чувствую опустошение при прослушивании

люблю каждый раз умирать под такле

я разбитое сердце джека

и если стоишь ты на крыше,я знаю ты с нее спрыгнешь ;(

Это так мило и грустно.

лучшее,что случалось со мной  

@clementehanson: каподастр на 3 лад   Ам ф с

New private playlist

песни для взрослых - удивительно

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

from the Pional 12" " last house on the left " ep 

Pional - Into a trap

Had a play around with this Seekae jam

www.facebook.com/flumemusic
www.flumemusic.com
@seekae
www.facebook.com/seekaemusic





Seekae

Seekae - Test & Recognise (Flume Re-work)

Burden...
------------
⚠️ Copyright Disclaimer & Ownership Notice ⚠️
This musical composition — including all lyrics, production, and mastering — is an original work created solely by Levi Emcee. All rights to this work are fully reserved under applicable copyright law.

Unauthorized use, reproduction, sampling, distribution, or monetization of this track without explicit written consent from the creator is strictly prohibited and may result in legal action.

For licensing, permissions, or copyright-related inquiries, please direct all communication to:
📩 Levi.3d234@gmail.com

Burden

If you're not yet aware of  Michael Mayer , we suggest you read up.  Kompakt  co-owner, DJ, producer and don of collaborations has teamed up with French electronic heavyweight  Agoria  for five minutes of reflective bliss. Centred around 'taking all the time on the world', “Blackbird has Spoken” works up an unquenchable thirst  – regardless of however many rewinds it gets. 

DOWNLOAD & TRACKLIST: http://blrrm.tv/2hdxCB

Michael Mayer & Agoria "Blackbird Has Spoken" - Boiler Room Debuts

MIXTAPE НННЧТПГ III

Хозяйственное Мыло — После 12 (для НННЧТПГ)

Бенгальские Подонки - Мы Зашли Слишком Далеко

троллейбус 54 - сияние

Троллейбус 54 - Флешбек (Bus 54 - flashback)

Твои татуировки мерцают на теле
Сколько там боли на самом деле
Ты увидишь меня где нибудь в центре
Буду хвастаться с друзьями что играю в рок банде
А потом просыпаюсь
Дорога сущий ад
Девченки заждались
Мы глотаем яд
Кофе за кофе
Шифер заносит
Люди занозы
На моей жопе

Секс сигареты и боль убивают меня 
Это все так неважно как бы не было страшно
Секс драгс и алкоголь убивают меня 
Это все так неважно как бы не было страшно

А куда ты так несешься не боишься что споткнешься
Кеды скейт закат дорога
Душит ночью этот город
Я подстригся и ты тоже
Очень скоро подстрижешься
Когда прошлое проглотит
Когда пропасти коснешься

Почему ты не смеёшься
Хоть и холодно но все же
Может лучше улыбнешься 

Это все так неважно как бы не было страшно
Секс драгс и алкоголь убивают меня 
Это все так неважно как бы не было страшно

Секс сигареты и боль убивают меня
Секс драгс и алкоголь убивают меня

Как бы не было страшно
Как бы не было страшно

Секс сигареты и боль убивают меня
Это все так неважно как бы не было страшно
Секс драгс и алкоголь убивают меня 
Это все так неважно как бы не было страшно

Секс Сигареты И Боль Убивают

broken boi - Я Так Люблю Твои Сны

Название говорит само за себя

Ktoya - Биполярный кот

Escape From The House- Я. Т. Н. Н. О. Мусорам

fake lights in the sky(DEMO)

Дегид - 1331

Why do people keep asking me if am emo or goth
Can’t they understand I’m both

Троллейбус 54 - Флешбек (Bus 54 - flashback)

TheDaxxRu

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паранойя

guro san ^^

151064769

stayqqskz

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