by Reverie

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Forming in 2013, Reverie spent much of their first year carefully crafting their own unique blend of 90s influenced emo and modern post-rock. After releasing a demo late that year, the band hit the studio with Christopher Brownbill (Stockades, Idylls, Seahorse Divorce) at Sun Distortion Studios in Brisbane to record what would become their debut 7".

Mixed by Christopher Brownbill and mastered by Jack Shirley (Comadre, Joyce Manor, Deafheaven), Reverie's debut self-titled 7" is available now through Never Home Records.

This is NHR001.


released August 14, 2014

Reverie is MT, JM, DH & RC.

Guitars and vocals recorded at Sun Distortion Studios.
Drums recorded at Wavelength Studios.
Recorded and mixed by Chris Brownbill.
Mastered by Jack Shirley.
Cover photo by Nano Kato.



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Never Home Records Brisbane, Australia

Small independent record label from Brisbane, Australia.

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Track Name: Don't Touch Francis Sawyer
He courts death like a man courts his bride. Caught up grief and losing his pride. I hope you find what you’re looking for someday. And if you said those things, I know you didn’t mean them. When you finally come back home I hope I’m not around. And if I said those things, you know I didn’t mean them. When I finally come back home I hope you’re not around. When the dead wood whittles away and you’re finally done living this way, I hope you never come back home so I can finally move on.
Track Name: Slowly Going The Way of Rick Grimes and Shane
The dirty dishes are piling up in the kitchen, and the dirty bathroom mirror distorts the picture of where we started our relationships and where they’re heading, a resentful ending. That’s the thing about home. It always feels “alone”. We will wipe the floorboards clean of our memories, where we made our enemies. This is not where I belong, we do not belong here. This is not where I belong, you have made that clear.
Track Name: The World Is a Government Conspiracy and I Am No Longer Afraid to Believe
We always sleep with our backs facing the middle, a reminder that the years will take their toll. So I climb these walls for hours, trying to give you a sign. But there are hundreds of floors to scale, I’m not sure I have the time. I’ve always been a movie extra, an unfocused background figure, a watch that no longer keeps time on the wrists of the hands that don’t fit mine.