AOTY

AOTY

YEAH

NO

Fucking Yeah

YES

>fondle the naked man
what did he mean by this?

Nah. If it is then this is a very boring year.

Rapist don't deserve AOTY

MONSTERRRRRRRR

kys

Am I the only one mildly disappointed with how this album is paced?

I feel like this is just a re-emphasis of the tropes that have characterized their sound since the reunion; whereas the albums previous this honed on a particular extension of the core Swans brand
>[(heavy downbeat / sustaining guitar wall sounds / tonal dissonance) + (folk / country / atonality / free improv / crushing grooves / noise)]
this just feels like an abstraction of the last six years rather than an amalgamation.

That's not to say I didn't enjoy it. I love the sonic landscape from which the reunion albums have been composed, but I guess I was just expecting more in the sense of pushing boundaries.

A lot of the particular high points of this album (Cloud of Unknowing / When Woll I Return? / title track) end up sounding generally identical with some slightly fleeting small textures, almost too high in the mix to make a substantial distinction between them. It sounds like they're just retreading old ground.

I dunno.

I guess I shouldn't expect for Mikey G of all people to play with fulfillment of my expectations, but this album leaves me wanting more.

I'll post a couple recs that I find similar.

Another glaring problem I have with this album; When Will I Return? prefacing the huge half an hour title track is just a structural mirror of The Seer Returns that follows the equating title track on The Seer.

Listen to The Seer Returns and When Will I Return; they even have almost identical drum tracks / baselines.

I expected this one to be the harshest and most relentless of the three. Mikey decided differently.

Loving pretty much every second of it anyway.

I think the idea in general is that they have honed their sound. It's more of a sonic celebration than anything in the way of experimentation outside of themselves. I wanted Swans, and that's what I got.

Does it feel kinda safe for such a boundary-pushing band? Sure. But that's only within the perspective of listening to Swans. It doesn't feel like a step forward, but it does feel like you are in their world as much as any of their releases. And their world is fucking cool musically.

youre right on the money
i cobuldnt explain it better myself

link?

Last issue; the cut sustain on the symbol crash on Frankie M. at 15:25 is a fucking problem.

The track is half an hour long for Christ's sake. An interruption in the facilitated atmosphere is a huge mark against an otherwise standout moment for this album. This little blip ends up sounding like a codec artifact, and on a John Congleton project?

This is unbelievable to me.

This is a rookie mistake from a production facet.
I enjoyed it as well. Just some glaring issues I have with it on first impression.
>It doesn't feel like a step forward, but it does feel like you are in their world as much as any of their releases. And their world is fucking cool musically.
100% this. It's a world I love but I can't help but acknowledge this is a complete lateral movement.

Cymbal / hi-hat, rather.
thx

Yes

What track is "MONSTER EATER" from?

cloud of unknowing