The sounds of now and only now, from the leading independent label in the U.K.

(written and published April 1995)

Since 1992 the charms of Swim have rippled anonymously into the data stream. Unassuming, moderate and low key, their releases are tentatively adopted and cautiously championed by Balearic extremists, this non-techno label is steadily reaching more and more techno people. “The whole Swim proposition is founded on the principle of releasing contemporary records. It gets us into a lot of trouble,” notes co-founder Colin Newman, referring to the tribalism between musical purists, but “It’s music that good and music that’s valid.”

From the monthly electronic excursions of the Immersion remix series, through the distorted guitar sculptures of Macedonian grunge sextet Plastic Venus, toward the junglistic panache of Ronnie and Clyde, and lately with the rhythmic ructions of Belgians with Afro-American connections, Pablo’s Eye, Swim are releasing music crossing the broadest possible spectrum, inspired by a refusal to adhere to any retro sensitivities. Operating the label “in total partnership” with real life companion Malka Spigel, Newman believes the ability to convey interesting ideas in an effective way, comes from their being audio artists themselves, and not merely a record company. “We’re just trying, just exercising our taste,” he remarks.

Future projects might just involve Justin Broadrick (Godflesh), Axel Libeert (Pablo’s Eye) and Ian Hartley (Lobe). Diverse and completely confusing, Swim records can be identified by Jon Wozencroft’s extraordinary elemental artwork, included on both covers and labels. Music that satisfies different criteria, that breaks the rules of techno, that resists preconceptions, is part of the international sonic armoury of now. Reward your ear canals. Learn to swim. Hear new voices from a new wave.

(written July 1995, published August 1995)