Swans – Birthing (Album Review)

Michael Gira announced that Birthing would be Swans final album.

Traduit en français via Daily Rock.

I want, first and foremost, to thank Young God Records for trusting me to share my humble perspective on the record. Birthing is definitely one of my top albums of 2025. It’s been on repeat, and I truly believe anyone who hasn’t listened to it yet is missing out big time. Also on WherePostRockDwells

Gira mentioned: “This album, coupled with the recent live release, Live Rope, constitutes my final foray (as producer / impresario) into the all-consuming sound worlds that have been my obsession for years. We’ll do a final tour in this mode towards the end of 2025, then that’s it.”

Fair warning: it’s a long review—but I hope you enjoy it!

THE HEALERS:
The song begins with a soundscape that reminds me of female chants, but then morphs into something between a synth and a trumpet. Confusion is already part of the experience, but it’s only the slow beginning—every second pulling you in—because it absolutely needs to exist. There’s tension right from the start, a perfect match for that hypnotic element that defines Swans so deeply.

It’s a promising beginning—one that moves me in a way Swans never had before. The 21-minute mammoth opener holds me in suspense for the first 8 minutes (that feel like 8 hours) before noisy elements finally kick in, dragging me into their immersive universe. But it’s not just about the music… it’s intentional, and I feel it. I’m living it. And I’m thirsty to understand—to swallow what Michael wants me to ingest—because I know it runs deep. It always has with Swans, and even more so now, knowing this is their final artistic breath.

The noise sanctuary continues, layers upon layers piling up. The final stretch of this first piece caught me by surprise—a noisy shift after a long, bass-driven middle section. It’s definitely more disturbing than the usual transcendent Swans… like Glenn Branca came back to life for a moment… and then STOP.

“Every night I bend my knees
I pray for you to comfort me
I pray for you to clean my eyes
I pray for you to wash my mind”

Then comes a drum blow like I’ve never heard before. It’s not LOUD—it’s just shocking, as if we’re at war and bombs are being dropped within a symphony of soundscapes. At first, I thought of Jessica Moss from GY!BE, but I was surprised to realize there’s no cello or orchestration on this album. Maybe it’s an unusual blend of instruments that I don’t hear often—Taishogoto, Mellotron, vibraphone?

“I Am a Tower” is no less of a voyage on its own, but it offers a brighter musical landscape. It feels like being on a carousel at an amusement park—it’s almost childlike. Then, a dog barks. Definitely not something I expected. Is it a moment of let go? Or of innocence?

The third track, the title track—“Birthing”—starts in a similarly dreamy universe, like I Am a Tower, but the noise creeps in earlier in the mix. Another 20-minute+ masterpiece that musically reminds me a bit of GY!BE’s Mladic, even if it remains fully grounded in Swans’ grandeur.

The song eventually returns to a calm, dreamy harmony. And, almost humorously, in all that calm, the lyrics declare: “Pay attention, motherfuckers”, just before the track explodes once again with hypnotic strikes and an accelerating tempo that creates real discomfort. That must be incredible to witness live.

“Red Yellow” feels like the “baby” of the album—only 7 minutes long—but it maintains the same contrast of calm and chaos. What I loved most was the blend of male and female voices. Jennifer Gira, Laura Carbone, and Lucy Kruger contribute background vocals on the album and they do a tremendous job.

“Guardian Spirit” follows, and it feels tenser—as if Gira’s chants are no longer enough. He needs to scream. The intent to communicate something urgent is powerful—like something deep needs to be pulled out.

“Down under my gaze, your freedom is fake
Your name is replaced, your mirror is my face
In my universe, your prayer is my curse
The question is what? What? The answer is worse (Worse, worse, worse)”

Is he talking to himself? That’s how it sounds to me.

Then “The Merch” begins: “I love you mommy”

An intro that leads into nearly a minute of what may sound like carbine gunshots—deeply unsettling—followed by a bassline reminiscent of Jaws’ soundtrack, combined with a wildly deconstructed drum pattern and strangely, a man whistling. It sounds like someone chasing a child.

It’s one of the oddest songs I’ve ever heard—and I mean that in a positive way. You can’t remain indifferent, and I believe that’s exactly how music should be. It feels like Gira is revisiting painful memories, trying to process something unresolved.

“And here, is a forest
And here, is a stone
Right here, are the marks they made
I still hear them, they still call
They sing through me, they still sing”

Some wounds never truly heal. But the more calming final track, “(Rope) Away”, feels like a reminder that peace can still exist within the chaos.

The album fades as both a farewell from the band and a tribute to Michael Gira’s friends and collaborators who have passed in recent years.

All in all, Birthing is, in my opinion, a true masterpiece. I’ve liked a few Swans songs here and there over the years, but this record captivated me from start to finish. It even makes me want to go back and revisit their earlier work to see what I might have missed.

Phenomenal work—and I sincerely hope I get the chance to see them live.

BIRTHING
1. The Healers
2. I Am a Tower
3. Birthing
4. Red Yellow
5. Guardian Spirit
6. The Merge
7. (Rope) Away

Release date: May 30, 2025

Record Label: Young God Records

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Michael said: “After that, Swans will continue, so long as I’m able, but in a significantly pared down form. Hints of that direction can be found in a few moments on the current album. In the meantime, my hope is that the music provides a positive and fertile atmosphere in which to dream.”

UPCOMING CONCERTS:
Thu, SEP 4 — Union Transfer — Philadelphia, PA
Fri, SEP 5 — Howard Theatre — Washington, DC
Sat, SEP 6 — The NorVa — Norfolk, VA
Tue, SEP 9 — Granada Theater — Dallas, TX
Wed, SEP 10 — Mohawk Austin — Austin, TX
Fri, SEP 12 — Sunshine Theater — Albuquerque, NM
Sat, SEP 13 — Rialto Theatre — Tucson, AZ
Mon, SEP 15 — Lodge Room Highland Park — Los Angeles, CA
Tue, SEP 16 — Lodge Room Highland Park — Los Angeles, CA
Wed, SEP 17 — Lodge Room Highland Park — Los Angeles, CA
Sat, SEP 20 — Great American Music Hall — San Francisco, CA
Sun, SEP 21 — Great American Music Hall — San Francisco, CA
Tue, SEP 23 — Neptune Theatre — Seattle, WA
Wed, SEP 24 — Revolution Hall — Portland, OR
Sat, SEP 27 — Bluebird Theater — Denver, CO

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