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Swans (band)

From Alfawiki
Swans
Company typeBand
IndustryMusic
Founded1981
FounderMichael Gira
Headquarters
New York City
,
United States
ProductsMusic albums, live performances
OwnerMichael Gira (through Young God Records)

Swans is an American experimental rock group established in 1981 by vocalist, composer, and multi-instrumentalist Michael Gira. Originating from the New York City no wave movement, Swans became known for a dynamic sound that incorporated elements of noise rock, post-punk, industrial, and post-rock. Their early work was characterized by harsh sonic intensity and bleak lyrical themes, but their style evolved with the addition of singer, songwriter, and keyboardist Jarboe in 1986, who brought greater melodic depth and intricacy. Jarboe remained a vital collaborator alongside Gira and guitarist Norman Westberg until the band's breakup in 1997.

In 2010, Gira revived Swans without Jarboe, forming a consistent lineup that toured internationally and released albums that received critical acclaim. This formation ended touring activities in November 2017 after the release of The Glowing Man. Since 2019, Swans has continued under Gira’s leadership with "a revolving cast of contributors." The most recent album, Birthing, came out on May 30, 2025. From 1990 onward, all Swans recordings have been released through Gira’s own label, Young God Records.

Initial influences

The original iteration of Swans included Gira handling bass and vocals, drummer Jonathan Kane, guitarist Sue Hanel, percussionist Mojo who also managed tape loops, and either Thurston Moore, Dan Braun, or Jonathan Tessler on a second bass guitar. Tessler also contributed metal percussion and tape loops in another lineup featuring Gira, Moore, and Kane. Hanel’s contributions are only documented on the compilation Body to Body, Job to Job, although precise credits are ambiguous. Kane described her as "the most fearsome guitarist we'd ever heard in New York."

Before their first recording session, Hanel departed and was succeeded by Bob Pezzola. This ensemble also featured saxophonist Daniel Galli-Duani, who had previously worked with Kane in the avant-garde duo Transmission. Their debut EP, Swans, released on Labor Records, diverged notably from their later material. Its minimalist chord progressions drew inspiration from blues, while the incorporation of jazz instruments and complex rhythms reflected their roots in the late 1970s no wave scene—a movement that largely faded by the time Cop was released in 1984.

Early style

Kane has likened Swans’ early sound to that of blues legend Chester Burnett, known as Howlin' Wolf. Early Swans compositions frequently revolved around a single repetitive riff, creating a hypnotic atmosphere reminiscent of Burnett’s work. Their music was marked by slow, grinding guitar noise paired with heavy drumming, complemented by Gira’s dark and violent lyrics inspired by writers like Jean Genet and Marquis de Sade, often delivered in a shouted or barked vocal style. Critics have described these initial recordings as "aggressive beyond words."

The band’s first full-length album, Filth (1983), featured driving rhythms with sharp breaks and abrasive percussion. The sound bore resemblance to earlier no wave acts such as Mars as well as contemporaries like Sonic Youth’s Confusion Is Sex and Kill Yr Idols; however, critic Ned Raggett asserted that "early Swans really is like little else on the planet before or since." With Filth, guitarist Norman Westberg joined the group and became a core member appearing on nearly all subsequent studio releases.

Following this were Cop (1984) and the untitled Young God EP later that year; both were reissued together on CD in 1992. The Young God EP—sometimes referred to as "I Crawled" or controversially as "Raping a Slave"—is often mistaken for their self-titled debut. Musically, these works continued the intense approach established on Filth, resembling an extreme deceleration of heavy metal. At this stage, Swans consisted of Gira (vocals), Westberg (guitar), Harry Crosby (bass), and drummer Roli Mosimann. Gira’s vocal delivery began to incorporate slight melodic elements while maintaining its aggressive edge. Tracks such as "Young God" and "I Crawled" foreshadowed more melodic directions in future compositions.

Godflesh frontman Justin Broadrick expressed admiration for this period:

Live performances

In their early days, Swans' concerts were infamous for their extreme volume levels, sometimes resulting in police intervention. Michael Gira's confrontational demeanor on stage involved provocative actions such as stepping on audience members' fingers and pulling hair, which contributed to the band's fierce reputation and ultimately influenced Gira's decision to disband Swans in 1997.

Following the band's reunion, Gira has maintained the powerful intensity of their live shows, characterizing them as simultaneously "soul-uplifting and body-destroying." To heighten the atmosphere, he has also chosen to disable air conditioning during performances, drawing a comparison to the experience of a Native American sweat lodge.

Evolution in style (1986–1988)

The release of Greed in 1986 signaled a departure from Swans' earlier harshness toward a sound that was darker and more foreboding. This album introduced bassist Algis Kizys and vocalist/keyboardist Jarboe, who became integral members of the group. Jarboe's initial contribution was noted simply as "scream" on the 1985 "Time Is Money (Bastard)" 12-inch single.

Following Greed, Holy Money featured Jarboe’s debut as lead vocalist on the track "You Need Me" and incorporated acoustic elements, including a blues-inspired harmonica on "Another You." This album also brought religious motifs into their music with songs like "A Hanging," which included gospel-style backing vocals by Jarboe. Both "You Need Me" and "Blackmail" (a B-side from the A Screw 12") were included on original CD editions and compilation releases.

The 1987 album Children of God expanded Jarboe’s role as a vocal counterbalance to Gira’s themes of suffering and degradation, weaving these narratives with religious imagery—not to promote or criticize faith but to delve into its inherent power and contradictions. Tracks such as "Beautiful Child" retained earlier vocal approaches, while songs like "In My Garden" introduced baroque piano and acoustic guitar textures. Pieces like "Sex, God, Sex," "Blood and Honey," and "Blind Love" ranged from heavy metal-inspired riffs to early post-rock styles.

Gira considers this era a pivotal transformation, moving away from Swans' initial aggressive physicality toward broader artistic experimentation in order to avoid becoming stylistically repetitive or caricatured.

Later period (1988–1997)

After releasing Children of God, Gira grew weary of the band's noisy reputation and began steering toward a gentler sound that emphasized acoustic instruments and highlighted Jarboe as lead vocalist. This transition started with two 1987 albums recorded by Gira and Jarboe under the names Skin (Europe) and World of Skin (US): Blood, Women, Roses (featuring Jarboe's vocals) and Shame, Humility, Revenge (with Gira singing). Both albums presented slow, ethereal reinterpretations of material from Children of God.

The band continued evolving with a 1988 cover of Joy Division's "Love Will Tear Us Apart", released in various formats via Product Inc. Both Gira and Jarboe performed lead vocals on separate versions. Although Gira later dismissed this release, it gained popularity on US college radio stations and secured Swans a major label contract with Uni/MCA. Reflecting on this period, Gira acknowledged finally having the chance to make a living through music after enduring years of struggle.

This partnership produced The Burning World in 1989—Swans' sole major label album—released by Uni/MCA and produced by Bill Laswell. The record broadened their acoustic range by incorporating folk and world music elements while minimizing heavy guitar sounds. Session musicians supplemented the core trio of Gira, Jarboe, and Westberg. Despite admiring Laswell's work, Gira felt their collaboration did not fully align creatively. The album sold only about 5,000 copies in the UK—among MCA's lowest sales—and was quickly removed from their catalogue.

The Burning World represented Swans' move toward more conventional pop melodies while maintaining dark lyrical themes such as depression and despair. It featured a cover of Steve Winwood's "Can't Find My Way Home", one of two singles released from the album.

In 1990, Gira and Jarboe issued the final World of Skin album titled Ten Songs for Another World, which did not achieve the same level of success as previous releases.

Disenchanted with Uni/MCA, Gira went on to produce White Light from the Mouth of Infinity (1991), blending hard rock with pop influences alongside acoustic rock, blues, and hypnotic guitar textures for a richer sound. This was followed by Love of Life (1992), recorded with Martin Bisi, plus the EP single Love of Life/Amnesia, pushing further into experimental territory; then came The Great Annihilator (1995), often regarded as one of their most accessible works due to its straightforward songwriting approach. However, their musical direction would continue to evolve in later years.

Conclusion

As other ventures required his focus, Gira concluded the band’s journey with a final studio release and a global tour. The 1996 double album Soundtracks for the Blind showcased Jarboe's field recordings alongside elements of experimental music, dark ambient textures, expansive post-industrial compositions, post-rock arrangements, and acoustic guitar work. In 1998, the live compilation Swans Are Dead gathered performances from their 1995 and 1997 tours. Gira suggested that more live recordings, described as "fairly spectacular," might be issued in the future.

Post-breakup and revival (1997–2017)

Following Swans’ disbandment, Gira established Angels of Light and maintained his role at Young God Records, while Jarboe embarked on solo endeavors.

In January 2010, Swans reassembled, debuting a new track through Young God Records' MySpace page and confirming the reunion on social media platforms. The decision to revive Swans originated during an Angels of Light performance five years prior, when Gira was moved by the music’s intensity mid-show. To support the forthcoming Swans album financially, Gira released his solo record I Am Not Insane via Young God Records. This strategy reflected an alternative funding model within a financially constrained music industry, where fan contributions help sustain production efforts.

The band launched tours across the U.S. and Europe and headlined the Supersonic Festival in Birmingham in October 2010. Their first album after reuniting, My Father Will Guide Me up a Rope to the Sky, was released on September 23, 2010, followed by an extensive eighteen-month world tour. In 2011, Portishead selected Swans to perform at the All Tomorrow's Parties I'll Be Your Mirror festivals held in London and New Jersey.

In 2012, Swans issued the live album We Rose from Your Bed with the Sun in Our Head, compiled from shows during their 2010–2011 tour; proceeds supported the recording of their upcoming album, The Seer. Originally limited to 1,000 handcrafted copies, it later saw a deluxe digipak re-release.

On July 15, 2013, Gira announced another handcrafted live album named Not Here / Not Now, with sales directed toward funding their next studio project produced by John Congleton, which was later revealed as To Be Kind.

In 2014, Swans signed with Mute Records for international distribution beyond North America and announced plans for touring. That November, they curated a three-day lineup at the Le Guess Who? festival in Utrecht featuring prominent artists such as Wire, Silver Apples, among others.

Both The Seer and To Be Kind earned spots on Pitchfork’s list of "Top 100 Albums of the Decade So Far 2010–2014," ranking at numbers 17 and 85 respectively.

On July 22, 2015, the group revealed they were recording their fourteenth studio album following a fundraising release titled The Gate, continuing their post-reunion financing approach. On April 5, 2016, they announced The Glowing Man, sharing a preview of its twenty-nine-minute title track. Released on June 17, 2016 through Young God Records and Mute Records, it represented the last Swans record featuring a largely consistent lineup; as of 2019, Gira continues recording with an evolving roster of musicians.

Shortly after this release, this formation put out a limited live album titled Deliquescence on May 17. Restricted to 3,000 CD-only copies, it contains three tracks previously performed exclusively in concert.

Hiatus and evolving line-ups (2018–present)

Following an almost year-long pause, Gira announced a short West Coast tour in September 2018 that showcased new Swans compositions alongside longtime guitarist Norman Westberg. The fifteenth Swans album began recording sessions in Berlin in February 2019. Before the official album release, a demo album titled What Is This? was issued in March 2019 as a fundraiser. By mid-2019, the recording, mixing, and mastering of the album were completed. On September 5, the album's name, Leaving Meaning, was unveiled along with its lead single, "It's Coming It's Real." Released on October 25, the record featured significant contributions from Christoph Hahn (guitar), Larry Mullins (percussion), and Yoyo Röhm (bass). The band's profile was further elevated in 2019 by Marco Porsia's documentary Where Does a Body End?. In March 2021, Gira shared a preview of an upcoming Swans album via Instagram.

On January 6, 2022, Gira revealed a fundraiser album titled Is There Really a Mind? released through Young God Records; it sold out within nine days. Recording for the subsequent album commenced in April 2022. On March 22, 2023, the new album was announced as The Beggar, accompanied by the single "Paradise Is Mine." The full album was released on June 23, 2023.

In July 2024, Gira announced Live Rope, a live album recorded during performances spanning 2023 to 2024, intended to fund another Swans project. On November 15, 2024, he disclosed that the forthcoming studio album would be named Birthing, with mixing scheduled in Berlin that month and a planned release in 2025. Gira described this as "the final 'big sound' Swans album," indicating that future endeavors would embrace a more straightforward and intimate style:

"After the release of Birthing and its related tours, Swans will move towards simpler and more intimate expressions. When that time arrives, I look forward to exploring new sonic territories to inhabit."

The lead single from Birthing, titled "I Am a Tower," was released on February 25, 2025. The complete album is slated for release on May 30, 2025.

Musical style and legacy

Swans’ sound has undergone substantial transformation over the years but consistently retains a dark and often apocalyptic character, addressing themes such as power, religion, sexuality, and death. Their music is primarily categorized within experimental rock. According to Spin, the band distinctively channels the chaotic brutality of the human condition into powerful and immersive compositions.

Originating from New York City's waning no wave scene in 1982, their initial output was aggressive and raw; Michael Gira described it as distilling rock music down to its core essentials. The Guardian depicted their early sound as a noisy fusion incorporating elements of post-punk, industrial, doom metal, avant-garde minimalism, and blues combined with nihilistic and existential lyrics delivered with messianic intensity. This approach helped shape industrial music and noise rock, influencing genres such as grindcore and sludge metal.

With Jarboe’s songwriting contributions beginning on the 1987 album Children of God, Swans introduced more melodic complexity while retaining their dissonant edge. Subsequent releases ventured into styles including post-punk, gothic rock, neofolk, psychedelic rock, and art rock. The expansive double album Soundtracks for the Blind (1996) emphasized atmosphere through post-rock textures, drone elements, and dark ambient soundscapes. Since their reformation in 2010, Swans have continued to merge post-rock dynamics with drone and noise rock influences. Their recent double albums have been critically acclaimed for lengthy compositions that develop intricate sonic environments.

Swans have left a lasting impact on numerous artists across rock and extreme metal genres. Influenced musicians include members of Napalm Death, Godflesh, Melvins, Neurosis, Treponem Pal, Nirvana, Tool, Maruja, My Dying Bride, Isis, Weakling, Leviathan, Natural Snow Buildings, Khanate, Liturgy, Vision Eternel, Car Seat Headrest, Full of Hell, and Sprain.

Current

Former

  • Jonathan Kane – drums (1981–1983)
  • Daniel Galli-Duani – saxophone (1981–1982)
  • Bob Pezzola – guitar (1981–1983)
  • Sue Hanel – guitar (1982)
  • Thurston Moore – bass guitar (1982)
  • Dan Braun – bass guitar (1982)
  • Jon Tessler – bass guitar, percussion, tape loops (1982)
  • Mojo – percussion, tape loops (1982)
  • Roli Mosimann – drums (1982–1984; deceased 2024)
  • Harry Crosby – bass guitar (1983–1986; deceased 2013)
  • John Hood – drums (1984)
  • Ivan Nahem – drums (1984–1985)
  • Jarboe – keyboards, vocals, piano (1985–1997, 2012, one-off show in 2016)
  • Ronaldo Gonzalez – drums (1985–1987)
  • Ted Parsons – drums (1985–1987, 1991, 1993–1994)
  • Algis Kizys – bass guitar (1985–1988, 1991–1995)
  • Jason Asnes – bass guitar (1988)
  • Virgil Moorefield – drums (1988)
  • Steve McCalister – bass guitar (1989)
  • Vinnie Signorelli – drums, percussion (1989–1992)
  • Clint Steele – guitar (1990–1995, 1997)
  • Jenny Wade – bass guitar (1990–1991)
  • Anton Fier – drums (1990–1991; deceased 2022)
  • Bill Rieflin – drums and additional instruments (1994–1996; guest appearances 2010–2017; deceased 2020)
  • Joe Goldring – bass guitar (1995–1996)
  • Vudi - guitar, keyboards (1995–1996)
  • Bill Bronson – bass guitar (1997)
  • Thor Harris – drums, percussion, vibraphone, hammered dulcimer, keyboards (2010–2016, 2017, 2019)
  • Paul Wallfisch – keyboards (2016–2017, 2019)
  • Yoyo Röhm – bass guitar, double bass, keyboards, vocals (2019)
  • Ben Frost – synthesizer, mellotron, guitar (2020–2023; guest since 2012)

Discography

Studio albums

Further reading

External links

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