The Last Mixed Tape reviews Tidal Waves, the sophomore studio album from alternative-pop outfit Swords.
There’s a haze that lies upon the music of Tidal Waves. An album glistening with icy atmosphere, Swords second full-length record is one of deep electronic atmospherics wrapped in real emotion.
As a piece Tidal Waves centres itself around the past, regret, and dark reaction. Indeed, the inner contrasts that make the album work can best be seen in the fuzz-laden snarl of ‘Betty Machete’ and the chiming gentle shimmer of ‘The Letter’. Two very different songs, surrounded in the same production and occupying the same record, these stand-out tracks carry across the deep-seated emotion that characterizes Tidal Waves, but in two contrasting ways.
In this way Tidal Waves sounds and feels like a far more thematic record than its predecessor Lions & Gold. Concerning themselves with building a larger experience, Swords leave songs like ‘Sixty Thousand Years’ room to breathe, in order for the larger swells of texture that the band are capable of (see:’Battle’) have more of an impact. Meaning the group’s sophomore is one big moving piece, rather than a selection of individual singles, and benfits from being listened to as such.
A emotionally meloncholic album, Tidal Waves finds Swords looking to create a bigger picture musically. And with its atmosheric production and the trio’s emotive songwriting the record does just that and more besides.
Tidal Waves by Swords is out now.
The Last Mixed Tape: Irish-indie blog run by music critic Stephen White.