From the other perspective 


im a guard
dont ask what im guarding
what you hear
is not what you want
thinking is sickening
so you think with your lungs

do you even want peace for yourself
look around you theres nobody else
they're all up above
think for yourself
till it all falls apart

till it all falls apart


im a guard
dont ask what im guarding
what you hear
is not what you want
im a guard
dont ask what im guarding
what you hear
is not what you want

im a guard
dont ask what im guarding
what you hear
is not what you want

guarding, guarding, guarding , ask what im 
guarding, guarding, guarding , ask what im 
guarding, guarding, guarding , ask what im 
guarding, guarding, guarding , ask what im

think with your lungs

my heart it breaks at what cost
my heart it breaks at what lost - my hope is empty
i look at myself in the mirror
i cant be what you want me to be

you want it all and you tried
there is no reason no light
the passing hours the lost time
and there is every reason left 2 cry
i wish it wasnt so cold
i wish i felt a bit better
the seasons keeo changing
and i still feel bitter

day after day and year after year
nothing ever gonna change anyways
all i keep doin is wanderin around
and wonder why it stays the same

the world is more beautiful to me
than you could ever be
ive seen things you couldnt dream of -
like the colors dancing around me..

feeling frenzied by the emptiness that you leave
hearts dont shatter, theyre built to break

my heart it breaks at what cost
my heart it breaks at what lost - my hope is empty
i look at myself in the mirror
i cant be what you want me to be

prod saint mike

at what cost

junefifth, twentytwentytwo.
produced by anvii.

ill be around
for when u call
to take the needle
and sew me up

i run around
the street
calling ur name
i hear no response

so i cry to ur voice
and i fall back down
ill wait around
to see u again

ill wait around this time
ill wait around this time
ill wait around this time
ill wait around this time

sixzeroseven

stream

Track1 - 8:22:22, 9.23 PM

repeat with no purpose (prd.anticon)

with austin van fox

wir passen perfekt zusammen
glaub nie etwas anderes

dark ++austin

prod. @youjiiiii lyrics, mixing and mastering by me

its hard (prod.youji2k)

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.

[free] capoxxo x pvsacle type beat ''i cant do this'' prod. slummppd

slummppd

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