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The Great Annihilator

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The Great Annihilator album cover
01
In
2:27 $0.99
02
I Am The Sun
3:23 $0.99
03
She Lives
7:01 $0.99
04
Celebrity Lifestyle
4:10 $0.99
05
Mother/Father
4:07 $0.99
06
Blood Promise
4:15 $0.99
07
Mind/Body/Light/Sound
4:52 $0.99
08
My Buried Child
2:58 $0.99
09
Warm
4:54 $0.99
10
Alcohol The Seed
3:29 $0.99
11
Killing For Company
6:55 $0.99
12
Mother's Milk
2:26 $0.99
13
Where Does A Body End?
3:42 $0.99
14
Telepathy
6:11 $0.99
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The Great Annihilator
4:53 $0.99
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Out
2:13 $0.99
17
I Am The Sun (Live At The Flesh Club)
5:47 $0.99
Album Information
EDITOR'S PICK

Total Tracks: 17   Total Length: 73:43

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eMusic Review 0

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Philip Sherburne

eMusic Contributor

Philip Sherburne has been writing about music in print and online since the late '90s, with a focus on electronic music (for dancing and otherwise). A native of...more »

11.27.11
Wrapping up Swans' history and strengths into one totalizing package
Label: Young God Records / Revolver

After White Light and Love of Life, Swans had found their groove, and The Great Annihilator, their ninth studio album, promises more of the same – only grander, more sumptuous, more enthralling. You have to marvel over the fact that a band this intense, with its share of label difficulties, could turn out nine albums (not counting EPs and side projects) in a dozen years – and could keep subtly reinventing itself without losing its core. In many ways, the way The Great Annihilator wraps up Swans’ history and strengths into one totalizing package presages 2012′s The Seer, a similarly all-encompassing work. Part of the quintessential Swans-ness of the album probably stems from the fact that, after a period of shifting personnel, the band refocused on a core lineup including longtime members Algis Kizys (bass), Ted Parsons (drums), and Norman Westberg (electric guitar), who imbue the album with its sinewy, muscular movement. Guitarists Clinton Steele and Bill Rieflin round out the group’s rippling waves of guitars, with both Rieflin and Michael Gira using 12-string acoustics to ignite the furthest corners of the spectrum, where they shimmer like fireworks.

While they occasionally take a step back into softer, gentler material in the… read more »

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Icon: Michael Gira

By Philip Sherburne, eMusic Contributor

When Swans released their album The Seer in 2012, it was cause for celebration on several counts. For one thing, no one had ever expected them to return after they disbanded in 1997, so their comeback two years prior was alarming to say the least. But The Seer also marked an incredible 30 years of Swans' projects (minus the 13 that Michael Gira, the group's driving force, took off to pursue different directions with his… more »

They Say All Music Guide

After a three-year break occasioned in part by wrangles with the Sky label, Swans returned in 1995 with a vengeance, as always pursuing their unique muse of dramatic, ever-more textured music. Gira and Jarboe work with a fantastic core band this time out, including returning veteran Westberg, who trades off guitar duties with Steele, at points playing together with him, a magnificent combination. Other returning musicians include Kizys and Parsons, while newer players like drummer Bill Rieflin from the Chicago Wax Trax! circle join as well. As is par for the course by now, Swans seem incapable of producing a bad album, Annihilator being crammed full of astonishing songs to prove it. Everything’s a little more stripped-down here, possibly due to having a central band, but it’s still all very lushly arranged and created, perfectly balancing force and restraint. Leadoff single “Celebrity Lifestyle” is one of the catchiest things the band has ever done, but it’s still uniquely Swans — a minimal, throbbing song matched with a sharp lyric on starlust and what it might mean. “I Am the Sun” pounds as hard as any early Swans track, but the use of careful space between blasts, Gira’s heavily echoed, out-of-nowhere vocal (accentuated by equally vivid background vocals from Jarboe), and tempo shifts clearly demonstrates the constantly evolving nature of Swans music; the band is never content to simply repeat the past. Jarboe’s own standout tracks include “Mother/Father,” a brawling number showcasing both her and the band at their full-on best, and “My Buried Child,” with her softly husked take on a terrifying Gira lyric, which is carried by a roiling rhythm. This is followed immediately by the sweeping, cinematic “Warm,” where she contributes wordless vocals. Once again, Swans have created an epic, incredible work of art. – Ned Raggett

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