If one were to collect mathematical data regarding the philosophy behind Whirl’s debut, conclusions might reveal a propensity to bury sweet melodies among layers of sonic fuzz and a tendency to stick with their formula for the entire 24 minute, 7 song EP. The intense wall of guitars, rendering the vocals barely audible from the surrounding rubble, is a direct tribute to shoegazers all over the world, both past and present.

On the one hand, it is refreshing to see a newcomer practice the art of musical singularity and avoid flirting with multiple genres in a single session; sort of a less is more approach. On the other hand, the mid range blur of noise-rock might have become tiresome if the album was full length. As luck, or good planning, would have it, Distressor’s journey, through the stratified layers of sound, is a comfortable one.

Hailing from the warm breezes of San Fransisco, Whirl’s brand of shoegaze might be considered more of a sandal-gaze as the inviting west coast climate no doubt plays a role in forging the creamy guitars that blend together like a summertime milkshake. Certainly the weather might have something to do with the cover photograph featuring perhaps a member of the band or a native of San Fransisco (a few bloggers even cite Nicole Kidman) shedding her satin skin, perhaps to aid with the body’s natural cooling process. The artwork is a fitting cover for two reasons: Whirl strips down to the basics of an alt-noise groove and are unopposed with their attempt to remain there. Secondly, the album, like the cover, is bound to turn some heads and raise eyebrows.