Versus The Mirror Bio

Tucson, Arizona’s Versus The Mirror are not just another powerful, heartfelt rock band with a gritty yet melodic edge.

Despite their age (they’re in their early twenties) and vigorous music, Versus The Mirror, who’ve been together in this incarnation for 2 years and self-financed a 5-song EP before linking up with Equal Vision Records, are like a bunch of old souls trapped in young bodies. The quintet has effectively and ironically created a fresh sound by using old, unfashionable recording techniques on their EVR debut, Home. They’re making it new by revisiting the old. Versus The Mirror, who’ve toured with My American Heart, Scary Kids Scaring Kids, A Change Of Pace, and The Fall Of Troy, are focused and centered, and they know what they want to convey to their listeners. And that’s a sense of urgency, immediacy, and honesty.

On the intense yet listenable Home, Versus The Mirror dared to go against the grain and the trend that’s dominating popular music. They said to hell with high tech equipment and elected not to use Pro-Tools. They didn’t want their record to sound polished to perfection, and therefore, sterile. In this e-day and e-age, recording sans computer software is rare but Home was recorded from analog to 2” tape and tracked with vintage gear.

Versus The Mirror, who practice 6 times a week, deliberately decided to capture their live intensity and translate that to tape rather than to a hard drive. They recruited producer Bob Hoag (The Bled, The Format, Record) and spent November and December 2005 recording Home at Flying Blanket Recording. Hoag, who’s like 1940’s throwback in that he wears clothes, drives cars, and uses equipment from this particular era, was able to help Versus The Mirror achieve the sound they wanted. Guitarist Gabe Borquez, who tracked his guitars cleanly without distortion, says, “I’ve been looking at records that have been made the past few years. They’re all professional sounding, and computerized. I used to think, ‘When we record, I want to go for something raw and edgy.’ I wanted to use equipment that no one these days uses, like older amps and guitars. I wanted to separate us right away. What you hear on record is what you are going to get live.”