Swans Live @ Terminal West

Like drugs there can be only one first time with Swans, this was my fourth time seeing the band that over the years has evolved from the post-punk precursor to industrial into a more abstract channeling of spiritual vibrations at maximum volume. This did not diminish my experience, but it did give me a different perspective on several components to the proceedings. I went bare back and did not use the earplugs the venue provided, and instead gave them to a friend who was experiencing this for the first time. I figured after the first three shows I had already lost the frequencies that would be destroyed by not wearing them, but I was wrong. The ringing was gone when I woke up.

The line-up, which came together five years ago for “My Father Will Guide Me Up a Rope to the Sky” is still intact. Thor Harris is not just banging along with Phil Puleo, when the spirit moves him Harris plays a xylophone and a trombone at the same time. New kid on the block Bassist David Pravdica builds up the tension appearing volley this frantic energy back and forth with their fearless fearless leader Michael Gira. Gira has held fast to spitting in the face of the" greatest hits " styled tour and continues to challenge his audience and fans alike, yes you did read that right Swans now have an audience that is separate from the actual fans of the band. 

How is this even possible you are asking? Swans are becoming increasingly like the Greatful Dead in that some people appear to be going to the show because it's a good atmosphere to do drugs in, then there are people who actually have Swans in their iPod and listen to them during the course of their daily life. But this is a catch 22...you don't have to be familiar with Swans body of work to enjoy their show since all songs were pulled from last year’s “To Be Kind” along with some public woodshedding of songs they are banging into shape before recording down the road. However Michael holds the term jamming in contempt. They have been pounding out this set on tour for some time, so it's not like these are moments just being pulled from any old breeze that blows up from the bong.  This does fit the definition of a jam band, but if you are reading this I do not need to tell you Swans sound nothing like Phish. Michael Gira holds jamming in contempt. So there is some form of organic chaos energy birthing taking place. The majick comes when they start playing at 9:45 and then you glance down at your phone and another but the noticeable difference in the crowd was the presence of hippies abounding. This puzzled me, so this afternoon I went on Set List FM and began taking notes on what festivals they had played since I last saw them three years ago. At first aside from the Pitchfork Festival in Chicago it seemed most of the festivals they played were in northern Europe, until I got to summer of 2013 and found they played Bonnaroo. The mystery of why if smelled like sewage from where I standing eight feet from the stage and two feet from the dancing teenagers was solved. I am sure Gira notices this shift; he kicked a few children and scolded them about putting their hands in his sacred space.

This was my finance’s first Swans show and she confirmed that they did stop time with their sonic hypnosis and said it lived up to her high expectations, but thought vocals would play a more prominent role. I found when Gira did sing his voice was in fine form and seemed even stronger than when I saw them three years ago.  Things change but from the stage Gira and Company continue to create the cathartic ritual that many bands these days like to bill their shows as but are really just banging out the same old chords. I will continue to go see Swans whenever we are in the same state. The hippies will get arrested or get sober and I'll be standing at my same spot just left of the stage nodding my head ice water in hand. If you have not experienced them live and consider your self a fan of music that goes to extremes then they are a required course.

Cold Specks : "Neuroplasticity"

Interesting hearing a singer that Siouxsie would admire rather than one trying to emulate her. This Canadian singer , whose name is Al Spx  belts out odes to  New Orleans Southern Gothic  feel rather than the witchy cackle of a Diamanda Galas, but the album is dark enough so that when Micheal Gira of the Swans shows up it doesn't feel out of place. She is no stranger to working with Gira as she contributed vocals to the song "Bring the Song" on "To Be Kind.

It kicks off with what prove to be one of my favorites "A Broken Memory", sort of a funeral in the Garden District feel , but despite even the pounding interlude in the middle of the sax solo in "Old Knives" I think it might be wishful thinking to call her "doom soul". She is darker than Lana Del Ray musically, perhaps not lyrically and no where near the type of oppressive emotional climate of Chelsea Wolfe.

"Bodies at Bay" has more of an indie rock feel, the guitar tone is a cool post- rock ring to it. The vocals might be poppy perhaps if they were set against a different landscape. Despite the pounding interlude in the middle of the sax solo in "Old Knives" I think it might be wishful thinking to call her "doom soul". The indie pop flirtation does come closer to Gira's other friend St. Vincent on "A Quiet Chill", which even with its drumming that has a "Running Up That Hill" type build doesn't hook me as much as the first three songs.The ghostly backing vocals oohing behind her giving it the most atmosphere,

Despite it's indie rock radio crooner intro "Exit Plan" does darken up enough for Gira to come in and layer his vocals behind her, then it takes a more radio rock feel after that. It it a much better use of his voice than when he appears later in the album. "Let Loose the Dogs" pits her soulful voice against a minimalist electronic piece that is colder than her voice , until it goes in a more Gary Numan direction in the chorus.

The Lana Del Ray comparison's carry more weight on "Living Signs". She employs harmonies differently than Ray , but approaches things when taking a more straight forward path in a similar relaxed disposition. There are still some surreal flourishes , but this song and many others on here turned out to not be as experimental as the opening track led me to believe. So the fact she challenges your preconceived notions of her from song to song, is certainly a positive quality for any artist. It does darken slightly as shadows creep from the corners of  " A Formal Invitation". Her choice of melodies even strays from the more soulful elements that despite the ever shifting dreamscape of sounds behind her seems to be the trademark of her sound.

The sax intro to "A Season of Doubt" could be on a David Lynch soundtrack. Gira's voice takes a low croaking harmony under Spx's. The song is otherwise pretty minimal. She isn't quiet goth, though I suppose some might consider Concrete Blonde goth, and for me aside from the vampire song, they are just another alternative band from the 90's . I would not lump Cold Specks in with the other riders on the  Amy Winehouse bandwagon, as she is genuine with what she does and she does it well. I think the expectations that come with her Swans associations colored the first few listens. I will give this one a 9 , now that I know what she's about.

Swans: "To Be Kind"

Many of these songs may sound familiar if you caught Gira and company touring in support of "the Seer" as they were all developed live.The prowess of their new-ish bass player is highlighted in the riff that opens the first disc of this double album...or first folder depending on how you consume music these days.The groove drones like they do, Gira's vocals come across more like a Iggy Pop reading a poem. . It build into the chanted frenzy you know they are going to deliver, like in their most classic moments.

They had really gotten back on track with the Seer, not that the previous album which heralded their return was shabby at all , but this is less seamless when played back to back with Great Annihilator . Where most bands don't know how to use drone and noise elements with out just becoming nonsense , Swans artfully craft their songs around it. "Just a Little Boy" winds into itself and at twelve minutes it can afford to take it's time. The song starts with a dark slink that sounds like something from a David Lynch soundtrack before Gira's vocals slide into the grooves. His vocals raise into a preacher like rant as the song begins to build it's way into madness. I like the way his vocals transition out from under themselves, in some clever layering.

"A Little God In My Hand" has a clanging bounce in it's step. It almost reminds me of the Violent Femmes if they had been industrial, as the beat has a machine like precision to it. At 7 minutes it comes across as a pop song in comparison to the 34 minute "Bring the Sun" that bangs into a jarring drone like the band's golden years.

While the 34 minute monster is a hypnotic wonderment, you have to wonder how practical is a 34 minute song in todays iPod culture. In the first seven minutes there is a lot of chanting from Gira while they work themselves up out of the the trance state. They staff on the same "riff" and slowly build it up so by the 14 minute mark the cymbal crashes are ringing in your ears.By the 21 minute mark they have of course imploded into noisy twinkles, horse naying, and feedback  because there was no where else to go with the drone. In the songs final ten minutes there is a "No Quarter" like organ line that floats under Gira's shouts and ends up in a "Set the Controls For the Heart of the Sun" like place. The first disc comes to a close with "Some Things We Do" is more of a breather after the 34 minute hypnosis, has now worn you out. It still has a drone to it , but the chant is more subdued and the mantra is less militant in its intent.    

The second disco starts off with a reminder of just how influenced by Swans Tool is. This is getting closer to metal territory and I am doubtful when Tool finally does put out an album they will be able to muster up anything this creative. The off time is layered with chanting in this 17 minute sprawl of psychedelics. It does one of their implosions into noise midway and comes out on the other side a more punishing creature.The tension is tightly coiled at the 7 minute mark in a manner Trent Reznor would be wise to take notes from. This is the albums first moment where I can't help but nod my head to it.

Gira's voice returns to the low resonance I want from him on "Kirsten Supine". This is a more delicate murmur of a throb. This is also a duet of sorts with one of the female singers who isn't Jarboe so there is no reason to mention them. The song doesn't take form until the 5 and a half minute mark, it just shimmers itself awake until that point. Two minutes later it really crashes to life and darkens up a bit like I needed it to.  The band doesn't forget to rock despite all the drone that is going on this go round, as "Oxygen" does just that in a very angular fashion. Its a little upbeat for Swans, but works. Gira is tending to lean more toward maniac ranting on this album than singing , almost at times speaking in tongues.

The tongues continues as the spirit moves them on "Nathalie Neal". The strum of acoustic guitars comes out of the noise to turn this into a real song. It carries the hypnosis that coats this album with it. The build is dissonant , but not a challenge to listen to. Lyrically this one my favorite song on the album, it goes back to more of a Children of God approach. The title track starts off as close to being a ballad as you are going to get from the band. The vocals benefit the most from the layering, until they dip down into the lower baritone that recall Gira's prime. Like Bowie , he just has to show me can can still do it if he wants to. They give you the pay off with a powerful crescendo, that will make for a deafening transition live when they pound the point home.

It's taken me almost all day to review this album. It is an undertaking , not just something to pop in. So make sure you are stocked up on your drug of choice and laying down for the ride. I'll round this one up from a 9.5 that it hovered around to a 10, because let's face it who else can make music like this?  They are my favorite band and I have a very romantic notion of what I want to hear from them , which is to take me back to a place they are no longer at so accepting that , which is easier said than done, lets me get out of the way and take this album in as the art it is.