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INDIE

Whirr

sway

www.undertheradarmag.com Welcome to Under the Radar's weekly playlist, where we compile the best and most exciting tracks to debut online in the last week (give or take). In this mix we've got new songs by Real Estate, London Grammar, 2:54, Jessie Ware, We Were Promised Jetpacks, Songs: Ohio, Vashti Bunyan, Cass McCombs, Christopher Owens, The History of Apple Pie, How to Dress Well, Curtin, Terry Malts, Modern Vices, Kevin Morby, and more. Look no further, your Friday and weekend playlist is here. 

Under the Radar Playlist August 29, 2014

drive

good schtuff

GRAVE092 ::: Whirr 'Around'

Click here to order directly: www.graveface.com/graveface-catalog.html

With their two albums to date, Bay Area six-piece Whirr have developed a reputation for dirgeful shoegaze, buttressed with textured layers or guitar and weighty, driving compositions. Spacious and moody, their 2012 LP Pipe Dream drew comparisons to heavyweights of the genre My Bloody Valentine, Ride and Slowdive.

Now, Whirr returns with Around, a mini-LP that finds the group restrained, but no less dark. Here, they explore longer songs, with their shortest clocking in at just under six minutes. Catchy melodies, traditionally a part of the band’s wheelhouse, give way here to a droning ambience, shifting Whirr slightly from their shoegaze core toward a dour post-rock sound. Vocalists Kristina Esfandiari and Loren Rivera keep their contributions misty and abstract, serving here as additional instruments more than messengers. But the thunderous drums and lavish guitar work remain — albeit in a colder, glassier form — making Around both a departure and a logical step forward from Whirr’s previous work.

LP: Record Club members receive black inside milky clear color in color vinyl. All RC copies hand-numbered. First retail pressing is heavy black splatter on milky clear vinyl (limited to 1350). Mail-order only variant is 180gram black vinyl (limited to 350 copies). LP jacket has swirl die cut. Full color thick inner sleeve. 
CD: The CD is packaged in an uncoated recycled sleeve. 
Cassette: The cassette comes with a full color j-card. 500 copies.

Whirr - Drain

60 Is Greater Than 15

Order from Relapse: www.relapse.com/nothing
Order on Bandcamp: www.wearenothing.bandcamp.com

Nothing - 'Guilty of Everything' AVAILABLE NOW.

www.facebook.com/BANDOFNOTHING
www.wearenothing.bandcamp.com/

www.relapse.com
www.facebook.com/relapserecords
www.myspace.com/relapserecords

Nothing - Dig

'Feelings' features as the b-side on our 'Strong' EP release. You can buy 'Strong' on iTunes now: smarturl.it/LG-Strong
(UK only).  

Our debut album 'If You Wait' is out now!

Vinyl: po.st/IfYouWaitLP
iTunes: po.st/IfYouWait
CD: po.st/IfYouWaitCD

http://londongrammar.com
twitter.com/londongrammar
facebook.com/londongrammar

Strong

Feelings

Get 'Warpaint' from:
iTunes: http://itunes.com/warpaint/warpaint
Official Warpaint Store: http://store.warpaintwarpaint.com/
Rough Trade (US): http://shopusa.roughtraderecords.com/
Rough Trade (UK): http://store.roughtraderecords.com/Store/WarpaintWarpaint.html
Amazon (CD): http://smarturl.it/warpaintsta
Amazon (LP): http://smarturl.it/warpaintstalp

http://warpaintwarpaint.com
http://facebook.com/warpaintwarpaint
http://twitter.com/_warpaint
http://youtube.com/warpaintofficial
http://twitter.com/_warpaint
http://instagram.com/warpaintwarpaintofficial
http://open.spotify.com/artist/3AmgGrYHXqgbmZ2yKoIVzO

Warpaint

Biggy

new single Elusive Youth

get for free from www.thisiselephant.com



www.thisiselephant.com

Elephant  - Elusive Youth

Released on April 1, 2014. 

Digital: http://apple.co/1faFMrn
Physical: https://www.omnianmusicgroup.com/products/salad-days

Mac DeMarco // Passing Out Pieces

NEW mix to be featured on upcoming album ANXIOUS UTOPIA
out March 4th 2016 via Moon Sounds Records

produced by Balthazar de Ley

Gretta Rochelle: Vocals
Jack Armondo: Guitar, Vocals
James Andrew: Drum Pads / Synths

Additional synth: Insomnia Device ( @tophmcneil )

Recorded and Produced by: Balthazar de Ley at Strobe and The Audio Bordello
Mixed by: Balthazar de Ley and lVlY GOLD lVlASK at The Audio Bordello

Mastered by: Collin Jordan at The Boiler Room

Cover art: Daniel Jasa ( www.danieljasa.com )
Layout: Jim Carroll

Special thanks to Adam Wayne

2014 lVlY GOLD lVlASK

Buy new AU mix

Battles (single mix)

from the album Piñata http://rappcats.com/pinata
https://itunes.apple.com/us/album/pinata/id826080165 

Download

Freddie Gibbs & Madlib - Robes - ft. Earl Sweatshirt & Domo Genesis

GRAVE110
Creepoid 'Wet'
Out Record Store Day 2014 (4/19)

Creepoid formed during a snow storm in December of 2009, born from boredom and cabin fever. The band consists of Sean Miller (guitar) Pete Urban IV (guitar) Anna Troxell (bass) and Patrick Troxell (drums). Their first 7”, Yellow Life Giver, was self-released in April of 2010, followed by their debut full-length Horse Heaven in January of 2011 (Ian Records).

After almost instantly selling out of the first pressing, No Idea Records re-released Horse Heaven in March of 2012. Their S/T sophomore LP CREEPOID, produced by Kyle “Slick” Johnson (WAVVES, Modest Mouse, The So So Glos), was released on March 4, 2014; again with No Idea Records.

They have shared the stage with Kurt Vile, Pains Of Being Pure At Heart, Best Coast, And You Will Know Us By The Trail of Dead…, Obits, Twin Shadow, Warpaint, Black Moth Super Rainbow, Night Beats, Bardo Pond, Psychic Ills, Wooden Shjips, R Stevie Moore, Black Lips, The Love Language, Purling Hiss, Telekinesis, Cloud Nothings, Jacuzzi Boys, Kid Congo, Asteroid #4, and more.

The newest EP Wet is their debut on Graveface Records, to be released on Record Store Day - April 19th, 2014. A one sided 12”, it features 4 new songs and a B side etching.

Creepoid - Wet Bread

GRAVE113 :: Night School 'Heart Beat' :: Out Oct 7th, 2014
pre-order: http://www.graveface.com/graveface-catalog.html

"Because I had nothing better to do."  When a coincidental event turns into a landmark moment, sometimes you have to acknowledge its random significance.  This seems to be the case for northern California three piece Night School. Already accomplished singer Alexandra Morte (Whirr, Camera Shy) was at work on some new material, but was having trouble finding a drummer.  Enter Baylie Arin, the pair integrate song ideas, and plot their first EP.

That EP took six hours to record.  The songs were bounced back-and-forth between Morte and Arin, who contributed various alternative synth, post-punk, and shoegaze elements.  Recorded, mixed, and mastered at Atomic Garden in Palo Alto by Jack Shirley, that six hour session produced Heart Beat; four tracks of pure bliss rock inspired by the sad love songs of 1960’s girl groups like The Shirelles, The Crystals, and The Shangri-las.  After the recording of Heart Beat, Sarah Trevena, a friend of Arin's, was asked to join Night School as lead guitarist.  Night School’s spontaneous debut fuses garage-rock sounds with the intimacy and soul of the previously mentioned artists.  It is as if by total coincidence that Night School was even formed and these songs were written.  I’m glad they didn’t have anything better to do.   

Night School - Birthday

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

Made for Train Delivery 2014.

https://www.facebook.com/events/1507385579493706/

Trenul Pierdut De Constanța

From the album "Still Life" out this October on Woodsist Records.

Pre-order from iTunes and receive "Parade" instantly 
https://itunes.apple.com/us/album/still-life/id912944646



KEVIN MORBY - Parade

Third single by The sun days, out August 4th. 

The sun days - (Get him) off your mind

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 - Heavy

New track from the upcoming album ”Fear is a lie”.

Music: The Dream Diggers
Mix and Master: @low-freq 

The Dream Diggers - Nephilim Rhapsodie (skit)

Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size.

Pre-order the CD/2LP/DL: http://www.erasedtapes.com/store/index/ERATP062
Pre-order the DL via iTunes and receive the album version of 'Thrown' instantly: http://snip.ftpromo.net/kiasmos

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

“We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

“The Kiasmos project has been around since 2009, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

Kiasmos – s/t will be released on Double-Vinyl, CD and Download via Erased Tapes on October 27th, 2014.

TRACK LISTING: 

1. Lit  2. Held  3. Looped  4. Swayed  5. Thrown  6. Dragged  7. Bent  8. Burnt 

LIVE DATES:	

17.08. HAMBURG (DE) - Dockville Festival			
26.09. BRUSSELS (BE) – Bozar Electronic Arts Festival
27.09. DEN HAAG (NL) – Todays Art Festival

OFFICIAL WEBSITES:  	facebook.com/kiasmos · erasedtapes.com

Kiasmos

Burnt

Buy 2xLP/CD/DL

Kiasmos - Burnt

Don't Cry

"Paper Dolls", originally recorded by The Nerves, is the b-side to the 'Had To Hear' 7" single, out now on Domino Record Co. 

'Had To Hear' via iTunes: http://smarturl.it/HadToHearDL
'Had To Hear' 7" via Domino: http://smarturl.it/HadToHear7

Alex Bleeker of Real Estate, on how The Nerves cover came into being: "I'm drawn to the Nerves' intricate guitar work. We're interested in creating similar guitar parts for Real Estate, but the Nerves have a more aggressive sound so I thought it would be fun to wear that "musical costume" for a while. Blondie already did a pretty good job with "Hanging on the Telephone" so "Paper Dolls" seemed like the next logical choice."

realestatetheband.com

Had To Hear

Paper Dolls

Real Estate - Paper Dolls



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

Falling Apart

A Kiss Goodbye (feat. Charlotte Gainsbourg, Sampha & Devonté Hynes)

PRE-ORDER THE NEW ALBUM 'Feel Something' NOW

Out 29 / 09 / 2014 UK 30 / 09 / 2014 US

iTunes: http://smarturl.it/THOAP-Feel-Something  
LP/CD: http://www.smarturl.it/THOAP-FS-RECORD

‘Feel Something’ will highlight what The History Of Apple pie do best, Stephanie Min’s sweet melodies and pop structure, morphed with the superb guitar sounds and hooks from Jerome Watson and Aslam Ghauri, cementing the band as a truly forward thinking British guitar band.

‘Feel Something’, the follow up to last year’s ‘Out Of View’ debut, features ten brand new tracks and was recorded over the last few months at Sublime Studios in London. Like it’s predecessor, the album was again produced and engineered by the band’s Jerome Watson with additional engineering by Joshua Third of The Horrors and Charles Reeves.

Formed three years ago, The History Of Apple Pie line up is centered around the songwriting partnership of Stephanie Min (Vocals) and Jerome Watson (Guitar) together with James Thomas (Drums), Aslam Ghauri (Guitar) and new recruit to the band Joanna Curwood (bass).

The band, who played last year’s CMJ Festival in New York, are set to announce UK and European Tours to coincide with the album release, in the very near future.

Jamais Vu

From the forthcoming self-titled EP by Rolls Bayce, out via Create/Control on November 7th, 2014

Pre-order/purchase: http://www.create-control.com/rollsbayce

Recorded & mixed by Sean Cook @ The Plutonium
Mastered by Steve Smart @ Studios 301

Rolls Bayce are: Dean McGrath, James Wright, Neal Apel

Contact: rollsbaycemusic@gmail.com
Facebook: www.facebook.com/rollsbayce
Twitter: twitter.com/rollsbayce
Instagram: @rollsbayce

On My Own

Pre-order L1 in The Ghostly Store:
http://www.theghostlystore.com/products/beacon-l1

@beaconmusicnyc
http://www.beaconband.nyc

Beacon - L1

pre-order: http://bit.ly/1lhkzoR

Artist: Nite Fields
Title: Depersonalisation 
Label: felte
Release Date: February 3, 2015

http://felte.net/
https://www.facebook.com/nitefields
https://soundcloud.com/nitefields

Nite Fields - You I Never Knew

Taken from the s/t debut album, out now on Fat Possum. 

Buy on iTunes - http://smarturl.it/AmericanWrestlers 

American Wrestlers - I Can Do No Wrong

GRAVE092 ::: Whirr 'Around'

Click here to order: http://www.graveface.com/graveface-catalog.html

With their two albums to date, Bay Area six-piece Whirr have developed a reputation for dirgeful shoegaze, buttressed with textured layers or guitar and weighty, driving compositions. Spacious and moody, their 2012 LP Pipe Dream drew comparisons to heavyweights of the genre My Bloody Valentine, Ride and Slowdive.

Now, Whirr returns with Around, a mini-LP that finds the group restrained, but no less dark. Here, they explore longer songs, with their shortest clocking in at just under six minutes. Catchy melodies, traditionally a part of the band’s wheelhouse, give way here to a droning ambience, shifting Whirr slightly from their shoegaze core toward  a dour post-rock sound. Vocalists Kristina Esfandiari and Loren Rivera keep their contributions misty and abstract, serving here as additional instruments more than messengers. But the thunderous drums and lavish guitar work remain — albeit in a colder, glassier form — making Around both a departure and a logical step forward from Whirr’s previous work.

LP: Record Club members receive black inside milky clear color in color vinyl. All RC copies hand-numbered. First retail pressing is heavy black splatter on milky clear vinyl (limited to 1350). Mail-order only variant is 180gram black vinyl (limited to 350 copies). LP jacket has swirl die cut. Full color thick inner sleeve. 
CD: The CD is packaged in an uncoated recycled sleeve. 
Cassette: The cassette comes with a full color j-card. 500 copies. 

Whirr - Swoon

The first single from Brooklyn's Butter The Children | Read more at Stereogum: http://www.stereogum.com/1418272/butter-the-children-spit-it-out-stereogum-premiere/mp3s/ | https://www.facebook.com/ButterTheChildren



Spit It Out

Graveface Records is an independent label with a focus on all things hand-made, hand-assembled & unique.  If you find yourself in the deep south, stop by our retail location at 5 w 40th st, Savannah, GA 31401.