The title of this album leads one to wonder if it is in a way, a slyindictment of certain purveyors of experimental, progressive, orpost-rock music that they themselves are one of. Are they trying to saythat perhaps these genres are somewhat more susceptible toself-indulgence at the expense of entertainment? In any case, themembers of the Swords Project are at least saying that we have a choicein the matter and in that spirit they seize control of their musicaldestiny presenting an album that is both complex and enjoyable. Theirmusic has a shimmering, buoyant quality that wraps around itself in adizzying assemblage of layers. "City Life" is a veritable möbius strip,beginning with the faint, choppy voice of vocalist seeping through apastiche of programmed train-chugging drumbeats, static, and electronicmanipulation. The beats soon crackle into live drums and a flickeringmelody begins to unfold, floating without an anchor in the musicsurrounding it, like catching faint sight of a porch light through athicket of trees. It sounds as if the core of the song is bursting fromwithin with only enough energy to fall back into itself and repeat thesame process once again, leaving behind a mesmerizing vapor trail as itsinks back to earth. "MD11" reveals a cleaner sound, moving swiftly andbuilding off of a single melodic idea throughout the song. It seemslike more of a rock song than the tracks that precede even as itbriefly delves into a stutter-glitch bridge. "Cocktails andShuttlecocks" continues in this vein, though it progresses in a moresubdued shoegazer style, utilizing a violin for dramatic effect amidstthe warm bass lines and gentle melody. "Audience of One" takes theatmosphere of that previous track and expands upon it instrumentally,and by using minimal whispered vocals the band allows the violin totake the forefront in what makes for a really impressive long piece.They balance space and dynamics extremely well, building tension andtaking the music through peaks and valleys that make the track a truestandout. "Immigracion" presents itself as a rather standard indie rocksong, perhaps more in the vein of Death Cab for Cutie than any of thereferences the band itself might name check. By this point in thealbum, it seems like the collage aspects presented in "City Life" havebeen altogether abandoned, and that is a shame, but what remains isstill an interesting collection of songs that have a knack for melodyplayed by a band in perfect harmony with one another. The SwordsProject closes with "New Shapes," a long, droning track thatincorporates some elements of their earlier flair, but never commits tothe sound fully. The song is slow to develop, but with patience thefinal minutes take off into a propulsive workout. Throughout the album,the percussion is a major highlight. It fits each compositionperfectly, knowing the right time to sit back and let the rest of theband squall along and when to push through the din to give the piece alittle extra oomph. Entertainment is Over if You Want Itseems to lean away from the more brazen attempts at experimentation ofit's contemporaries, instead bringing these elements into the music inbrief spurts or bursts. At its core is just good music, approached witha sense of what makes for a compelling and enjoyable listen.samples:
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