Fable

gayze

workout

𝕾𝖍𝖔𝖊𝖌𝖆𝖟𝖊

flutter-julie

LYRICS:

All this time i thought i’m alright
Started feeling lost from my mind
Voices in my head, it’s a plight
Help me get away from this pain

Ahhhhh, Ahhhhh, Ahhhhh
Ahhhhh, Ahhhhh, Ahhhhh

Sometimes i feel like i will die
These thoughts they kill me inside
And i wish it stops
And i wish it stops
And i wish it ends
And i wish it ends

Will i ever be myself again?

not my song, full credits to deftones

my edited audio

be quiet and drive (far away) - deftones (sped up)

rosemary - deftones (sped up)

Fight Club

Boyhood

Suicide Cleanup

Every Dog Has Its Day

Scare

CHERRY WAVES - DEFTONES (sped up)

Slow core track i made 

lyrics:
there's no time 
we have to move
the world is ending soon

now grab my hand,
'cause will go to a place that we only know
so don't hesitate
just come with me

now grab my hand,
'cause will go to a place that we only know
so don't hesitate
just come with me

the world is ending soon

deftones - risk(sped up)

Sextape Deftones - sped up

akala ko nung una 
di na ko sasaya
sawang sawa na sa buhay 
ngunit nakilala ka  

lahat ay biglang nag iba 
kalungkata’y napawi na
kasiyaha’y nahanap na
sayong mga tawa 

di na kailangang hanapin pa
kasi pag kasama ka 
mas sumasaya 
basta kasama ka
mundo ko’y sumasaya

basta kasama ka

(i don't own this)

lyrics:
Hold on, there is something wrong
In the way that you greet me, what's up?
Come on, you linger in the palm
Bare the news of your heartbreak, go on
Come on, come on
I'll be the life you lost
I'll see you when the lights turn off
I'd throw myself into your current
If it would make you dream of me
I can't feel what isn't you
The days go by, no rendezvous
All I've loved is stained blue
Come on, there is nothing wrong
With the way that you bask
In the autumn sun
Give up, we all fell off
Give up, what took so long?
Of all the days I've missed you,
All the times I need you,
All the days I blew through,
All the times I've cursed you

Modern Color - On & Off

feels like we're the only two alive

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

MODERN COLOR - PALE :: SLOWED

skramz demo

From the split 12" with Nothing.
Pre-Order: bit.ly/1zEMYw8

The two new songs from each band are perfected with the expertise of veteran producer Will Yip. Whirr’s signature atmospheric haze enthralls more than ever in what seems like a nine-minute dream. Their masterful control of soundscapes is matched only by an intensity that their shoegazing predecessors could only wish to achieve. Nothing’s contribution is a full-on aural assault: the two songs are aggressive, yet harmonious.The ongoing blown-out barrage lulls with only brief periods of quiet melody that hit like armistices. Yet, the songs are harshly beautiful in a way that perfectly captures the Philadelphia band’s definition of reality. 

The split 12" comes with an etched b-side as well as a full-length Whirr/Nothing 'In The Studio' documentary DVD. 

Modern Color - On & Off

nesumtepitul