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Swans - The Burning World CD (album) cover




Post Rock/Math rock

3.47 | 46 ratings

From, the ultimate progressive rock music website

4 stars Well, talk about a left turn and a half, no wonder fans were disappointed when this album came out. Gone is all the noisy, angry, raw music that all the previous albums had established and developed, in its place beautiful neofolk passages, filled with light, acoustic instrumentation. While this sounds like the complete antithesis of everything Swans stands for, there is still some Swans identity to be found here in terms of just how dark everything is, each pretty moment being juxtaposed with depressive, sombre lyricism and Michael Gira's signature deep voice. I can't even say that this was really an attempt at selling out, given that the next 2 albums followed a similar, more commercial gothic rock style. This album definitely isn't as bad as many fans make it out to be either, despite the massive shift in sound.

One issue that I have with this album is the fact that quite a few of the songs do blend together at least to some extent, with many of them using similar, dark tones throughout, which I feel would become more of a problem if not for the fact that naturally, Gira is extremely well versed in effectively writing such material. Some of the best songs on the album however fall at one of the extremes of this scale, with The River that Runs with Love Won't Run Dry being much lighter, and is undoubtedly the most beautiful song on the album by a wide margin, the chorus sweeping me away effortlessly and remaining in my head for weeks at a time. On the opposite side of things, the overtly suicidal God Damn The Sun manages to be such a powerful song for how much raw emotion is put into it, dragging the listener deep into the pit of despair dug by Gira. Something else I enjoy thoroughly in this album is the exotic percussion used on tracks such as Can't Find My Way Home and Mona Lisa, Mother Earth, the latter of which is amazing, being reminiscient of the strong atmophere and pace of Dead Can Dance, albeit with less of a neoclassical tinge to it.

Jarboe's appearance on this album is quite a bit more understated here than on Children of God, although I suspect that this comes down to the fact that when she does appear, it doesn't have the stark, contrasting beauty that her songs possessed on Children of God, instead being similar to everything else on the album, just with a more fragile, ethereal voice. I don't necessarily find this a bad thing however, as she still does contribute to the overall beauty that the album possesses, although I do prefer the clear, deep male vocals overall. The only song on the album that I find to be truly weak is Saved, not for any particular reason, I just find that it lacks anything in particular to make it unique or interesting, being the most conventional song on the album by far. While this is a more conventional album overall, other points such as the progression of Jane Mary Cry One Tear or the noisier intro of See No More are what give this album a lot of its character, along with the previously mentioned powerful emotion that each song contains.

I personally find this to be an extremely underrated album, especially in the context of the rest of Swans' discography, as this is usually considered the weakest album they've ever put out. The sublime beauty and dark tone perfectly work with one another to create an album filled with memorable, impactful songs that I simply adore. While it doesn't reach the powerful ingenuity of their greatest works, I'd still say that this album so much better than what is usually given credit, and I highly recommend that you check it out if you are in the mood for something lighter sounding, yet also very dark and depressive, which is the description I think exemplifies this album.

Best tracks: The River that Runs with Love Won't Run Dry, Mona Lisa, Mother Earth, God Damn The Sun

Weakest tracks: Saved

Verdict: While this is a dramatic shift in almost everything that previous Swans sounded like, this album is definitely one that I find myself regularly returning to, being able to blend beautiful neofolk with the darkness of Swans, producing an album that while not perfect, is extremely good.

Kempokid | 4/5 |


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