It'll mostly be fans of Jarboe's contribution to the last few Swansalbums who'll want to get a hold of this. Although it is a collaborativework, the music being created by John Bergin and Brett Smith (ofc17h19no3, Trust Obey and Caul), it's Jarboe who makes her presence felt.The intention was to create a dark, minimal backdrop, over which Jarboewould be let loose to do her worst. This idea is where the album falls for me. After a few tracks it'sobvious the she's doing most of the work, letting the music becomedistant, which, given how her vocals violently divide people, is adangerous idea. I wish sometimes that she could take a back seat, butmost of the music is uninspired and straightfoward...maybe theirkeyboards are mysteriously broken in such a way as to only allow minorchords to be played, who knows? She is a strong and individual vocalist, and is on top form (lyricallyclose to the later Swans stuff "..you suffocate me honey..you'll destroyme, so now I lost you..") , but the unrelenting gloom seems synthetic andquite forced in places. There are some great moments, especially when they seem to be aware ofthis and try different approaches, like the drifting, washy effects onthe opener " The Conversion-Silent", the multi-layered vocals on sometracks, and the once or twice a real musical instrument pops up, but theyjust highlight how a warmer, less clinical approach would have added themuch needed layer of depth. A tour de force for Jarboe fans, though Ijust can't help thinking what could have been achieved had the music beenapproached with the same vitality and inventiveness.
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