#christopher pravdica

[thebowerypresents]

Swans – Racket – May 16, 2024

Swans rose up out of the Lower East Side more than four decades ago, led by singer-songwriter and multi-instrumentalist Michael Gira. They’ve survived a long breakup and another hiatus, and last year the highly influential experimental outfit put out their 16th studio album, The Beggar, which the Guardian dubbed, “dark and unsettling, purifying and beautiful.”

And with their spring tour just about over, Swans have returned to New York City for their last three shows of the year, the first of which was a rowdy affair in the Meatpacking District last night at Racket. 

(Swans close out their tour at Music Hall of Williamsburg tonight and tomorrow.)

Photos courtesy of Lexi Yob | @filmbyyobby

[elsotemo]

The Beggar

[maximuswolf]

An unfamiliar experience

An unfamiliar experience (Not white sure if these types of posts are allowed, but I’ll give it a shot anyways)So, I have been playing bass for about three years, and I have loved it WAY MORE than guitar, mainly because of the sound of the bass, and the fact that most of the techniques played on guitar can also be translated on bass and sound amazing, such as sweep picking or tapping. Speaking of those two techniques, for a good part of my bass journey, I have always been attracted to very complex, fast, or technical stuff, the kind of stuff that you would find in genres like prog metal/rock. However, just recently, something interesting happened.For a few months now, I have enjoyed this band called Swans, and their bassist, Christopher Pravdica, is currently one of my favorite bassists. Now, the thing about Chris, and the rest of the band, is that although their songs are very long, they aren’t a progressive band, but rather a post-band that plays these very simplistic, but highly addictive grooves and motives, which in part can be attributed to Chris and his catchy basslines in songs such as Oxygen and Screen Shot.One night, I wanted to play a song by the band called “A Piece Of The Sky,” a nineteen minute song where the bass doesn’t come in until about 9 1/2 minutes in. It starts off with this very bouncy, pedaling bass riff which is cool, but then when the song reaches the 15-minute mark, that’s where something strange happened.As I was playing that particular bassline, I suddenly found myself doing the following: closing my eyes, swaying back and forth with rhythm, and really focusing with the song’s instrumentation. In addition, I had actually began to picture myself playing this song live in front of an audience, with a metaphorical band (the concert took place in a large log cabin for whatever reason, probably because of the song’s mood).But basically, what I’m trying to say is that out of all the songs that I’ve learned how to play on bass, this song, “A Piece Of The Sky,” was really the first song that can remember putting me into this specific, trance-like state, as if I was becoming one with the groove, does that make sense? Since then, I’ve grown to appreciate this song, and the band much more than I previously had.So what I ask all you other people in this sub is this; what exactly did I feel when I played that song, why is it that it made me feel the way I felt, and have you also felt these same feelings while playing a certain song as well?Thank you if you respond

[chorusfm]

We Owe – “Slight Inconvenience” (Video Premiere)

Today is a great day to share the new music video from We Owe (the solo project of multi-instrumentalist Christopher Pravdica) called “Slight Inconvenience.” The single comes from We Owe’s full-length record, Major Inconvenience, that will be released everywhere music is sold on December 1st. As Pravdica wrote on the track: I did this track instrumental with backing vocals. Trying for a more melodic sound. I was gonna do lyrics, but I found this patient interview that I very much related to, and I dropped it over the music. It fit so well that I was like: ‘Yo, this works!'” Video director, Jim Larson, continued: “The song ‘Slight Inconvenience’ contains an audio sample from an actual therapy session with a catatonic schizophrenic from many years ago. So I decided to sample the visual portion of the interview and edit the footage to make a new version to accompany the song. I was also able to catch up with this artist for a brief interview below. ”Slight Inconvenience” includes audio from a patient interview with a man diagnosed with Catatonic Schizophrenia. Do you remember where you came across the recording? What was it about this interview that connected with you?  I first saw this video years ago and it stuck with me. I find the part of society where you have to be somewhat self aware to function properly terrifying. You have to be able to read your impact on people too without being 100 percent wrong with every interaction. It’s so easy to see when people can’t read their impact on others but so easy to miss the mark myself. Also to get fixated on irrelevant concepts that you perceive to be the impeding factor in your predicament is a trademark move in my part and also missing the mark.  The video for this track is the third in a string of visuals from Jim Larson that folks might consider “disconcerting.” Do you feel like emphasizing a sense of discomfort is a part of your goal with this release?  Not exclusively, but from my perspective, it’s an enchanting elixir. “Disconcerting “ is a fitting descriptor for things that I like very much. Jim Larsen and I have known each other for a long time and I think we know some things about each other’s taste for the irksome. After all I feel uplifted by this man who ultimately knows precisely what he wants to be and the fact that it’s to be a stupid musician. Your new record, Major Inconvenience, is coming out this Friday. What do you hope fans and listeners take away from the record as a whole? I could simply never. Not in lifetime of patient reflection hope for such things. In the basest sense though I hope that people like it enough to compliment me about it. I love compliments. Insults/criticisms are welcome too but mostly I’m fishing for compliments. So I guess I hope people like it. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/we-owe-slight-inconvenience-video-premiere/

[metalindex-hu]

Közel háromórás műsorral érkezik Budapestre a Swans

Közel háromórás műsorral érkezik Budapestre a Swans - https://metalindex.hu/2023/11/02/kozel-haromoras-musorral-erkezik-budapestre-a-swans/ -

November 4-én újra Budapesten lép fel a kísérleti / noise / industrial / poszt-rock stílusok úttörője, a Swans. A Fekete Zaj által szervezett koncert az Akvárium nagytermében lesz megtartva. Az 1982-ben New York Cityben alapított banda jelenleg az idén nyáron megjelent The Beggar című albumával turnézik, amit élőben egy maratoni hosszúságú, 2 óra 45 perces műsor keretében mutatnak be. Vendégük az egykori gitárosuk, Norman Westberg lesz, aki szólóban játszik korábbi zenekara előtt.

A Michael Gira által 1982-ben alapított Swans a kezdetekkor még könyörtelen, brutális, hangos zenei kitöréseiről, Gira mennydörgő énekéről és szövegeinek szélsőséges, lehangoló képeiről volt híres, ám a következő 15 évben elképesztő átalakuláson ment keresztül. A ’80-as években a Filth és Cop albumok után, a Greed korszakban a Swans az erősen mechanikus, ún. „proto-industrial” rock műfajában írt, majd az 1987-ben megjelent és azóta is mérföldkőnek számító Children of God dupla albumon kísérteties atmoszférájú idillekkel kísérletezett. A ’89-es The Burning World már egy gyengédebb, akusztikus alapú, meditatívabb zene volt, majd a zenekar Atlantába való költözködése utáni White Light from the Mouth of Infinity és a Love of Life már grandiózus, dallamokban bővelkedő anyagok voltak, melyek még disszonánsabbá és élesebbé váltak a The Great Annihilator esetében. A ’96-os Soundtracks for the Blind c. albumon végül mindezek az elemek egy végső nyilatkozattá forrtak össze, majd Gira ezen a ponton 15 év folyamatos stúdiózás és turnézás után feloszlatta a zenekart.

Az ezt követő 13 évben sem hagyott fel a zenéléssel; sorra készítette a kritikusok által is elismert albumokat és rengeteget koncertezett Angels of Light néven, elismert zenészekkel kiegészülve. Emellett a saját kiadója, a Young God Records égisze alatt olyan tehetségeket fedezett fel és készített velük lemezeket, mint Devendra Banhart és Akron/Family, a 2000-es évek avant-folk mozgalmának meghatározó alakjai.

Végül 2010-ben Gira újraalakította a Swanst és kiadták a My Father Will Guide Me Up a Rope to the Sky című albumot, ami hatalmas kritikai elismerének örvendett, majd az év nagy részében világkörüli turnéra indultak. A The Seer című háromlemezes stúdióanyag 2012-ben jelent meg, melyet egy újabb hosszú világkörüli turné követett, míg a lemez a Billboard Top 200-as listáján landolt. A következő kiadvány, a To Be Kind a Billboard Top 200-as eladási listáján a 36. helyen debütált, a független eladási listán pedig az 5. helyen szerepelt. Ezt követőn a Swans 47 teltházas koncertet adott, melyek között több dupla volt: például New Yorkban, Chicagóban, Los Angelesben, San Franciscóban és Párizsban. Az album hatalmas médiafigyelmet kapott és a 2 órás album stream az NPR-en debütált. A 2017-es, szintén tripla bakelit The Glowing Man a Swans addigi felállásának utolsó stúdiómunkája; 2019-ben Gira már ismét vendégzenészekkel dolgozott a Leaving Meaning c. 15. albumon. Jelenleg élőben Kristof Hahn, Larry Mullins, Phil Puelo, Dan Schechter és Christopher Pravdica zenél Girával.

A november 4-i lemezbemutatóra jegyek még kaphatók a Tixán.

//www.youtube.com/watch?v=HgtGHp2kfPQ

//www.youtube.com/watch?v=zPxWfYOf-Cg

//www.youtube.com/watch?v=iyVKM74yQ30

[rainingmusic]

Swans - Screen Shot

[ghostcultmagazine]

ALBUM REVIEW: Human Impact – Human Impact Comprising members of Unsane, Swans and Cop Shoot Cop, New York quartet Human Impact embrace all of those bands' qualities and add a rebellious Noise element which belies the middle age quickly enveloping the protagonists.

[reckonslepoisson]

Leaving Meaning, Swans (2019)

Leaving Meaning is a difficult record to place in the Swans discography. No, it isn’t quite as full-on, enthralling, intricate and engulfing as either The Seer or To Be Kind. But those are easily two of the decade’s finest rock records. It treads the path of neofolk works like Children of God and The Burning World (two of my least favourite Swans projects), though is far more atmospheric and complex, and often indulges in ambient passages and field recordings like those on Soundtracks for the Blind. It isn’t the sharp reinvention of the band that we saw in their most recent reincarnation, but it’s still clearly another new, distinct phase.

And the clearest signifier that Leaving Meaning embraces something fresh isn’t just the more clearly-folky instrumentation but also the near-glacial pace at which so much of it builds and excites. Not that Swans weren’t already known for repetition and gradual, tectonic shift-changes, but here are some of their most subtle, slow and magnificent so far. Moments like the final movement of ‘The Nub’ are exceptional, owing a lot to the sheer number of musicians Michael Gira has employed to piece the record together. As with each of Swans’ projects over the past decade, Leaving Meaning is littered with external contributions. Anna and Maria von Hausswolff, Ben Frost and The Necks join previous Swans members Phil Puleo, Norman Westberg, Thor Harris and Christopher Pravdica throughout the disc, and their virtue can be heard throughout. The extended atmospheres and enchanting vocals make neofolk sound more complex than ever.

Yet, Leaving Meaning clearly isn’t a record of the same stature as the likes of To Be Kind or The Seer. Despite being half an hour shorter, it feels longer. There’s less sprawl, less stylistic variation but less overall concept too. Each track is an individual being, a matter that wouldn’t be an issue unless some tracks really failed to build towards anything worthwhile. Particularly ‘Cathedrals of Heaven’ and ‘Leaving Meaning’ leave me a bit wanting; their lengthiness not as apparently purposeful or worthwhile given their climaxes.

That leaves this new generation of Swans in a rather odd place. Gira and co. are still the genre-leading pioneers they’ve long been, exceptional at forging atmospheres and building austere spirituality into rock songs. Yet Leaving Meaning offers those things with flecks of inconsistency that they haven’t showed in two decades. Though this is still an impressive record , the fact that there are determinable lows makes it slightly disappointing in the wake of the excellent decade of releases they have only just provided.

Pick: ‘The Nub’

[mr-ig]

A farewell to Swans

Later tonight in New York, this particular version of Swans will play together for the last time and then dissolve. Another version of Swans will follow, we are told, but has yet to take a form. Whatever that form, it's impossible to imagine that it won't have to live in the shadow of this extraordinary line-up, that it won't be shaped by its gravity. It's impossible not to see this as an ending rather than a beginning.

It seems like longer, but it's a little more than seven years - 27th October 2010, to be precise - since I had my first encounter with this new Swans line-up, at the Concorde 2 in Brighton. I hadn't been certain about going. I'd drifted away from them in the mid-nineties; I had no appetite at all for a trip down memory lane. I went mainly out of curiosity, my interest piqued by Michael Gira's insistence that this would be something new and distinct. When Gira insists on something, it tends to happen.

That night, you could feel that they were still finding their way. The set was comparatively short, contained a scattering of old material, lacked a really decisive direction. The volume was moderate. Some lines were fluffed, tempers sometimes a little frayed. But in the extended opening of "No Words/No Thoughts" and the elements of what would eventually become "The Seer", I found something elemental, something that I hadn't realised I'd been attempting to live without. In those moments, they raised the tension in the room to the point where you couldn't breathe and then sent it all crashing down again and again and again, pushing themselves to the edge of physical endurance, pushing themselves far beyond the point where any other, any lesser band would stop. In those brutal and ravishing moments, you could feel not diminishing echoes of the band they once were but the rising clamour of the band they would imminently become.

In the intervening years, I've seen them another nine times. That's testament to Gira's relentless work ethic as much as my own enthusiasm. There have been troughs as well as peaks: I recall an especially unsatisfying evening at the Electric in Brixton in 2014, at which the ear-splitting volume seemed to smother any subtlety, almost every key line was fluffed, and the set list appeared in dire need of a re-write. The overall effect was of a band in very steep decline. Less than a week later, they performed exactly the same set list in Brighton with such precise, furious force that you could feel the air trembling. It culminated in the crescendo of "Bring the Sun" which built and built and built and built and built and built and built and built and built and built and built and built and built and built and built and built and built and built and built, burning and ecstatic and utterly sexual, teetering on the edge, then finally collapsing spent and exhausted, gasping for air. It was f***ing beautiful. A pure celebration of existence.

They could do that. Not always, but sometimes. And sometimes is better than never, which is what everyone else trades in. Those moments when it felt as if you were sharing the room with an exploding sun, when your body might disintegrate into atoms. Those moments when they'd start to bring the strands of an idea together from a spell of separated dissonance, when they'd suddenly catch a phrase or a movement and you'd think, "That. Right there. Just play that. Play it until it hurts me. Play it until it erases everything else. Play it until it buries us all." And they would, and then some. Those moments when I'd close my eyes and meditate in the middle of the crowd, concentrating on breathing in and breathing out, lost completely in the here and now. They could do that, and I've rarely felt more alive.

A few more things I'll remember always. A version of what possibly became "Screen Shot" which levitated and shimmered in a way that can only be described as gorgeous, redefining what this band was capable of, how lightly it might tread. The way that "A Little God In My Hands" became this unstoppable groove, brassed-up funk hammering down and down, another breathtaking redefinition. The conclusion of a spectacular show at London's Koko, Gira bellowing revolutionary slogans and miming throat-slitting while his band did its utmost to strip the paint from the walls. At the opposite end of the spectrum, Gira leaning away from the microphone and out into the audience at the end of "Cloud of Unknowing" and singing gently to us as if clutching us to his chest, a lullaby, a redemption.

And best of all, that final London show at the Roundhouse. When they'd played there before, it had seemed a little too big for them, perhaps too much of a stretch to muster the required intensity in such a vast space. But somehow, at the second attempt, the sense of occasion lifted them to new heights, and perhaps the relative absence of work-in-progress did no harm too. They play for the customary two-and-a-half hours with such grace and power that it seems impossible to believe that it's the last time; it feels as if every second is made to count, not a single note wasted. They've never been better. They're about to end it all, and they've never been better.  

And there it is. While everyone else was playing old albums in their entirety to the people who'd bought them in the first place, turning rock'n'roll into a museum with a particularly cynical gift shop, here was the alternative. Now thirty-five years old, Swans have not merely added to their substantial history and influence but have done their utmost to eclipse it, to render it irrelevant. In one key sense, they've succeeded: it used to be compulsory to begin every Swans review with tales of volume-induced vomiting and locked doors; they've escaped the pull of those apocryphal tales. They have existed in the moment; the moment has been their sole justification; they depart in the same spirit.

And finally, after all this time, Gira has had the audience he's long deserved, one coming in search of the new and the undiscovered, one willing to listen and to experience. At the Roundhouse, only a couple of people push past on their way to or from the bar over the course of nearly two and a half hours. This, the last time we'll be in a space with the most extraordinary live band we've ever witnessed...it's far too precious for alcohol to blur, far too vital for distraction. We want to be overwhelmed one last time, to drown ourselves in the vastness of Swans' engulfing tide. We're not here to take pictures of it on our phones.

One last bow, then. Christoph Hahn. Thor Harris. Paul Wallfisch. Phil Puleo. Christopher Pravdica. Norman Westberg. He's been Jayne Mansfield. And the curtain falls. And the space empties. And we wonder what can possibly fill it.

[kevinmcginnisaccident]

Recorded live, no click, at Thunderdome Studios.

Voc, gtr: Kevin McGinnis 

Bass, harmonica: Christopher Pravdica

Drums, percussion: Drew Thomas

Lead gtr: Phil Costello

Engineer: Paul Kostabi

Mixer: Jorge Elbrecht

Mastering: Alan Douches

Artwork: Brian Smith

Design: Gregory Boerum

PRESS:

http://rpmonline.co.uk/2021/03/10/twiggy-branches-hello-from-sunny-sigils-self-release/

‘ I Was Mary Shelley in a Past Life’: 

https://www.youtube.com/watch?v=pOerZk05Ilo&t=3s

[thebowerypresents]

Swans Rattle a Sold-Out Music Hall of Williamsburg on Sunday

Swans – Music Hall – October 1, 2023

The walls of Music Hall of Williamsburg were shaking on Sunday night. As was the floor and the ceiling and the body parts of everyone at the band’s third straight sold-out show at the venue. An opening set from guitarist Norman Westberg established the evening’s energy, solo guitar and effects that seemed to buzz and resonate into every nook of the club’s foundation, eventually finding sweet melodies and enchanting echoes.

A little after 9 p.m., Swans took the stage for their third of three packed shows. Crowded on a stage bathed in a deep red for the night, Michael Gira led the ensemble with the strums of an acoustic guitar. The simplicity of the opening chords soon yielded to complex layering, first Gira’s chanting lyrics, then a shower of cymbal rattling, shrieks of electric guitars, lap steel moans, and hair-raising bass and drum drones. It was a growing intensity that was mirrored by an almost pronounced gentleness running counter in the empty spaces left by the growing wall of sound, the drums reaching a tribal pitch as the whole room trembled in response, rattling parts of my body I’m not sure are supposed to be rattled. This was “The Beggar,” the title track of the newest release from the veteran noise-rockers, a thick sauna of sound, nearly unbearable and yet cleansing.

When I looked at the time again, it was 10 p.m. and I’m not sure how many songs had been played or if I had passed out from the intensity of the noise, but it did feel good. The rest of the night was a taffy-pull of seven or eight more songs, many, like “The Memorious” and “Ebbing,” were off the new record, dark poetry and wild-eyed, room-shaking music. The latter was a personal highlight, a spellbinding intro, Gira’s chanting feeling like a summoning of spirit as he sang, “Gestating — just dreaming / Not breathing” making way to lovely melodic bits even as the chaotic energy grew. In the end, the show was a two-hour-plus endurance test, similar peaks and troughs of dark and light, a massive sound that, despite all the vibration, had no cracks in its foundation. —A. Stein | @Neddyo

Photos courtesy of Samantha Schraub | @samcsch

[buzztvportugal-blog]

Swans vão ao Porto apresentar nova banda e novo disco.

Swans vão ao Porto apresentar nova banda e novo disco.

Os míticos Swans vão regressar a Portugal em 2020 para um concerto único no Hard Club, Porto a 10 de Maio, com nova formação e novo disco na bagagem.

A banda de Michael Gira, fundador do grupo em 1982, voltará com uma nova formação composta por ira actuará com Ben Frost, Kristof Hahn, Dana Schechter, Christopher Pravdica e Phil Puleo e com novo disco. “Leaving Meaning” ainda não tem data de…

[wildlyburningsandwich-blog1]

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Najpoznatiji beogradski Irci „Orthodox Celts“ održaće još jedan u nizu tradicionalni koncerata na dan Svetog Patrika,u petak 17. marta sa početkom u 21 h, u Domu Omladine Beograda. Da je praznik sam po sebi dovoljan povod za uspešan koncert, govori činjenica da je dan Svetog Patrika već dve decenije omiljeni koncertni dan publike benda, uspešno negovane i razvijane u armiju fanova koja će ove godine imati prilike da uživa u 24. tradicionalnom koncertu koji apriori obećava. Proslava 25. godina postojanja benda, koncertna promocija šestog studijskog albuma po nazivu "Many mouths shut" , prvog nakon10 godina pauze, kao i fenomenalne reakcije i komentari fanova ali i stručne javnosti na poslednji autorski rad benda, garantuju da će novi koncert benda povodom dana Svetog Patrika biti čvrsto urezan datum u ovogodišnju koncertnu ponudu grada Beograda. Događaj koji će se još dugo prepričavati! Ulaznice su u prodaji od utorka 6.februara na svim prodajnim mestima DD Ticketing Solution i u Win win radnjama po sledećim uslovima: • 6. februara - AKCIJA - Dve po ceni jedne – Samo 950 din za prvih 50 ulaznica. Potrebno je samo da na svom facebook profilu šerujete link novog spota "Wish you wery worst" i tagujete stranicu benda i WinWinShopa, uz komentar "@OrthodoxCelts Live, 17. mart 2017. Dom Omladine Beograda. Ulaznice u prodaji @winwincomputershop", i budete među prvih 50 osoba koje će 6. februara na biletarnici DD Tickets - a, u ulici Strahinjića Bana br.22, na svom smartphone uređaju pokazati dokaz i kupiti dve ulaznice po ceni jedne. • 950 din - od utorka 7. februara do subote 11. februara • 1150 din - od 12. februara do 1. marta • 1250 din - od 2. marta do 10. marta • 1350 din - od 10. do 16. marta • 1550 din - od 17. marta

St.Patrick's Day

Prodaja ulaznica počinje u ponedeljak 6. marta, a za svoje najvernije fanove bend je pripremio i poklon - uz jednu kupljenu ulaznicu po ceni od 1.000 dinara, druga se dobija besplatno. Ovaj poklon će dobiti prvih 50 fanova koji od 9 do 17h, dođu u biletarnicu DD Ticketsa (Strahinjića Bana 22). Prethodno je potrebno da na Facebooku šeruju link sa omiljenom pesmom „Elementala“ i da se sa svog Facebook profila pridruže eventu. Nakon sprovedene akcije na biletarnici DD Ticketsa, karte će moći da se kupe i u WinWin Shop radnjama do 12. marta po ceni od 1.000 dinara, dok će nadalje, što smo bliže koncertu, cena ulaznice biti od 1.150 do 1.500 dinara. Sve informacije se mogu pratiti na facebook stranici eventa

Elemental 6. maja u Domu omladine

Nakon fenomenalnog premijernog solo nastupa u regiji, irska kantautorka Lisa Hanigan (Lisa Hannigan) se u sklopu evropske turneje u okviru koje promoviše prošlogodišnji album „At Swim“ vraća u Srbiju, ovoga puta sa bendom gde će 28. marta nastupiti u Domu omladine Beograda (Velika sala) i dan kasnije u klubu Firchie Think Tank Studio (Velika sala) u Novom Sadu sa početkom u 21h. Ulaznice se mogu kupiti od petka, 10. februara (od 10 časova), za beogradski koncert po promotivnoj ceni od 1200 (parter, ograničen kontigent!) i 1500 dinara (balkon) na prodajnim mestima Eventim-a, Gigstix-a, DD Tickets-a, kao i u Felix Shopu (TC Sremska, II sprat, radno vreme: 12 - 20h). Kada se rasprodaju promotivne ulaznice, regularna pretprodajna cena do dana koncerta iznosiće 1500 (parter) i 1800 dinara (balkon), a na sam dan za ulaznicu je potrebno izdvojiti 1800 dinara. Aktuelni singl „Undertow“ se nalazi na albumu „At Swim“, koji je do sada primio mnoštvo pozitivnih kritika. Producent albuma je Aronom Desnerom (Aaron Dessner). Album je zauzeo 24. mesto na top listi UK Charts, što je ujedno i najviši rang Lise Hannigan u Britaniji. Album At Swim je nominovan i za nagradu Irish Choice Music Prize za 2017. godinu. Nakon dvogodišnje turneje na kojoj je promovisala svoj prethodni album „Passanger“ Lisa Hanigan je započela rad na svom novom albumu „At Swim“. Kao prekretnica u radu, svakako je poziv od Arona Desnera iz benda The National i producenta Dark Was the Night. Radeći sa Desnerom i spoznajući novi duh koji je doneo život u Londonu, Lisa Hannigan je stvorila album „At Swim“ koji se delom tiče nostalgije za domom i Dablinom, ali i jubavi. Treći album „At Swim“ od samog početka i pesme „Fall“ donosi potpuno drugačiji akustični zvuk. Sa svakom novom pesmom putujemo sve dublje u magični prostor gde se gube granice između ljubavi i smrti, prošlosti i sadašnjosti, tuge i sreće. Daleko od Dablina i svoje kuće, Lisa Hanigan je album stvarala u Londonu. Udajena od sigurnog mesta, Lisa kaže da se osećala izgubljeno i uplašeno, a njeno stanje je uticalo na nove pesme koje su bile u procesu nastanka. Album su obeležile pesme poput balade „Ora“, zatim „A Prayer for the Dying“ ili „Snow“ koju je napisala zajedno sa Aronom Desnerom. Pesme koje sadrže čudne melodije pomešane sa violinom i akustičnim zvukom gitare, kao i tekstovima koji su inspirisani ličnim iskustvom, ili iskustvom bližnjih, su upravo ono što nam Lisa daje na novom albumu. Na ovom albumu Lisa je želela da pokaže više. Pesme koje je napisala su direktne, prirodne i toliko savršene da zajedno grade jednu celovitu priču, poznatiju kao „At Swim“. Ova mlada kantautorka prvobitno dospeva u žižu javnosti 2001. godine, i to kao ženski vokal uz Demijena Rajsa na njegovim najprodavanijim albumima „O“ i „9“. Svoju solo karijeru započinje 2007. godine, od kada je objavila dva studijska albuma „Sea Saw“ (2008), „Passanger“ (2011) i aktuelni „At Swim“ (2016). Sarađivala je sa mnogim poznatim muzičarima, od Reja Lamontanja do Herbija Henkoka, i osvojila je mnoge muzičke nagrade i nominacije, kako u Irskoj, tako i u Americi. Lisa pleni svojim šarmom, a njen snažni vokal ostavlja bez daha. http://www.lisahannigan.ie https://www.facebook.com/lisahannigan https://www.youtube.com/channel/UCNORKXVBYvONsojiPmS_tKQ https://www.instagram.com/lisahannigan/ https://open.spotify.com/artist/0z7Yuv7DuDQ5SaVn4VSlLt

Lisa Hannigan // Dom omladine Beograda // 28/03/2017

Posle 30 godina, Beograd će imati čast da ponovo ugosti verovatno najznačajniji i najuticajniji avangardni bend na planeti - SWANS, na svojoj poslednjoj turneji u ovom obličiju. Kako uopšte predstaviti Swans? Kako predstaviti onoga koji drži uzde ove prelepe životinje groznog temperamenta? Michael Gira (Majkl Džirâ) je muzički alhemičar: od nadljudske buke stvara melodiju; od teskobne tame stvara čoveka koji sja. Već 35 godina, neumorno. Od rastrojeno prljavog, besnog, tutnjajućeg i izrazito telesnog početka ranih osamdesetih, preko rafiniranijeg, svetlijeg, eteričnog srednjeg perioda, iz albuma u album Swans su pomerali granice muzike i praktično stvarali čitave nove žanrove. Svaki naredni korak bio je neočekivano otkrivena terra incognita, a onda, iznenada, samo godinu dana posle izdavanja klasika „Soundtracks For The Blind“ - 1997. godina, „Swans Are Dead“! Tek tako. „Pauza“ na kojoj je projekat Swans bio do 2010. godine može se tako nazvati samo uslovno. Pauza bi značila zastajanje, a tvorac ne voli da stoji i nije dangubio. Kroz solo projekte, kroz Angels Of Light i rad sa bendovima na svojoj etiketi Young God Records, manično kreativni Gira je nastavio da osvetljava nepoznato, uznevši tradiciju Dilanovskog njujorškog folka u drugu dimenziju. Svi ovi molekuli itekako su ugrađeni u savremenu Swans inkarnaciju, što je bilo potpuno jasno na povratničkom albumu „My Father Will Guide Me Up a Rope to the Sky“ (2010.), iako će se ubrzo potom novi Swans, katalizovani dugom i intenzivnom povratničkom turnejom, preobraziti u nešto sasvim drugačije... Swans zapravo nikada nisu „umrli“, prestali su da postoje samo formalno. Posle mitarenja su se samo ponovo materijalizovali pred nama, da bi nas utopili u svoju savremenu, najsoničniju do sad životnu formu. Verujem da 1997. godine niko nije pretpostavljao takav epilog. Ni tada, a ni dan danas, nije potpuno jasno kada Michael Gira uništava a kada stvara. Kako stvarajući razara i razarajući stvara. Boravak na maglovitoj granici između kreacije i destrukcije je nešto što je oduvek fasciniralo Giru i sa čim se od početka poigrava, kako muzički, tako i tekstualno. I to ni u jednom trenutku nije jasnije nego na koncertu. U nekim momentima težina zvuka pritisne vas toliko da mislite da će vam lobanja prsnuti, ili da će se sve urušiti. A onda muzika - da, to jeste muzika - zadobije tok i guta vas, kao lava. Više vas ne može zdrobiti, jer tečete zajedno sa njom, deo ste nje. Iluzija prestaje da postoji. Postoji samo zvuk. Vidljivi budu još jedino oni koji taj zvuk kanališu na bini - Gira, posednut, preznojen, ali u potpunoj kontroli svega što se dešava; drugi veteran Swans-a, Norman Westberg, koji stoji mirno sa haosom u očima, kao da potpuno visceralno, van svesne kontrole gitarom prati ostatak organizma. Neverovatni Chris Pravdica, basista i najčešći Girin muzički „sparing partner“ na bini, intenzitet nastupa ponekad je plaćao krvavim palcem. Staloženi i mračni Christoph Hahn boji finese. Phil Puelo čini kao da olujni vetar u njegovo ime kontroliše impresivni set bubnjeva, a ne on sam. Poslednja tri albuma Swans - već legendarni „The Seer“ (2012), „To Be Kind“ (2014) i finalno poglavlje – „The Glowing Man“ (2016), svi su su se začinjali i rasli uživo na koncertima tokom poslednjih 6 godina. Zato su albumi trostruki, a pesme dugačke po petnaest, dvadeset minuta. Možda bi bilo bolje nazvati ih komadima; Gira kaže da ne voli da ograničava muziku na format pesme. Uživo, one predstavljaju samo okvirne smernice - pri svakom nastupu razvijaju se u potpuno unikatnu izvedbu. „Puštam muziku da ide gde želi da ide, a kada osetim da je došla do kraja, prestajem“. Razumeti i tumačiti fenomen Swans-a i Girinog dela praktično je nemoguće bez uvida u evoluciju uživo. Čini se da su za tri i po decenije Swans prešli put od dokumentovanja zvuka napaćene, pohlepne utrobe čoveka, do detaljne deskripcije primordijalnog zvuka utrobe Zemlje, mlade, uskomešane i surove. Pritisak, vrelina, kolizije, drobljenje, sitnjenje, stapanje, kakofonija, buka, buka... Svetlost. From f***ing destruction. Novi svet. U avgustu 2016. godine na sajtu YGR pojavilo se zvanično saopštenje - let Swans-a u ovoj formaciji bliži se kraju. „The Glowing Man“ je njen poslednji album, vodič koji nas vodi do kraja i kroz naizgled neprobojni zid zvuka izvodi... Gde? Turneja 2016/2017 poslednja je prilika da to pokušate sami da odgonetnete, to i samu suštinu Swansa. Da se izložite oluji, budete uništeni i stvoreni. Gošća na koncertu biće Little Annie, talentovana i svestrana njujorška kantautorka, dugogodišnja saradnica Swans. Ulaznice u pretprodaji preko Eventima u sledećim etapama: Od 1, decembra do 1. februara RSD2400 | od 1. februara do 24. marta RSD2800 | dan koncerta RSD3200. https://en.wikipedia.org/wiki/Swans_(band) https://www.facebook.com/SwansOfficial/ https://swans.bandcamp.com/ http://www.last.fm/music/Swans http://younggodrecords.com/ https://en.wikipedia.org/wiki/Little_Annie https://www.facebook.com/littleanniesings/ http://badmusicforbadpeople.com/swans-u-beogradu/

SWANS u Beogradu

Ulaznice se mogu kupiti od danas (od 14 časova), za beogradski koncert po promotivnoj ceni od 1300 (parter, ograničen kontigent!) i 1600 dinara (balkon) na prodajnim mestima Eventim-a, Gigstix-a, DD Tickets-a, Zaokreta kao i u Felix Shopu (TC Sremska, II sprat, radno vreme: 12 - 20h). Kada se rasprodaju promotivne ulaznice, regularna pretprodajna cena do dana koncerta iznosiće 1600 (parter) i 1900 dinara (balkon), a na sam dan za ulaznicu je potrebno izdvojiti 1900 dinara. Uskoro više o bendu i novom albumu... https://wovenhandband.com/ https://www.facebook.com/wovenhandofficial/ https://www.instagram.com/wovenhandband/ https://wovenhand.bandcamp.com https://itunes.apple.com/us/artist/wovenhand/id286610498 https://open.spotify.com/artist/0dpglhdTlof5BS5LX7uJmg http://www.deezer.com/artist/132120

Wovenhand (USA) // Dom omladine Beograda // 17/05/2017

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[amusicblogyea]

I had certain expectations when I walked into the Phoenix concert theater on Friday, with Swans as the headliner I had prepared myself for a fairly loud evening. As I made it past the coat check I heard music that I wasn’t prepared for… klezmer music. Passing the stage, a large crowd basked in pale white light was gathered listening in relative silence to Xylouris White. Consisting of drummer Jim White and virtuoso Cretan laouto (lute) player George Xylouris, the the duo played a mix of jazz, psychedelia, and folk music (not just from the Balkans, but from many different traditions). With George singing intermittently, Jim White played complex but subtle drumlines while playing with his drumsticks like a baton twirler, spinning them around with flourishes of his arms with every other beat.

I found a spot between two older men near the sound booth and had started settling in when I heard a scream. Behind me someone had collapsed on the ground near the back bar. Staff rushed over but didn’t seem able to do much because a lot of the rest of the set was punctuated by cries and moans of the injured person. This added in a weird way to the atmosphere being created by the music, casting a dark cinematic spell. The screaming stopped (hopefully because the EMT’s had shown up and the person was taken to hospital) and Xylouris White finished with a softly spoken thank you as cheers erupted from the crowd, most of whom were totally unaware of the drama that had taken place behind them.

As more and more people filed into the venue the temperature went up. So to escape the heat and general oddness of the two men standing next to me (one of them had not stopped staring at the sound guy for the entirety of Xylouris White’s set) I made my way to the balcony. After a fairly fast change over, the stage went dark and a deep bass drone emanated from the speakers. As the drone continued, a tall man with long hair and a long beard began beating out a soft slow rhythm on a gong on the left side of the stage, adding a steady chugging rhythm like a train or a beating heart and harmonics that blended with the drones, thickening the sound. Getting louder and louder the sound began to pulse, adding even more to the feeling that this was someones heart beating. A drummer and keyboardist appeared, adding light symbol taps and more texture to the building crescendo. I have used the term wall of sound a lot in my reviews (to the point where I’ve stopped enjoying its use) but this was the granddaddy of them all, the great wall of sonic architecture.

After 10 minutes, Swans’ frontman Michael Gira joined his bandmates, chanting into the mic in a low baritone. It felt like I had accidentally stumbled upon a secret ritual being performed. Every time I looked at the stage I half expected them to be wearing black robes and masks over their faces. Even though the balcony was less crowded than the main floor, it was still difficult to see what was happening through the crowds of people, but the music was hypnotic, grabbing and holding your attention making it enjoyable whether you could see the band or not. With songs averaging about 15 minutes there is a lot more chance to add more parts and to explore the themes being created which is exactly what took place, with instruments like trombone, violin, and vibraphone being played by the gong player from earlier, who by 3 songs in had removed his shirt. He was dancing while playing both the vibraphone and gong that he was wedged between, holding a trombone in one hand (I later found out this impressive man’s name is Thor). The drones changed from a pulsing heartbeat into waves of sound crashing luminously onto a sonic beach and then finally slowed.

As the show finished I left thinking I had gotten to be a part of something really spectacular, even if part of me still thinks I might have joined a cult.

Swans

Xylouris White

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Photos by Benjamin Telford (bentelfordphoto) | Review by Tristan Johnston

Concert Review + Photos: Swans and Xylouris White @ The Phoenix – Toronto I had certain expectations when I walked into the Phoenix concert theater on Friday, with Swans as the headliner I had prepared myself for a fairly loud evening.

[rainingmusic]

Swans "The Seer Returns"