Posts Tagged ‘Jarboe’

American artist and performer Jarboe and Italian occult duo Father Murphy will be touring together Europe this Autumn, promoting a collaborative EP out September 22nd on Consouling Sounds. Ahead of the release and impending tour, they’ve unveiled a trailer by way of a taster.

You can watch it here (tour dates are below):

YYY

September

22 BE, Eeklo – N9

23 DE, Krefeld – Südbahnhof

24 DE, Berlin – Quasimodo

26 CZ, Brno – Kabinet Muz

27 CZ, Soulkostel – Soulkostel

28 PL, Poznan, LAS

29 PL, Torun – Klub NRD

30 PL, Gdansk – Smoke Over Dock II Festival at B90

October

1 PL, Warsaw – Distorted festival at Klub Hydrozagadka

2 PL, Lodz – Dom

4 LT, Riga – Gertrude Street Theater

5 RU, Moscow – 16 Tons

7 RU, St Petersburg – Place

10 SWE, Stockholm – Kraken

11 SWE, Karlstad – Tinvallakyrkan

12 NO, MOSS – House of Foundation

13 SWE, Gothenburg – Culture Night Festival at Goteborg Public Library

14 DK, Aarhus – Tape

16 CH, Basel – Unternehmen Mitte (Safe)

17 CH, Geneve – Cave 12

18 IT, Pistoia – Bruma Vol.III

19 CH, Busto Arsizio – Circolo Gagarin

20 FR, Lyon – Sonic

21 FR, Paris – Instants Chavirés

23 UK, London – St. Pancras Old church

24 UK, Leicester – The Musician

25 UK, Glasgow – Cottiers Church

26 UK, Preston – The Continental

28 BE, Bruxelles – Magasin 4

29 NL, Utrecht – Tivolivredenburg

November

2 PT, Lisbon – ZDB

3 PT, Porto – Understage

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American artist and performer Jarboe and Italian occult duo Father Murphy will be touring together Europe this Autumn, promoting a collaborative EP out September 22nd on Consouling Sounds.

Jarboe and Father Murphy’s connection runs deep. Jarboe continues to have a profound influence on Father Murphy’s musical path, and there is a strong, mutual understanding of what they define as a "sense of guilt", rooted in their Catholic upbringing, which informs their music, both together and independently. Approaching the EP, both Jarboe and Father Murphy each wrote a song, which they exchanged for the other to finalise, the result being a rich reflection of the spirit of both artists, and their meaningful bond. The Jarboe & Father Murphy EP was mastered by an infamous engineer, Davide Cristiani at Bombanella soundscapes studio in Italy, using a technique he calls "anti-mastering" whereby he irradiates the analogue master with deep, pure 432hz sounds in a process that somehow gives the master the same benefits than a defragmentation does to a hard disk. It works the sounds together in harmony, the result being much brighter and more real, which is very befitting to the release.

Father Murphy shall open with the rituality of their alluring live performance, followed by a haunting set that combines Jarboe’s unique voice and Father Murphy’s charmed sounds, together they shall draw upon Jarboe’s old and new songs, including the two brand new pieces from the EP. Full dates below…

LIVE DATES:

September

22 BE, Eeklo – N9

23 DE, Krefeld – Südbahnhof

24 DE, Berlin – Quasimodo

26 CZ, Brno – Kabinet Muz

27 CZ, Soulkostel – Soulkostel

28 PL, Poznan, LAS

29 PL, Torun – Klub NRD

30 PL, Gdansk – Smoke Over Dock II Festival at B90

October

1 PL, Warsaw – Distorted festival at Klub Hydrozagadka

2 PL, Lodz – Dom

4 LT, Riga – Gertrude Street Theater

5 RU, Moscow – 16 Tons

7 RU, St Petersburg – Place

10 SWE, Stockholm – Kraken

11 SWE, Karlstad – Tinvallakyrkan

12 NO, MOSS – House of Foundation

13 SWE, Gothenburg – Culture Night Festival at Goteborg Public Library

14 DK, Aarhus – Tape

16 CH, Basel – Unternehmen Mitte (Safe)

17 CH, Geneve – Cave 12

18 IT, Pistoia – Bruma Vol.III

19 CH, Busto Arsizio – Circolo Gagarin

20 FR, Lyon – Sonic

21 FR, Paris – Instants Chavirés

23 UK, London – St. Pancras Old church

24 UK, Leicester – The Musician

25 UK, Glasgow – Cottiers Church

26 UK, Preston – The Continental

28 BE, Bruxelles – Magasin 4

29 NL, Utrecht – Tivolivredenburg

November

2 PT, Lisbon – ZDB

3 PT, Porto – Understage

Young God Records – 28th April 2017

Christopher Nosnibor

The great Swans back catalogue reappraisal and re-release continues with a brace of albums from near the end of the band’s initial incarnation. The latest pairs Swans’ 1995 album The Great Annihilator with Gira’s simultaneous solo release, Drainland. 1995 was a fertile year: Jarboe also released Sacrificial Cake through Alternative Tentacles in the same year, in some respects mirroring the period eight years previous, when two different Skin albums – effectively Gia and Jarboe solo releases – appeared in 1987 and 1988 in near synchronicity with Swans’ pivotal Children of God. Indeed, while the ‘definitive’ reissue programme is both extremely welcome and is a genuine boon for Swans fans both new and old, it does highlight the complexity of the band’s back catalogue. Precisely which album sits with which is a question which will never find an easy resolution, but on balance, Gira and Young God have made a decent fist of presenting a cohesive and linear recataloguing of the band’s initial history.

The Swans album The Great Annihilator arrived some three years after the epic twin salvoes of Love of Life and White Light from the Mouth of Infinity, which had represented both an evolution and a return to form following The Burning World in 1989. And while The Great Annihilator clearly belonged to the same broad phase as its immediate predecessors, it also felt more focused and more intense. It also stands as a transitionary album, the last studio release before the immense, everything-through-the-wringer churning mash of Soundtracks for the Blind, at which point the first phase of Swans collapsed and terminated.

Soundtracks perhaps hinted at the direction the reincarnated Swans would take on their return, but lacks the immensity of the sound they would produce on their post-millennial return, and equally lacks the focus of The Great Annihilator, and in this context, it’s this album which stands as such a significant document of the band in the later years of their first phase. The 2002 reissue saw the album augmented with a six-minutelive recording of ‘I Am the Sun’, which is also included here. However, this version is more about presenting a ‘restored’ version, returning to the recently-excavated original tapes to deliver the album as intended.

Great Annihilator / Drainland (Remastered 2017) - PRE ORDER

By this point Gira had perfected the cavernous, monotone drone which is now his signature: emerging on Children of God and honed over the course of White Light and Love of Life, on The Great Annihilator and Drainland the dark, bleak detachment conveyed in that vocal is as terrifying as any of the growling, barking threats of violence contained on Filth and Cop. He may have sounded brutal in his rage on those releases, but here Gira affects a demeanour which is altogether calmer, and consequently all the more dangerous in its psychopathy. He no longer sounds like a tortured, tormented human soul: he sounds like he’s detached himself from humanity.

What makes The Great Annihilator such a strong album is its range, which is equalled by its force and its cinematic production, balancing slow, repetitive, hypnotic tracks with explosive, percussion driven compositions. As such, it’s a perfect encapsulation of the ugly / beautiful juxtaposition which characterises the Swans ethos. The raw, visceral Jarboe-led ‘Mother/Father’ is gruelling in its intensity and contrasts with the mesmeric ‘Killing for Company’ and the expansive, uplifting ‘Where Does a Body End?’ (which stand among some of my all-time favourite songs by Swans – although, if truth be told, in the scheme of their vast output, it would be easy to fill a double album with my favourite songs by Swans).

‘I Am the Sun’ shares common ground with previous percussion-led tracks like ‘Power and Sacrifice’ (which stand a world away from earlier percussion-led tracks as featured on their albums prior to Children of God, which very much marked a turning point for the band), but at the same time, offers the first hints of what the band would evolve to produce during their second, post-millennium phase. Elsewhere, ‘Mind/Body/Sound/Light’ and ‘Celebrity Lifestyle’ display a certain newfound commercialism (beyond the folk leanings of The Burning World), magnificently counterpointed by Gira’s monotone baritone drone. And who else could succeed with a line like ‘she’ just a drug addiction, a self-reflecting image of a narcotized mind’? ‘Alcohol the Seed’, meanwhile, is sparse, stark and harrowing, the direct, declarative lyrics standing at the point where art and life intersect to deliver maximum discomfort to the receiver. ‘Killing for Company’ is delicate yet beyond dark, a song which reflects Gira’s interest in serial killers and takes its title from Brian Masters’ 1993 biography of Dennis Nielsen.

Gira’s solo debut, Drainland, has always stood as a singular release, both stylistically and in overall terms of the Swans / Gira oeuvre. It also seems to be one of those releases which has been somewhat overlooked.

The first track, ‘You See Through Me’, which features a serrated, grating, oscillating drone and haunting piano provide the musical backdrop to a recording of Gira, drunk, nasty, arguing with his then-partner Jarboe over money and his alcohol problem. It’s one of those works which crosses a line that will never be readily acceptable, where art transgresses the boundaries of the personal and the public. This, of course, is art of the highest order, that demands the receiver face uncomfortable and painful realities. Simultaneously, Gira, in his capacity or artist, dismantles all sense of persona and lay himself bare in the most unfiltered way imaginable.

It paves the way for what is a difficult album on every level, as he trawls the darkest recesses of his psyche: the lyrics may not be as visceral as those contained on early Swans releases, but they’re every bit as gut-wrenching in their impact, not least of all because they’re so intensely personal.

Great Annihilator / Drainland (Remastered 2017) - PRE ORDER

It’s a dark, stark album, which makes for uncomfortable listening on many occasions: even the more overtly post-Children of God tracks, where Gira spins hypnotic, opiate-hazed acoustic strums, as on ‘Unreal’, it’s more nightmarish than dream-like. And then there are jarring, nauseatingly difficult loop-led nightmare dirges like ‘Fan Letter’. And yet, the album contains moments of true beauty. Songs like ‘Why I Ate My Wife’ (which again alludes to Gira’s serial killer fascination and also draws on, and shares its title with, a piece from 1993 which appeared in Gira’s book of collected prose, The Consumer (1994)), dark as they may be lyrically, are also truly magnificent, and as touching – and well-crafted – as anything Gira has done during his long career.

The mastering seems comparatively quiet, but that’s largely on account of the fact everything tends to be mastered so damn loud and so damn bright these days that much of the dynamic range is lost. The very purpose of this remaster is about audio fidelity and unravelling knots in the original processing. Sonically, this remaster feels richer, denser than the original releases, although it would take obsessive comparison and a lot of time to draw out all of the detail. Most importantly, this release makes two classic Swans / related albums (one being something of a lost or unsung classic at that) readily available once more, and on vinyl, too – The Great Annihilator has been commanding obscene prices on the second-hand market for a long time now, while Drainland was only released in the US packaged with Jarboe’s Sacrificial Cake and is again expensive and hard to come by: as such, it all adds up to an essential release.

We don’t normally replicate press circulations wholesale, but this… well, this is huge It just had to be shared, and requires no input from us here at AA:

‘WHERE DOES A BODY END?’ is the first-ever authorized documentary of the band Swans. A Kickstarter fundraising effort is being launched to raise production funds and help see the project to fruition.

The film will not only focus on the various historical stages of the band’s career but also investigate band founder/leader Michael Gira’s vision and determination, which have been the powerhouse that has fueled this group’s run of unprecedented, explosive art for 35 years, a burden shouldered by him for better or worse the entire time.

The aim of the documentary is not to be just a traditional music documentary about a band but more of an artistic piece to help put the band and its music in their rightful place in the annals of cultural history. Marco Porsia, the filmmaker, has gained great personal insight into the band by filming them live since 2010.

…and collected hundreds of hours of never before seen archival video and photographic documentation of Swans from 1982 to 1997.  This will capture the intensity of the band throughout the years and will be supported with interviews from past and present band members and journalists, as well as importantimportant musical figures of the music industry – Sonic Youth’s Thurston Moore and Lee Ranaldo, JG "Foetus" Thirwell, Karen O, Amanda Palmer, Kid Congo Powers, Daniel Miller (Mute), Jehnny Beth (Savages), and Jarboe among them.

Consistently at the vanguard of music, as Swans in its current incarnation approaches its ‘end’ with a final album and tour, it is important to capture one of the most influential, unique and powerful bands in history at its peak.

35 years of perseverance, creativity and self reliance has seen the band Swans maintain a unique position in modern music.  From its inception as a NYC ‘noise experience’ to its current maelstroms and intensely focused grooves, Swans have not only survived the music industry, they have transcended musical preconceptions by consistently delving into new musical territory.  This is a band of collaborators, linked by one man, its leader, Michel Gira.

https://www.kickstarter.com/projects/1000942931/where-does-a-body-end-a-documentary-on-the-band-sw