mine (and everlasting psychic wound)”.

A profoundly harrowing shoegaze and noise rock track, this is not a release for the faint of heart. Emotional turmoil is reflected in the explosive production and soul-crushing progressions, making for a song that will certainly strike an emotional chord.

“Originally, this was just the final song of the TWYLIGHT project's debut album, one of a few interpretations of trauma and dissociation in music form. Now, it's the closest and most accurate interpretation we've made yet. This is not an easy listen, and was just as hard to write. Created in the middle of May 2025, we were compelled to rewrite and make a new version of this specific song that’s all about trauma, dissociation, and the severe disconnection and conflict caused by it, in order to vent out built-up emotion. By the time we finished the track, the migraine headache was so severe. This is all that pain. This is a mental spiral made into song form.” said the band. “We hope this track brings those with similar experiences comfort, or a way to understand and learn. You are not alone.”

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Follow TWYLIGHT:
https://twylight.xyz/ 

Follow Unbeyond Anthologies:
https://unbeyondanthologies.carrd.co/

failure - another space song (slowed + reverb)

xX_blitz_Xx

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