That they've decided to submit to cold economic reality and call it a day rather than face another soul-destroying struggle with media indifference and a diminishing fan base is sensible enough. Even so, the announcement that this is finally it, after some 15 years of honing word, gristle, rhythm and half-melody into some of the finest, most enduring, if (unsurprisingly) somewhat unfairly overlooked works in the whole rock cannon, comes as a shock. The Swans always wrote every song like it was going to be their last. Swans always wrote every song like it was going to be their last
Swans | Soundtracks for the Blind | Review Soundtracks for the Blind yields total sonic immersion: your only option is to succumb. The collision of art, sound & technology has seldom sounded more complete or seductive.
#SONIC CD SOUNDTRACK US STUDIO FULL#
Soundtracks for the blind totally delivers, in full circle fashion, the promise nascent in '94's great annihilator album. These myriad textures, sounds & musical passages were then collaged, merged & interwoven by gira, and true to form, the fidelity & aural effect on the listener is just astounding. Gira & Jarboe on last year's highly successful great annihilator world tour: Larry Mullins (drums, iggy pop band) & Vudi (gtr, american music club) and Joe Goldring on bass and guitar. Soundtracks was compiled from a complex variety of sources, among them cassette loops, found sounds, narratives & multi-track recordings of new songs & interludes featuring many of the same talented musicians who joined M. Soundtracks for the blind, their new double-cd set, is the final studio album. Throughout their fifteen-year history, Swans have unfailingly presented intense, utterly singular & peerless music. Soundtracks for the blind is the final studio album from the legendary band. Press release from 1997 by Kurt at Atavistic: In my case, I’m always happiest when I’m leaving. Anyway, in the end, I was elated with this music, both because I liked it and because finishing it meant I could finally lay Swans to rest after 15 years. There’s a press release below written by Kurt at Atavistic (Swans label at the time), and some reviews too, which might give you a better idea of how this sounds. It actually breathes, seems to live, in most places I think. But in the end, after centuries of picking at this huge iceberg of material with a toothpick, my trusty engineer Chris Griffin and I managed to sculpt something out of it. I think maybe it was so I could justify throwing all that crap into the local dump, which is what I did when I finished the album. I don’t remember why I set this goal for myself, to somehow incorporate such a ridiculously disparate amount of material. Really like climbing up a mountain of sand. There was SO MUCH material to deal with, to sift through (whole trunks full of decomposing, moldy cassettes and discs with samples and sounds), and the task of making it into something coherent was at times debilitating.
I really set my own trap, dug my own grave on this one. I guess what I’m trying to say here is I almost had a heart attack making it (slightly kidding here). Being the “artist” in this case, it’s hard for me to talk about this one, because the memory is so laden (or burdened!) with the experience of making this thing. These are reassembled, looped, mangled, and in many cases overdubbed upon to create new pieces of music. There’s some contemporary recordings of the band as it existed in ‘96/7, with Larry Mullins on drums/percussion, Jarboe singing and playing keyboards, Vudi playing electric guitar, and Joe Goldring playing bass and electric guitar, and me singing and playing electric and acoustic guitar, but there’s also a huge amount of sounds and recordings that I (and a few by Jarboe here too) collected over the years. This double CD album has everything in there – all the ideas from Swans’ 15 years of work.
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