Swill – We’re The Dancing Dead
Swill – We’re The Dancing Dead – Album Review
Interesting! Last time around, when I reviewed Swill’s last record Turn The Lights Back On, they instantly reminded me of hearing the fiery energy of early R.E.M., which eventually went on to audibly define the whole freakin’ Alternative genre. When I pushed play on We’re The Dancing Dead, and the opening track “Two Trains Racing” started it up – my first thought was that it was a heck of a lot closer to sounding like an update on the B-52’s vibe, who ironically, come from the exact same place on the map as R.E.M. with an entirely different sound. Swill comes from Buffalo, New York – and I’m a Canadian way over on the west coast. I don’t know anything about geography (or anything outside of music, to be clear), but it seems like Georgia would be a fair trek for the boys from Buffalo to get their influences from, so I’m gonna just chalk the whole comparison thing up to coincidence. Besides, I felt like “Two Trains Racing” goes on to display more Rock-intensive values to its DNA…it kind of becomes like one of those moments in a Foo Fighters concert where they choose to kick out the jams for a moment or two, and by the end you’re probably hearing something closer to early King’s X. So there you have it…it’s somewhere in the middle of all that…somewhere in between the stylistic strangeness that once beamed outta Athens, with a whole Rock flair thrown into the mix. They sound totally into it though, and that’s all we can ever really ask of any band we’re listening to, right? Swill came out to attack and hold nothing back on “Two Trains Racing” – it’s a solid opening cut that still gives them plenty of room and opportunity to expand the album in any direction they wanna, which they will indeed go on to do.
From what I understand, “Anxiety” is the track that’s been put out there as the official advance single from We’re The Dancing Dead. In fact, if you look way, way down, just below this very paragraph, you’ll probably see evidence of that, because I’ll embed that for ya so you can have a listen for yourself. All I’m gonna do here is blah blabbity blah a bunch of words & stuff anyhow…and if our recent site numbers are any indication, you’re all tired of me doin’ that anyway – so click play and have a listen, it’ll speak much stronger about Swill than anything I could tell ya! I’ll say this much…it’s a unique choice to make for a single…kind of surprising in many ways, and likely further proof that the band’s favorite song to go with as that choice is never usually the same as what the fans hear. That’s not me saying “Anxiety” isn’t a good tune – it is – but it is me saying that the way it moves, the structure, and the hooks aren’t what you usually find in the realm of what we typically regard as ‘singles’ – that’s what I mean. Doesn’t mean that it can’t work…anything is possible, but…I think it’s fair to say that “Anxiety” is more of a challenge to the masses than they might realize. It’s actually got a bit of a Post Punk thread to it if I’m being real with ya, which I dig…kind of reminds me of stuff you’d hear in Interpol or the Editors, but with this like, throwback vibe to it as well that’s a lot more like a harder version of something like Men At Work too. I do think that you get really strong musical hooks in this track…the guitar is fantastic, the drums are really stellar & crisp in this cut too…so yeah…don’t get me wrong, good song, just a bit of a stranger choice in the context of it being a single & the gateway into We’re The Dancing Dead than you might have been expecting to find. I can say with confidence that with every spin I put into this song, I felt like I liked it more than the time before…ultimately, that tells me they actually made a wise choice in putting “Anxiety” out as a single. There’s something here for sure…I really LOVE the guitars in this track. Overall you can really hear that Swill put truly remarkable detail into this song to make it constantly engaging. Now prove it to yourself by clicking play below!
Yaaaaaaaaaaar. Look…the last thing I’m gonna tell ya is that “The Dancing Dead” doesn’t work – it does. I AM gonna be THAT guy though, and tell ya that any song telling me to, recommending, or even slightly hinting that I should dance SHOULD be out of contention for my affections, full stop. That being said, I feel like I get what Swill was going for on “The Dancing Dead,” and to be honest with ya, I feel like they absolutely nailed their intentions spot-on. Like, I’m not gonna lie to ya…I’ve got next to no use for the verses in this tune, and I STILL feel like they got this track perfectly dialed in. If YOU love what you hear in that part, you’ll get nothing but a high-five from me as you’re on your way to the dancefloor. Which is an obvious given…you’d definitely be the dancing type if you dig the verses in this track…but what actually has ME onboard with “The Dancing Dead” is the catchy chorus; it’s freakishly brilliant & sounds awesome…love the melody, love the vocals, and I even love the vibe of this cut at that specific part of the song. The guitar solo is completely stellar too, and the potential for this track is HUGE if I’m being completely real with ya. Time is of the essence though Swill, as they say – I don’t know if they’ve got the time to get a video together for “The Dancing Dead” in time for Halloween, but that is THE perfect time for this song to really start circulating…dancing skeletons & pumpkins & all that stuff…get’er done boys.
“Cold” is arguably much more my speed. I’d still tell ya that the chorus of “The Dancing Dead” is likely one of the most universal hooks you’ll find in any corner of this album, but “Cold” still has plenty to offer, even with a much more low-key energy to it. For myself personally, I think there’s a great argument to be made that they out-wrote themselves in this track, and that the verses come out as the main highlight in this particular tune. I don’t mind the rest at all, I’m just saying that the main strength to me in “Cold” is actually its most delicate moments. Look…I’ll be real with ya…Swill clearly wants to rock and rock at all times if they have the opportunity to do so…but I wouldn’t shy away from locking into the slower jams either if I was them, they prove they’re more than capable of making that work when the moment calls for it on “Cold.” Excellent vocals in this tune as well…the whole band sounds really invested in the songs on this record, and I feel like that’s something you can really hear in the results. You’d think that’d be a given on any album but I can assure you that it ain’t. Their confidence remains high no matter what kind of vibe they’ve got or gear they’re playing in on any track, and that seriously matters. The quality remains consistent from song to song because of that. “Cold” is likely still going to be relegated to being one of the ‘deeper cuts’ on this record in comparison to so many of the songs that will instantly grab people listening, but this will be one of the cuts that brings them back for another spin, knowing the material beyond the obvious singles has real meat on the bone. They are rockin’ with fairly long tunes…”Cold” tops the six-minute mark, and I feel like there’s probably a lot of folks out there that would tell’em this is a four-minute tune at max…but I like how they used their time.
Versatility. It can be your biggest asset, and it can also be your biggest obstacle. There’s also never any way to tell which of those things it’ll be, so all you can do is commit to the moment and what the song is calling out for, and I feel like Swill does a solid job of that. Would I have tossed “Alive?” Yeah, probably. Doesn’t mean you won’t like, or love it – that’s still well within the realm of possibility. “Alive” has the band sounding closer to something you’d find in Bachman-Turner Overdrive or The Cars…maybe even a splash of The Headstones in the more stripped-down spots of this particular track. It’s an amplifiers UP type of tune…quick pace…high energy…all that stuff that audiences tend to love. And if I just confessed to “Cold” being more towards my type of tune…well…I suppose that alone would tell you how much I’d be into a song that’s pretty much its polar opposite, right? I dig the spirit and sentiment of “Alive” – how about that? I think a lot of people out there listening will appreciate where they’re coming from & relate to this song’s whole carpe diem attitude…it’s about livin’ LIFE y’all…there’s sound advice found within this tune. “Embrace the chaos/ride the storm” y’all – I’ve got lots of love for sentiment like that!
“I just need a little honesty.” Okay then – “Cagey” is alright! Ask and ye shall receive Swill, always. All kidding aside though, I don’t know how I really feel about “Cagey” and definitely felt like the pinch point on this record was smack dab in its middle. I had a tougher time with “Alive” and “Cagey” coming at me back-to-back, but I’d personally side with the latter as being the better of the two songs if push came to shove. Similar to “Anxiety” in the sense that I felt like “Cagey” grew on me the more I heard it – I really love the way they shift so seamlessly into the chorus of this song. On paper, I’d tell ya there’s not enough to the hooks if I’m being truthful with ya, but hearing the way that they pull it off when playing it kind of shows that they beat the odds with this track. The stuttered movements in the verse end up becoming a great contrast to the way the chorus flows…so it’s like, you end up with this retroactive appreciation for “Cagey” – everything ultimately serves a purpose in where it’s placed & how it’s played, and I fully respect that. I don’t think that necessarily translates to a less challenging tune for the masses to enjoy…but…I do feel like once they hit that chorus of “Cagey,” Swill should be on solid ground from there on with most folks listening. Stand-out highlights from the backing vocals, in the guitar solo, the relentless tightness & communication in the rhythm section…all-in-all, “Cagey” actually speaks very strong on behalf of the way Swill plays together on such a unified front. What it might not have in an immediately accessible vibe, it makes up for in an impressive display of chops all musicians would dig on.
Is it just me, or are there a couple of noticeable nods to Bowie found in this album? I feel like the Thin White Duke’s spirit is practically hovering above “Inner Universe” in many ways…and I feel like they made a point of singing “let’s dance” in a really pronounced way on “The Dancing Dead” earlier on too. Maybe that’s just way I’m hearing it…maybe it was on purpose…maybe it’s completely coincidental – you’ll have to ask the gentlemen of Swill for their official answer. I really enjoyed the atmospheric way that “Inner Universe” starts though, and I personally dig that the lyricism/concept reflects that as well. Hearing the way they punch into the hooks of the chorus was also really potent and a powerful moment for the band…there is a lot of craftsmanship and art in a track like “Inner Universe.” I know for myself personally, that almost always equates to a song I’ll likely gravitate towards over something with easy to digest hooks & sing-along anthems…but I’d obviously tell ya I’m in the minority in that respect. Any time you can hear the art in a song, you can safely bet that the masses are less likely to come along for the ride, but we can always hold out some hope that listeners will somehow hear the same things we do. Swill clearly put in a lot of thought and effort into the writing of “Inner Universe” in a different way than they seem to on the others. It’s very fair to say that they always bring their best to what they create, but I feel like “Inner Universe” is the kind of song where everyone will really stop and take notice of that fact for a hot minute or two…the kind of track where they leave you with no other choice but to sit back & admire what they accomplished based on everything that you hear. Mesmerizing in all the right ways.
“Be Careful What You Wish For” is a solid example of a track I feel like I might not normally dig on, but successfully beat the odds of my personal taste. It’s fun! I tend to resist fun and upbeat vibes having grown up on The Cure and all, but yeah…there’s something special about the way that Swill is able to commit to the moment and connect with their music. You wanna cheer for these dudes when it comes right down to it I think, and songs like “Be Careful What You Wish For” make that task super easy to do. Look at it this way – “Be Careful What You Wish For” is merely one Billie Joe Armstrong away from completely being a Green Day tune – that’s pretty close! And that’s not to say I think Swill needed that in the vocals – I like what I hear on the mic in this tune – it’s more of a comment on how close the Pop/Punk energy is to something you’d hear from America’s most notorious punksters. Swill really has their melodies locked in on this record and wisely lean into that strength whenever the occasion arises. Again, I think they deserve a lot of credit…ain’t no weak points in any corner of this band, and you can hear how each player in Swill brings something crucial to make them greater together than they would be apart. The energy of “Be Careful What You Wish For” is genuinely enticing – they seem to be having a great time playing this song, and I feel like their interest is paramount to generating ours as we listen.
Even on a song like “Demons” that I felt like I could take or leave more or less, they still seem to play it like their lives depend on it, and that truly has an effect on us. Like I implied earlier, we want Swill to succeed in what they do…and it’s largely because they’ve played this record with such commitment that you can’t help but go to bat for them almost regardless of the results in whether you like something or not. Don’t get it twisted – there are plenty of moments in “Demons” that I do really enjoy – but I feel like most of them in this particular case are found directly in the music itself. Vocally, it’s still a job well done, but it’s a bit too close of a match with the music for my own personal taste is all. You know how some songs have vocal melodies that ride on the same wave as the music does? I guess that’s how I felt like “Demons” came out in my opinion, and I’m of the mind that if you’re already saying something through the music, the vocals should be more inclined & inspired to find their own lane. Of course, I can’t deny that a close match between music and vocals always seems to fit – that’s certainly true – I’m speaking more on what I prefer is all…and I don’t really expect them, or you, to necessarily agree with me. I mean…feel free to write your own reviews y’all – you don’t have to simply go with mine! Anyhow – LISTEN to these dudes burn down the barn around the 2:30 mark will ya? THAT is the REAL magic dear readers, dear friends…and for nearly the next minute or so, Swill goes on to slay this track with some of the most fired-up, intense, and straight-up magnificent instrumentation you’ll find on this entire album. So take that haters! I ain’t saying there aren’t plenty of redeeming characteristics on “Demons” that get me onboard here…I never skipped it as I was listening, and what’s great about it is REALLY great about it.
Solid ending with “Great Expectations” as they ramp up the finale of We’re The Dancing Dead to finish it off in style. Almost a bit more in the vein of something you’d find in the Queens Of The Stone Age catalog – you gotta love how many different bands that Swill will remind you of as you listen to this album. Like I said, it’s a little hard to say how such versatility will go for them when it comes to judgement in the court of public opinion, but I’d imagine most folks out there will at least have to readily acknowledge this kind of album possesses something for everyone. The music has been a real highlight in the final two tracks from my perspective…and if I was in Swill, I would definitely never shy away from pulling that card out whenever they see fit. They’re clearly blessed with a great singer, but it has been equally impressive to hear the band rise to the occasion when called upon in the more instrumentally-based sections of songs. When you hear them switch it up halfway through “Great Expectations” to go all-instrumental to the end, you gotta admire the ambition of doing that, the confidence it takes to give their singer a break knowing they can handle their business & be just as entertaining, and the freakin’ results y’all. Every time I spun this song, by the end of “Great Expectations” I was convinced this song easily belonged in the top three you’ll find on We’re The Dancing Dead. It’s a stunning example of how to go about making a six minute song that doesn’t at all feel like six minutes, you know what I mean? I really feel like they made one of the smartest calls they could have made by flipping the switch to take the last half of this song into its all-instrumental terrain…it really creates an exciting and conclusive finale, and you know that it’s something that Swill can take directly to the stage to wow you even more.
Awesome to hear these guys thriving like they are. Find out more about Swill from their pages below!
Official Website: https://swillband.com
Facebook: https://www.facebook.com/BuffaloNYSwill
Instagram: https://www.instagram.com/swill_band_buffalo
X: https://x.com/buffalonyswill
YouTube: https://www.youtube.com/@swillband
ReverbNation: https://www.reverbnation.com/swill
Spotify: https://open.spotify.com/artist/675UZETDKKSzwhTgluuojS
Bandcamp: https://swillband.bandcamp.com
Soundcloud: https://soundcloud.com/swillband
Apple Music: https://music.apple.com/us/artist/swill/1759233040
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