Tourdaten Österreich und Deutschland
17.10. AU-Wien, Arena Big Hall
21.10. Berlin, Berghain
23.10. Leipzig, Schauspiel Leipzig (w/Pharmakon)
24.10. Köln, Gebäude 9 (w/Pharmakon)
25.10. Hanover, MusikZentrum (w/Pharmakon)
27.10. Hamburg, Kampnagel (w/Pharmakon)
29.10. Dresden, Beatpol (w/Pharmakon)
30.10. Wiesbaden, Schlachthof (w/Pharmakon)
31.10. Karlsruhe, Jubez (w/Pharmakon)
01.11. München, Feierwerk (w/Pharmakon)
1 Comment
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Michael Engelbrecht:
I do often think of this latter incarnation of Swans as music that strives towards liberation. As if, having violently wrenched rock’s structures and songwriting free of many of their formal restrictions during the group’s earlier years, they’re now expelling all their physical energy to tear their music free of earthly constraints – and to bring their audience along with them. Gira’s lyrical concerns have long dealt with aspects of life that take us out of ourselves – religion, sexuality, ritual, structures of control and power, the certainty of death and fear of the beyond. On The Seer, but even more so on To Be Kind, he seems to be striving to mimic those effects, to subsume himself – and us – in music that celebrates our physicality and mortality. Certainly recent Swans shows have been among the very few rock concerts I’ve seen that have provoked sensations of being utterly lost in music alongside a few hundred others, akin to the best rave or sound system experiences. Perhaps that’s one reason why the group feel as potent now as ever, thirty years after first forming and at a time (like back then) when dividing lines are again being drawn across society to maintain a toxic status quo. That drive to create states of shared ecstasy feels like at least one small sonic riposte to austerity: Swans as a joyful collective fuck-you in the face of divide-and-rule politics.
– Rory Gibb in The Quietus