May 2013 | New Baltic Single "Green Girl" and b-side "Demise"
Recorded and produced by Eric Halborg
Dragondeer is recording their debut EP in the Spring of 2013 for LGL RECORDS. Until then check out some more music and video from the boys HERE
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The Swayback’s sound is a mix of blues swagger and early punk bite that’s cut some with art-school gloom. Their revved-up live performances have led them to share the stage with such diverse bands as: Gang of Four, Girls, The Raveonettes, Dead Meadow, Dum Dum Girls, Portugal. The Man, Akron/Family, Yeah Yeah Yeahs, Swervedriver, Hold Steady, Cage The Elephant, and A Place to Bury Strangers.
Swayback’s new record Double Four Time was recorded with legendary British producer Andy Johns (Television, Rolling Stones, Led Zeppelin) and is out on LGL Records
Double Four Time was honored in Denver Westword's Best of Denver 2013 issue as the "Best New Recording 2013" here's what they had to say bout it:
“Few bands put out their strongest album ten years into their career. But that’s what happened when the Swayback released Double Four Time. Not only is the album an artistic leap forward for this already noteworthy band, but it sounds like a complete reinvention that incorporates what the group has been developing over the past few years. A diverse yet coherent collection of bluesy, psychedelically tinged post-punk, Double Four Time works through some heavy emotional territory with a rare grace, power and sensitivity. “St. Francis” sounds like a murder ballad as performed through the lens of Lee Hazlewood, while “Steamrolling” sounds like some boogie-rock song of old. Even the reworking and re-recording of older songs like “Die Finks” and “What a Pity Now” are imbued with an energized spirit. A startlingly bold and confident rock-and-roll album.”
“Sinister and seductive, the Swayback’s sound – Eric Halborg’s throbbing bass and vampiric croon, Martijn Bolster’s taut rhythms, the brooding guitar of William Murphy-recalls the Velvet Underground if they were forced to share a jail cell with a codeine-addled Danzig and fed a steady diet of Factory Record remixes.” – SPIN MAGAZINE
“Rock music is a lot like a cup of coffee: Some like it as strong as The Stooges, or dark like Joy Division. The Swayback takes it both ways-usually at the same time.” THE ONION
“Coming out of Denver the Swayback is a scene unto itself. The band loves to spike its ’60s-style guitar rave-ups with ’70s stoner rock and ’80s Brit pop” BOSTON HERALD
…or as Swayback's friend Brendan deftly observed:
“The Swayback has been voted Denver’s best rock band three years in a row by the readers of the Denver Westword. Their songs play regularly on the hit USA show Burn Notice. They’ve been featured in Spin, they’ve shared stages with Gang Of Four, Girls, Portugal the Man, and Yeah Yeah Yeahs to name a few. Last summer they even played at Red Rocks. Not bad for a quartet of Denver punks that are collectively one part avant garde art project and one part grimy excuse to lurk around in creepy places and do questionable things.
The Swayback’s new record, Double Four Time is apparently named after a fictional dive where the patrons dance to some pretty weird music. And if the tracks on the album are any indication of the playlist at the Double Four Time, they have eclectic tastes indeed. It’s not classic rock exactly. It’s not punk. It’s not psychedelic. It’s got a hips swinging blues deal going on, but it’s not blues. It’s too unabashed and swaggery to be called hipster music or indie rock but if you were sitting around, sniffing glue and attempting to describe The Swayback’s sound on Double Four Time to your buddy and you used any of the above words, you wouldn’t be totally wrong.
The first, weirdly accurate antecedent that comes to mind is Mudhoney if they were into the kinds of drugs that warlocks do, capes, and other dark, dark things, though that’s not entirely right because The Swayback is way more indebted to Manchester sounds than Mudhoney ever was. Let’s try something else here. Think Morrisey with a giant nutsack fucked up on some kind of cough suppressant and obsessed with thick, goopy sounds, channeling the bombast of the Cult on a great day or Danzig after a particularly sweet morning at home with his kittens listening to the Stones. Vocalist and bassist Eric Halborg’s voice has been called ‘vampiric’ before, and that’s still the case on Double Four Time. Carl Sorensen’s drums pound frantically then pull back to the point of almost vanishing, complimenting Bill Murphy and Adam Tymn’s guitar work, which is alternately restrained and batshit crazy, slopping up the place with licks that sound like they’d get your sister pregnant from the next room over one minute and then tastefully accenting a laid back, ambient mood the next.
In fact, the entire Double Four Time world somehow hearkens back to a more dangerous, bygone era of rock and roll while still having one foot squarely planted in the future. Maybe that’s because some of the record was recorded and produced by Andy Johns (the dude that recorded fucking Exile on Main St., Marquee Moon, and all the Zeppelin albums after 1, for fucks sake!) and some of it was done with Jason Livermore at Black Flag/Decendents drummer Bill Stevenson’s Blasting Room (Rise Against , Lemonheads, Gaslight Anthem). It’s a dash from the old school and a sprinkle of the new school. The results are some pretty assured back and forths through time and style that would make Doc Brown shit his pants.
All in all, the Double Four Time seems to be a spot where four pretty out-there dudes lurk around and spin creepy yarns about death and love and the death of love in a fragmented style with just enough disparate influence to be fresh without being schizophrenic or grating. Ten years in, The Swayback remains an uncompromising band that’s not afraid to be uncool or exasperating in their delivery, and that’s precisely what makes them such a breath of fresh air in these smoky hallowed halls of hipster perfection and meticulously planned sloppiness. Though The Swayback dudes wouldn’t ever say this themselves, in Double Four Time, they’ve made the Rosetta stone of a record that effortlessly joins classic rock, sludge, punk and indie into a monolithic Voltron of an album that will have your weird uncle and your hip little shithead nephew finally agreeing on something for a change.
So when you see The Swayback on the road in support of Double Four Time, come out, take a couple of shots of Robutussin, melt in and enjoy the ride. In the words of The Swayback “if you wanna lick the master clean, get yourself down to Double Four Time, queen.”
Yeah, I don’t know. That’s really what it says.”
– Brendan Kelly | The Lawrence Arms
Swayback Relases a New Single "These Thieving Ways"
The band has made the song free to download on their Bandcamp page.
After releasing their new full length record Double Four Time this July, The Swayback was so loving the recording process with new drummer Carl Sorensen that they jumped back into Silo Sound Studio with Jeff Kanan and recorded a new song titled "These Thieving Ways" in August. The song is available on the band's Bandcamp page free for all to download. We don't want your email address, we don't want you to pay for it. Have a listen...and have at it if you dig it.
DOWNLOAD "THESE THIEVING WAYS" FOR FREE VIA BANDCAMP HEREAbout "These Thieving Ways"
Swayback's singer and bassist Eric Halborg says: "I've been thinking about songs as if they were mantras or protective spells lately. You sing them over and over again and I want the words to protect me in a way, ward off other's nastiness and my own as well...These Thieving Ways speaks to that; it's about ridding yourself of habits, patterns, and people that keep you from living free."
THE ESSENTIAL JOY SUBTRACTION
The subtraction of joy. It’s not a new concept—individuals and organizations have been engaging in it for as long as there have been individuals and organizations. Some notable practitioners include the U.S. Congress, girlfriends and wives, Mel Gibson, anyone who thinks Ayn Rand had good ideas, Jonathan Franzen, Nazis, Gwen Stefani, every chamber of commerce, and Ted Nugent. But there is an entity that has made the practice a fine art, elevated it to a level higher than Mount Olympus. Because it’s one thing to subtract joy—anyone can do that. But that is merely one tine of a forked tongue. That’s just nihilism. There’s no greater purpose being served. The trick is to subtract the joy of others while maximizing one’s own pleasure. That’s when JOY SUBTRACTION can become art.
It didn’t start out that way. The band had noble intentions. “It began as a vehicle to transmit the plight of the oppressed, a sort of electric clarion call, if you will,” says one of the members. “But then my wife got this killer corporate gig as an attorney, so now we find that our interests often conflict with those of the oppressed. It’s really hard for us. On the one hand, you want to care, but, on the other, you don’t want to lose any money. So I’m still finding my artistic voice. This country has been so bad to so many people, but it’s been so good to me and my family that I’m tending to look the other way. We’ll see what shakes out.” Of course, what started as looking the other way inevitably became the active dismaying of those around him, and that ethos soon became the modus operandi of the entire band.
Regarding the music, Joy Subtraction sounds like whatever you hate; whatever makes you feel ugly and insecure; whatever garnishes your wages. Do you like Radiohead? Joy Subtraction sounds like the exact opposite of Radiohead. Do you hate Black Flag, Burning Brides, NoMeansNo, Future of the Left, and The Beatles? Good—because Joy Subtraction kind of sounds like all of those bands rolled into one. Except way better.
Regarding your feelings, ha ha ha ha ha. Do you want things to work out for humankind? Joy Subtraction is here to tell you they won’t. Do you like good times and great oldies? Joy Subtraction likes the day the music died. Do you think Jesus wants you to be rich and successful, white and thin? JS is here to tell you he doesn’t. He wants you to be killed and eaten by poor people.
Do you want math with your metal? Steam with your punk? Psycho with your billy? Stoner with your rock? Art with your house? Hip with your hop? Power with your pop? Alt with your country? Hard with your core? Shoe with your gazing? Well, piss off—you’ll get whatever gruel JS decides to sling your way. Lap it up, lapdog.
Do you think glittering prizes and endless compromises shatter the illusion of integrity? Of course you don’t—you’re American. Well, so is Joy Subtraction. That and greed are the only things you both have in common. But it’s enough, isn’t it? So break out your mom’s wallet and buy their music. Do it for capitalism. Do it for American especialism. Do it before your mom loses her job. Do it before we all go up in flames. Because, as Joy Subtraction will be the first to tell you, the firestorm’s coming. It’s on its way now. Feel the heat? You will.
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"The three members of the Baltic — all 15 and living in the Mile High vicinity — are making loud-as-hell shoegaze and power pop that blows the doors off records being put out by people of twice their age and experience. Though drummer Graham Epstein’s dad was the publicist for IRS Records in its ’80s heyday, the trio (rounded out by guitarist Jose Chalit and frontman/guitarist Adam Dankowski) draws inspiration from fuzzed out UK outfits like Chapterhouse and Ride, with a bit of punk energy thrown in. The band’s debut single (Easter Island) — was recorded, engineered and produced by the Swayback’s Eric Halborg and released on Halborg’s label, LGL Records." - Denver Post