Swans â Birthing Review
By Dear Hollow
Itâs hard to keep up with Swans. Since 1982, Michael Gira and company have cranked out sixteen studio albums, eight EPs, and ten live albums (not to mention all the compilations and side projects), influencing underground stalwarts like Godspeed You! Black Emperor, Neurosis, Godflesh, and Napalm Death, as well as more mainstream acts like Nirvana and Tool. No genre was safe, as noise rock, no-wave, industrial, sludge, post-punk, and post-rock were impacted in the process â yet Swans have always had their own inimitable and uncategorizable sound. In Giraâs words, âSwans are majestic, beautiful-looking creatures â with really ugly temperaments.â Seventeenth studio album Birthing, a supposed end to the big sound of Giraâs millennial reformation, is an affirmation of both why some love them and why others stay far away. Maybe the real Swans were the friends we made along the way.
The path of Swans has been one of blending ugliness with a sheen of pristineness. Theyâve had it all, from the ugly industrial sludge of Filth and Cop, the more regal industrial noise rock of Greed and Holy Money, the Gothic rock groovers of Children of God, the lush starkness of White Light from the Mouth of Infinity, the post-rock-imbued apocalyptic prophecies of The Great Annihilator and Soundtracks for the Blind, the trancelike 2010s comeback My Father Will Guide Me Up a Rope to the Sky, the formidably monolithic trilogy The Seer, To Be Kind, and The Glowing Man, to the minimalist folk-embedded Leaving Meaning and The Beggar. If you wanted to devote a week to the Swans discography, have at it. Or get into the process of Birthing.
In spite of its higher focus on more acoustic textures and Michael Giraâs wild baritone, Swansâ use of repetition is a tether to which their grasp of reality is consistently mutilated, interspersed with moments of sparse accessibility. Seven tracks and nearly two hours of content greet the ears with repetition both nauseating and hypnotic, tracks undeniably modern-era Swans: folkier, more acoustic and organic, and retaining that trademark longwindedness and industrial/noise barb, shifting from mood to mood with ease. Youâll hear painful dissonance, ritualistic passages of pounding percussion, Giraâs unnerving vocal lines, and synth-heavy crystalline atmosphere exchanged across mammoth runtimes. Especially in the first act, ugly stretches stitch together more uncanny valley passages of accessibility, like a synth rock jam session with pulsing basslines (âI Am a Towerâ), beautiful piano ballads graced by spidery melodies and Jennifer Giraâs haunting vocals (âBirthing,â âGuardian Spiritâ), catchy little choral âbum bumsâ (âThe Mergeâ), and instrumental ambient swells (âThe Healers,â â(Rope) Awayâ).
Gira and company find themselves in an odd predicament: in the shadow of their own influence. Swans has smartly focused on more acoustic and organic textures with their most recent releases, but in comparison to the 80âs and 90âs, and even the 2010s, Birthing cannot hold a candle. No one can do music like Swans, but it feels as though the trilogy of The Seer, To Be Kind, and The Glowing Man was Tsar Bomba, and every subsequent release has been the fallout. Likewise, the raining ash of Birthing is lethal, unnerving, and undeniably Swans, but it doesnât feel as monumental. The only track that feels crucial is the absolute fever-dream âThe Mergeâ in its wholehearted dive into the abyss. Each track features Swans-isms that sear themselves into your brain if you let them, but therein, very few moments justify why you should devote two hours to listening to them â especially if you are not a fan to begin with. Their focus has never been to be catchy, impress with riffs, or go wild with novelty â as such, the trademark tapestries of droning dissonance (âI Am a Tower,â âGuardian Spiritâ), free jazz/industrial noise explosions (âThe Mergeâ) are just difficult â aside from Swansâ inability to edit.
I may be Swans lone apologist at AMG HQ, and maybe Iâm insane for it. Birthing is nowhere near the influence of its predecessors â while retaining that noise and industrial sneer throughout, itâs a far more gentle album than the ugly classics of the bandâs heyday. However, itâs probably the best of its era, blending its bad temperament with its more post-rock atmospheres and semi-accessible passages that keep listeners this close to insanity. That being said, itâs still Swans. And a whole lot of Swans. Two hours of Swans. Yay/ugh.
Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Young God Records
Websites: swans.bandcamp.com | facebook.com/SwansOfficial
Releases Worldwide: May 30th, 2025
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