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GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: 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 - Lines

Mirror Days new single for the upcoming EP titled Solstice

OUT OCTOBER 30th 2014

Window ( Official Single )

Bass, Vocals, Distortion - Sarah Quintero
Drums, Vocals, Guitar, Electronics - Mario Quintero


Cult Classic

https://open.spotify.com/track/731lBgMQSUuBlfAsMUxyal?si=ywKRTrcXTwanOcHnVZymjw

prod me

oooh it'll be hard to let u go but
im tryin to move on and
i know u dont love me so
ill write it in this song
i know that i did like everything wrong
but i tried my best to not see u gone

run n hit the ground i fall so hard
baby tell me why u had to break my heart
know its nothin personal u just played ur part
but i rlly wish that we could just restart
x3

break my heart

Written and Performed by : Graham Harrington

Endless

Lonely Moon

Second song of our upcoming production, Islands.

Berna Cruz - Vocals
Gardy Perez-Ruiz - Guitars
Hector Caolo - Bass
Eden Cruz - Drums

Recorded at Little Big Audio by Nicolas Linares, PR.
Mastered at Sterling Sound by Joe LaPorta, NYC.

3 Robots Records, 2017. ©®

ISLANDS

Blue Garden

Soft Beach

Bellavista - I Don't Know What I'm Running After (2017)
Track 1 from the 2017 release "Sun And Skyway".

Sun And Skyway will be available June 13, 2017 on iTunes, Bandcamp, Soundcloud, Spotify and other digital outlets.

Bellavista is Rex Shelverton, Jeremy Bringetto and Cary LaScala.

Cover photo by Kristen Linney, art by Michael Martinson.

Lyrics
Don't search behind the secret
Smiles to lift your heart
Holding her hands close to the wound she danced 'til her eyes went dark

I don't know what I'm running after 
All I know is that it's always gone

Two steps a kiss to your neck 
Thrown to the surf we cried 
Longing for regions unknown 
To carve little mysteries inside 

I don't know what I'm running after
All I know is that it's always gone

I Don't Know What I'm Running After

GREY

Colour of Spring - Grey

For the Kill

Self-composer from South Texas with a keen interest in shoegaze, dreampop, noise, ambient, etc. STAY TUNED for future projects. CDs of the debut album are available for purchase via Bandcamp.

Soft Beach

Fun With Ether

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