u make my day feel better, thank fun with ether❤️

BUY THE 7" http://wwnbb.bandcamp.com/album/hanged-man-i-quit-girls

I Quit Girls was a special gift that BF recorded for their fans. It featuredon RS Magazine www.rollingstonemagazine.it/musica/news-musica/esclusiva-rs-i-be-forest-rifanno-i-japandroids/
The song is also included into the japanese release of Cold. cocoheartrecords.com/artists/beforest
'I Quite Girls' by Japandroids japandroids.com

Be Forest - I Quit Girls



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

Taken from the upcoming album "Space" out 14.10.2016 on PIAS Recordings and Mayfly Records (US).

Pre-order "Space" now and receive Head Of Stone as an instant download:
apple.co/29iKETA

Recorded & mixed by Thomas Valkiers at Hightime Studios. 
Mastering by Jack Shirley at The Atomic Garden.

More info:
www.facebook.com/newmoontheband
www.twitter.com/newmoonpunx
www.newmoontheband.com

(p) & © 2016 Newmoon under exclusive license to [PIAS] Recordings Belgium.

Coma

Awakening

Lonely Moon

Soft Beach

Smash The Days

Spellcaster

Rust and Gold is the first single from the upcoming album with the same title that will be released in September 2018.
credits
released November 24, 2017 
Sergejs Jaramišjans - Guitar, Synths 
Andrejs Vasiļjevs - Guitar, Synths 
Ksenija Sundejeva - Vocals 
Juris Justs - Bass 
Ints Barkans - Drums 
Leah Corper - Synths 

Recorded at ZStudios with Aleksander Solovyov 
Mixed by Adam Cooper at Jetpack Studios (Chicago) 
Mastered by Brian Wenckebach at Electric Blue Studios (Brooklyn, NY)
all rights reserved

Rust and Gold

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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