Buys & Receipt: The Beggar by Swans
“After numerous pandemic-induced cancellations of tours for the previous Swans album leaving meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else. They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from Black and White to Color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.”
This morning, I decided to put the finishing touches on July by treating myself to a 20oz. cup of 7-Eleven’s finest blend and multiple spins of my recently purchased copy of Swans’ latest opus, The Beggar.
Having voluntarily allowed myself to be aurally beaten down by the pummeling, grand, and lengthy arrangements conceived and performed by Swans for more than a decade following their resurgence in 2010 with the excellent My Father Will Guide Me Up A Rope To The Sky, the accessibility of The Beggar was its first noticeable attribute. In spite of Michael Gira’s penchant for composed repetition keeping to form, The Beggar has air to it. Following Gira’s decision to disband the iteration of Swans that composed its more dense and layered (and punishing) work, specifically My Father…, The Seer, To Be Kind, and The Glowing Man, 2019’s leaving meaning. was meant to prop up another creative phase for Gira and (new’ish) Co.
I personally wasn’t able to find much to leaving meaning. that truly separated it from that dissolved line-up, but The Beggar does brandish more of a structurally and sonically post-punk approach, seeming to pull its less-meandering qualities from the vaults of Factory Records, some rhythm choices that sound characteristic of the trip-hop genre, and (I may catch some shit for this, but it’s what I’m hearing) melodic choices that bring to mind Tears For Fears, (especially throughout the gloriously anthemic and bell-accented portion of “Michael Is Done”). “Paradise Is Mine” shifts into a heavy-drum mode midway through the track and immediately evoked Massive Attack’s “Angel,” that sudden percussive onslaught breaking up its slow burn of an opening act. Even the title track and “Los Angeles: City Of Death” bares some haunting guitar motifs, connecting in some ways to Joy Division or The Sound in terms of tone, structure, and space.
The tension-inducing “The Parasite” exchanges percussion for short bass notes and oscillating fields of tone. “I wonder if you’re breathing is stealing all the air,” Gira sings, his tonal backdrop eventually fading before the unrelenting loop of arpeggiated staccato notes and a light percussive splash announce “The Memorious.” A baby’s random utterances and cries play throughout the track.
I was especially drawn to the aforementioned “Micheal Is Done.” With vocal assistance from Gira’s wife Jennifer, he exhibits overly somber leanings till a musical passage shifts the mood, a rather gorgeous, repeated melody offering an air of triumph. “Why Can’t I Have What I Want Anytime That I Want?” is one of the more orchestrated tracks on the LP, an unsettling addition of bowed strings acting swarm-like overtop the song’s low tempo stride and its lush backdrop of vocal harmonies. “Unforming” and “Ebbing” are both carried by the light acoustic engagement, the latter a singalong that eventually brightens with swaying bass rhythm and heavy, choral singing.
With a marching band snare and the brassy quiver of a lap steel, “No More Of This” is the album’s final entry. “I pray to heaven, that you exist, within a cloud, of healing mist, that permeates, your deepest being, that bathes your soul, with a light that cleans,” Gira speaks as the music progresses, addressing mortality.
Signed poster that was included with the LP.
Still prone as ever to musical tangents and resolute in terms of instilling some level of well-earned dread or sincerity, The Beggar manages to delve deep into the recesses of Gira’s darkness-addled spirit without abandoning the benefits of being relatively understated, resultant in a Swans release that you don’t have to prepare to experience. Inasmuch as albums like The Seer and To Be Kind resonate as bold, brilliant, and oftentimes caustic creative statements, The Beggar permits the artist to speak, whisper, or simply breathe.
Links:
https://www.instagram.com/swans_official/
https://www.facebook.com/SwansOfficial/
https://www.youtube.com/user/OfficialSwans/playlists
https://open.spotify.com/artist/79S80ZWgVhIPMCHuvl6SkA
https://younggodrecords.com
https://mute.com
P.S. — “The Beggar Lover (Three)” is a 43-minute track that doesn’t appear on the physical LP. I accessed it via download card after giving all four sides of The Beggar three or more spins. This track recalls the more gripping, ambitious, and punishing nature of albums like The Seer and To Be Kind, itself a well-executed and arranged statement piece built like an extended score replete with movements and interludes. It’s a lot to sit through, but there isn’t a dull second to endure.
P.P.S — The quote at the beginning of this article and the links were provided by Howlin' Wuelf Media.
Sincerely,
Letters From A Tapehead
