S·w·a·n·s Discography at Discogs

S·w·a·n·s

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Formed: New York City, 1982.
Disbanded: 1997.

Crawling out of the same noisy, arty New York underground that sired Sonic Youth and Lydia Lunch, Swans created a dark, abrasive, murky, slowed-down noise-rock that served as a starting point for their ruminations about alienation, depression, depravity, and the disturbing side of human nature. Singers Michael Gira and Jarboe were the group's only constants over course of Swans' existence; with Gira taking the band from its early confrontational shock tactics to a more varied, mature attack.

The band first appeared on record in 1982 with a self-titled EP, and its early releases document their search for the musical vocabulary to express their ideas effectively. Female singer Jarboe joined the group in time for 1986's Holy Money, bringing with her a gentler, more relaxed dimension to Swans' sound. In the late 1980s acoustic elements were incorporated as Gira confessed to have become weary with the band's confrontational, noisy reputation. An unexpected cover of Joy Division's Love Will Tear Us Apart continued the transformation, as did the band's only major label release The Burning World. Subsequent albums such as White Light From The Mouth Of Infinity, Love Of Life and The Great Annihilator saw a blending of previous styles, whilst their final studio album; 1996's Soundtracks For The Blind was an immense two disc collection of dark ambient soundscapes, industrial collages, post rock instrumentals and field recordings.

Swans disbanded in 1997 following a final world tour with both Michael Gira and Jarboe pursuing various musical projects. Gira has since hinted in interviews that Swans may reform one day.

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Reviews & Discussion

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Review by choenyi Feb 12, 2008

Of all the bands to which I've been exposed, SWANS is, and has been for twenty years, my absolute favorite. I suspect there are many who feel this way. Their entire career I find well above average to rather brilliant, but the material recorded in the 1980s pulls me back for more frequent listens than any other music. The "Cop" LP I've listened to more than any other musical gesture by far. Listening to it again tonight, having obsessed over it on every system, in every car, in every house I've ever owned or rented ... I am again, as I have been repeatedly, completely amazed at the impeccably subtle and detail-aware masterful production (not to mention the blameless songwriting and flattening deliverance). Drum effects that strike only once in the album, etc. ... a sonic field that is at once static, wall-like, and approaching the fathomless depth of space itself--textures within seemingly repetitive/featureless surfaces that upon thousands of listens still cannot be in their entirety grokked ...

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Review by Crijevo May 09, 2006 (edited over 3 years ago)

A brilliant group - it's not about love or hate, it's about both. Depending how you're perceiving them. The lyrics are very brutal and most of the time I hadn't had the nerve to read them fully. Disgust in general - whether sexual or otherwise, is Gira's strongest weapon. Music is somewhat secondary to his extreme stories but that doesn't undermine the total effect that Swans remain one of the truest alternative among alternatives today. Brutality any 'dark' person in music biz would kill for.

Swans approach truly summarizes the serial killers' expertise - listening to their music brings on sick atmosphere of tortured victims somewhere where shrieks and calls for help simply don't work. On the other hand, Swans are a perfect equivalent to our inner struggles about life, especially about our perception of sexuality and human deviance. In here, there is little truth about each and every one of us.

Review by Alastis Apr 13, 2006 (edited over 3 years ago)

You will either love or hate Swans, but usually there are no people who are indifferent to what they did throughout 20+ years of existence as a band. They never became extremely popular (aside from few minor hits here and there), but this doesn't have to do with the quality of the material. Rather, lack of popularity have to do with the fact that its hard to classify them. Much of what they were doing had to do with experimental music and ambience, but then there were albums like "Public Castration Is A Good Idea" leaning towards noisy rock.
Overall, this is a stuff that everyone's nightmares are made of. Whereas a lot of bands were/are trying hard to put on a mask, Swans were all real and, probably, due to that, underappreciated by large masses. Thank You mr. Gira and thank You, Jarboe. You won't be forgotten.

Review by enfantterrible Jan 29, 2006 (edited over 3 years ago)

Painful sincerity, devastating lyrics, powerful musical content and a context of constant self alienation. Swans its all these and more. Yet they cant be defined as folk rock or industrial or avantgarde music. their music capabilities is so wide and versatile that even though their themes about the dark side of the human soul and the decadence of our world were their tour de force for more than three decades, you cant spot a source of boredom, a hint of senility, an uninteresting album or a lame song in their work.
Staying away from any direct political reference they are free from polemic but not from thought, all the contrary that happens with the "Neo Folk" bands that are fluorishing everywhere nowadays.
If theres a purveryor of apocalyptic music,or a "godfather" of the "neo folk" music this is SWANS. But they spot not the apocalypse of history in a pretentious and pompous way but the apocalypse that lies within human soul. always doing so in a smart, powerful, honest and not so capitalist way.
This is beautiful intense dark music for black hearted people.
Incredibly after more than 30 years of career and almost a decade of being dissolved Swans remain to be more or less underated and unknown. Thats good. gold is always hidden to the eyes of the mortals.