The Swords Project: Entertainment Is Over If You Want It

There are numerous (what I like to call) “gray zones” in music. There are those who may alternatively tag these zones as “experimental-X” or “post-X”, but the definitions are synonymous: they pertain to musical output that straddles established musical genres. For want of categorization, the Swords Project’s background hails from rock music, but they have an ardent interest in electronic music. Since electronic music is considered progressive to rock music, logically the band — like it or not — falls loosely under categorization as experimental rock. Arguably the first influential band to run this particular course was Radiohead, with followers in Mogwai and Godspeed You Black Emperor. Their output considered, the Swords Project have mutated a different strain that takes pains to step outside this category with a gentler, more subtle approach that focuses on musical aesthetics rather than an antagonized experimental forced departure.

Entertainment Is Over If You Want It is the Swords Project‘s first LP, following their self-titled EP released in 2001. The Swords Project, while legally an LP, though released as an EP, is an outstanding debut from the Portland-based band. Comprising guitar, bass, drum kits, clarinet, violin, electric and acoustic piano, add a dash of electronics and give it a stir, the end result is an aural wash of warm fuzzy moods and shades of all colors pastel. Take into account the frolicking unicorns on the all too pink cover and you’re more likely to think stoned ponies than projecting swords. While the EP is complex in texture and smooth in sound, Entertainment Is Over If You Want It is more melodic by nature and diverse in ambience. It stands as a worthy successor, with clearer ideas and better sound coordination.

The first track, untitled and lasting a mere 90 seconds, is a mesh of soft, warbling electronic sounds that conjure up images of swimming underwater with friendly fish and leafy seaweed. A pedal blends it almost imperceptibly into the second track, “City Life”, where the washy, muted sounds continue and are then interrupted by the introduction of a short, six-note, repetitive bass motif, fragmented electric guitar picking, and disjointed vocal loops. It sounds a lot like a pre-concert warm-up. The pulse picks up with some jagged electronic noises and drums, and the tension builds and releases as the music explodes with vocals.

A word on the vocals. The Swords Project EP is mostly instrumental with limited vocals that, when present, serve the function of another instrumental line. The vocals are more audible on Entertainment Is Over If You Want It, though no more significant. Bassist Corey Ficken’s voice hardly stands out and the words are mostly indiscernible. In the end, it’s all a blur that does nothing more than add to the dreamy consistency. The vocal line seems to be in a state of transition and unsure of its place, while the other instruments by now appear comfortable and confident in their roles. Guitarists Jeffrey Gardner and Ryan Stowe have evidently developed a tight dynamic. It will be interesting to see how the vocals shape up on the next album. Whether they do or whether they are shipped out entirely is fine, but it’s clear that they need to find a place.

“Audience of One” is an impressively drawn out track lasting over 10 minutes with more thematic continuity than the others. Following its own devices, it wanders from theme to theme with no apparent goal in mind. This is one of the tracks on the album where you can clearly hear the straddle between the musical genres due to the layers of textures that are piled on one another. There are sections of steady drum bass with short guitar riffs, topped by a layer of violin, and a sprinkling of blips provided by the Rhodes. The tempo flits between themes and the best thing you can do is close your eyes and let it all wash over you. The album closes with “New Shapes”, another exceptional, wandering track with a heavier drum and guitar presence, and woolly vocal sounds that dictate the melody.

If there is a criticism to be made, it’s that when all is said and done, this barely leaves an aftertaste. The album lacks a strong identity track such as “Shannon’s Wedding Song”, from the EP. You’ll get the most out of this album as you’re listening to it and then the only criticism left to make is that it stands at a mere 42 minutes long.