Article: Mu Zhuo
The turn of spring and summer in 1990. Swell, who has always been unheard of, intervenes in the rift of independent music in a mode that is almost impossible to replicate; since the first album of the same name, “Swell”, it has launched a long struggle between rough and moving.
1990, accompanied by mad cow disease In the shadow of panic, AIDS has become the main killer of women in their 20s and 40s; there are countless natural and man-made disasters and war rehearsals, falling apart… This is an era of compassion. In the meantime, the rift in independent music has gradually expanded. Countless independent musicians insist on using their own methods to fight against it, even if they are constantly banned and rejected by reality.
Like all new psychedelic style bands, Swell is also keen to use psychedelics and chemicals to stimulate music creation. This makes them look more like chemists or wizards, blurred and focused. In David Freel’s consciousness, the essence of music does not lie in skillful performance. A few drum beats, a few screams, or even the noisy street outside the window can be used as background music without modification, but it will definitely move people’s hearts. He is more like an alcoholic, his fascination with alcohol cannot be added. He worships the alcoholic Hemingway, and yearns for survival and death like him. During the months-long Spanish tour, he was accompanied by wine every day; the initial hallucinations and deepest feelings brought about by alcohol also inspired him to create poignant works such as “Throw the Wine” and “Everything is Cool”. Incomparable lyrics and music works. The formation of the band should be attributed to the $1,000 inheritance of the grandfather of the bricklayer of David, the soul of the band. David bought his favorite cassette recorder as he wished, and together with drummer Sean Kirkpatrick, recorded the first Lo-Fi record at home. The equipment was no more than drums, two amplifiers and a guitar. The initial cooperation was intimate, and the talented David had no reservations about his own ideas, and Sean perfected them and complemented each other. This extremely low-cost record, regardless of its lyrics or music, is vague and charming. It has a sincere and reckless sentiment that is full of lethality.
After the second album “Everything Goes Well?”, Sean left. A good band will not stand still because of anyone’s departure. The band was finally shaped as David Freel-lead guitar and vocalist, Greg Baldzikowski-electric guitar and keyboard, Doran Bastin-bass, Mat Mathews-drummer; the new psychedelic text continued, and David’s comprehensive creative ability gradually matured. Swell’s vitality, after turning around for a few rounds, is still high and moving.
If the first record is still a simple and natural production, starting from the second record, Swell is much deeper and richer, showing a broader music scene. Swell has a talented songwriting and narrative technique, free and casual, but ambiguous in the boundaries of life and art.
Freel personally thinks that the “41” launched in 1994 is one of the climaxes of his music career. The harmonious guitar, the writing of irresistible melody, and the singular skills of being hoarse and sometimes muttering are all convincing. “Stay a little longer this time/Stay a little lonely this time”, the melody of lingering swampy indulgence, in David’s sad and dramatic singing, also revealed a rare warm introspection. This record was also a turning point for the band. They broke away from Warner Bros. and became the main singer of Beggars Banquet, a subsidiary of 4AD. Since then, “Too Many Days Without Thinking” (1997), “Everything Is Good For All The Beautiful People” (1998), “Everybody Wants To Know” (2001), “Say Goodbye Whenever You Ready” (2003) Although the commercial atmosphere is growing day by day, it still does not lose its Lo-Fi character. I especially like it The song “Oh My My”, repeatedly barren, fragile and beautiful and casual, always reveals the eager and thoughtful Swell characteristics, coupled with the familiar tragic structure, but permeates the strange warmth, delicacy, sadness and gloom, more like a soft and intoxicating surrealist work.
You can use Swell’s music as a peaceful midnight lullaby, regardless of its manic roars or sleepy murmurs, you can ignore it. Just inexplicably moved and influenced by the song , I don’t know what this eve is. Unlike Gorky’s Zygotic Mynci, Alfie, Mull Historical Society and Simian, even people who don’t know anything about rock and roll can hardly refuse such a vine-like tenderness that is involved and entangled. What could be better than wandering Is it easier to get lost between rough and touching?
Yes, I like Swell. I like the desire to express without any modification, I like the obsession with the spirit of Indie, in the distant exotic style, with extensive Pure music form, charming and full.
