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Swans - To Be Kind CD (album) cover




Post Rock/Math rock

3.93 | 178 ratings

From, the ultimate progressive rock music website

Conor Fynes
Prog Reviewer
3 stars 'To Be Kind' - Swans (68/100)

Before even getting into To Be Kind as a musical work itself, it's an amazement unto itself that people are getting this worked up and divided over a rock album in 2014. Beyond my reservations for Swans' latest (for which I have many) that keep me far from agreeing with the considerable demographic backing it as the 'Album of the Year', I think that's a pretty awe-inspiring thing to see, particularly when the perceived mainstream has long-since declared that 'guitar music is dead'. Oh well, fuck them; in my books they're proven wrong with every new day.

There's a bit of reservation that comes with the mere act of writing about Swans, a band who've amassed a mythology and fanbase willing to go to the graves with them if the need arose. More than that, as an undoubtedly 'experimental' band, Swans have a style and approach entirely to themselves; an antecedent knowledge of drone, post-rock or avant-garde music would do well to prepare a listener for Swans' sonic barrage, but never enough to the point where they wouldn't sound novel in some way. In other words, the only way to have truly been equipped to comfortably approach a new Swans record, would be to have already listened to Swans in the past. At some point in time, the initial discomfort is unavoidable.

I'd dabbled in parts of 2012's The Seer before approaching To Be Kind, but not nearly as much so to call myself experienced, much less a fan of their work. Much like The Seer, To Be Kind is a mammoth two hour investment, with a coy interest in stringing its listeners along the umpteenth degree of excess. Whether musical excess is appealing to you will largely determine your experience of To Be Kind.

I've listened to the album a few times from start to finish now, and while the familiarity certainly helps in appreciating the finer nuances of this maze, each listen makes Swans' excessive qualities less mystifying and a little more irritating. Regardless whether a song here is five or thirty-five minutes, they're usually given a similar amount of central ideas to draw upon. The album's centrepiece "Bring the Sun" has already nurtured some notoriety in this sense; after repeating a single crushing note ad nauseam (a hundred times, maybe?) there is a transgressively slow build in tempo and intensity. From there, indecipherable noise is contrasted with dark ambient soundscapes and sampling. By that point, twenty minutes have passed. The remaining fourteen minutes in the track ("Toussaint L'Ouverture") is an almost Floydian exploration in the "Set the Controls for the Heart of the Sun" tradition; Michael Gira screams French revolution-era slogans atop this, and eventually it reverts to the ear-splitting noise. This is less a criticism of "Bring the Sun / Toussaint L'Ouverture" than it is a blunt description. Even basic accounts of the music here will have a tendency to come across as hyperbole.

Repetition and patience is arguably stretched to an even greater length with the track "Oxygen", barraging the listener with a few dissonant ideas, repeated and blatantly overused. Experiments in excess like the repetition on To Be Kind give the impression that the repetition is used as an end unto itself; where supposedly cutting-edge artists try to 'one-up' their predecessors by getting more extreme in some sense, Swans have taken otherwise palatable and contemporary motifs and overused them to the point where I wonder if enjoyment hasn't given away completely to superficial irritation by the time Swans finally unveil a new idea.

To To Be Kind's credit, each one of the songs here is distinctive. "Screen Shot" is about as accessible as Swans' monotony gets here. "Just a Little Boy" sounds like David Lynch might have conjured with a more expansive set of sounds. "A Little God In My Hands" is a favourite of mine, where the dissonance and excess gives way partially to a playful (though undeniably tense) atmosphere. While the song is far from the album's strong suit, To Be Kind offers a considerably stronger first half. Even then, there are some highlights; "She Loves Us" is probably my favourite track of the whole two hours; a dark psychedelic reconstruction that doesn't seem to get boring in spite of its repetition. The album's title track- capping off the album- is also memorable and, at least relative to Swans' recent output, surprisingly tender. O'course, on most of the other albums you've likely heard this year, "To Be Kind" would stick out like a necrotic, lovelorn thumb for its ominous atmosphere.

Maybe it's unfashionable to say so, but I don't think Swans' songwriting is so impressive, especially not considering the lavish acclaim that's heaped upon them. Rather, any strained appreciation (most often an odd fascination rather than outright enjoyment) I've had for To Be Kind lies in the balls-out bizarre and nuanced way the music is arranged and recorded. The sampled laughter on "Just a Little Boy" never ceases to feel terrifying on the heels of Gira screeching about his vulnerability and humanity (of lack thereof); it gives the impression that some ungodly force is making a mockery of human suffering. An unhindered enjoyment of "Screen Shot" is made difficult by the band's trademark longwindedness, but the calculated manner Gira steadily builds layers of sound is impressive. Even the most violent, visceral portions of the album have been arranged with a master's attention to detail. The noise comes by as a jagged whoosh, but if you listen hard enough, there are plenty of individually things going on at once; it's like pulling back a strip of bark on a rotting tree and seeing a world of life at work below the surface. It's often disgusting and ugly, but there's a sure beauty in the way it all comes together.

Try as I might, To Be Kind doesn't offer up its secrets easily. Decryption has been one thing, but actively enjoying the album is worlds more difficult. Things like Michael Gira's incessant repetition of the opening note on "Bring the Sun" are fascinating as novel experiments in concept, but actually listening to it, the innovation often feels more annoying than sincere. Still, the fact that a single album could stir so many conflicting views in me says something for Swans' power, both as artists and as enduring provocateurs.

Conor Fynes | 3/5 |


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