Richard Swift
â8/10â NME
âThe Atlantic Ocean is a compact, beautifully-realised collection of finely-wrought songs. Everything is just-so, evidently the work of a craftsman with a vivid and satisfying idea of how his records should soundâ Uncut
â4/5â The Times
âA rollicking celebration of life with warm, piano-led arrangements⌠a good-time album for now peopleâ The Sun
âMany moments of beautyâ The Independent Information
âAnother Classicâ 8/10 Clash
âHis peppy keyboard popâŚ.with a gently sardonic voice that oozes regret, is tailor-made for mass consumption; yet he’s so smart that you never regret loving every note.â 4/5 Spin Magazine
It is with great pleasure and no little pride that we welcome Richard Swift to the stage again with his latest musical quest, The Atlantic Ocean. Now, as we know, the Oregon-based songwriter Richard Swift is one of pop musicâs true mavericks. Active in filmmaking, recently expanding into Producer status (helming Swedenâs up & coming Dag For Dag album debut) with a distracting blog, and also playing selector via a Sunday night radio show called National Freedom, on 106.7FM Cottage Grove, Oregon â his forebears are artists with the same kind of utter drenching musicality and creative glee that happily meets glorious natural ability â Randy Newman, Harry Nilsson, Paul McCartney, Alexander âSkipâ Spence, Prince. Swift favours the drums, piano and bass, but can pick up the banjo or turn his hand to a cornucopia of synthesizers and mellotron if the mood should take him. On The Atlantic Ocean, it does.
To bring us up to speed â Richard Swiftâs opening sallies were The Novelist and Walking Without Effort (packaged as a double in 2005) introducing us to Swiftâs oeuvre â literate (generations of the Swift family all the way back to 17th century Jonathan Swift are writers and musicians), obsessed with 70s production detail, self-deprecating, beholden to high ideals, and a keen, wry observer of modern life.
In 2007, Dressed Up For The Letdown brought him to the attention of the UK, accruing fans from Jonathan Ross to Zane Lowe, appearing live on the Album Chart Show (Ch.4) and Later⌠with Jools Holland, where he made the happy acquaintance of Jeff Tweedy and Wilco, who promptly took him on tour across the USA. An invitation was made for Swift to make use of The Wilco Loft to record. Tweedy even offloaded a vintage analogue tape machine that was just right for Swiftâs next recording phase.
The initial results were heard in 2008 with an eccentric suite of releases. In April, the double EPâ âRichard Swift as Onasis I & IIâ saw him kicking out the jams â smokey, analog-fuelled dinginess of 60s garage rock, unhinged and unpolished song sketches and instrumentals. Maximum vibe and atmosphere, recorded live to four-track. In August we heard the âGround Trouble Jawâ EP. Within these more immediate tracks, the polished finesse of The Atlantic Ocean was seriously brewing.
Enlisting engineer Chris Colbert (The Walkmen) for recordings at Swiftâs home studio National Freedom and The Wilco Loft, accompanied by multi-instrumentalist Casey Foubert (Sufjan Stevens, Crystal Skulls), Swift is on song and in fine fettle, largely relying on the piano for the melodic strength of the album and synths for the texture and colour. Swift himself refers to the albumâs sound as âPrince sitting in on John Lennonâs Plastic Ono sessionsâ.
The title track bounces off proceedings all seamless and bright with a vampy piano, hot-to-trot backbeat and bubbling pop, with a perfect Swift opening salvo, âIâm part of the scene/Suit jacket and jeans/I got the right LPâs/I got the Lou Reed/And all the Blondie youâll ever needâ. Tapping his toes and lodging his tongue ever so slightly further into his cheek. The jaunty keys continue apace when they come out to play with a fruity sense of the absurd on âThe Original Thoughtâ.
A certain Mark Ronson co-produces âBallad of Old Whatâs His Nameâ recorded in New York City with a little help from Sean Lennon and a cracking lead guitar sound, Ryan Adams on backing vox, Wilcoâs Pat Sansone on bass and Steve Moore on trumpet. âMark and I have known each other for a little while now,â nods Swift. âLate nights over kebabs and record nerdery. We figured it was time to record together. So we did.â A definite album highlight here â but the sure hand of Swift is all over this star-studded moment. Showboating is off-menu. This is Swiftâs record, and as producer, songwriter and performer on drums, bass, piano, synthesizers, mellotron, guitars, banjo, gong, xylophone and not forgetting toy piano â indeed, he is the sole performer of all these on âHallelujah, Goodnight!â â it is a scarcely imaginable scale of talent on display throughout The Atlantic Ocean.
The mood shifts down a notch with the regret-tinged âAlready Goneâ, that soars with a swirling phalanx of beautifully arranged harmonies. âThe First Timeâ moves the spotlight to the banjo with swoony viola and synth swells, plus electric guitars ramping up the energy. Ragtime trombone and euphonium brass parades on âBat Coma Motownâ, alongside some lovely banjo licks cosying up to Spector-ish reverb laden guitar.
As we enter the final furlong, Swift really hits his musical stride with âThe End of an Ageâ. It proves without doubt that he has balladeering chops, effortlessly gliding over cyclical, immersive keys. The tempo then peps up for âA Song For Milton Feherâ, but nothing quite prepares you for the killer outro that is Swiftâs falsetto on the deep northern swampy-soul of âLady Luckâ, a plea for chanceâs grace to shine a light. In todayâs homogenous multi-pack times, we hope she responds in spades as we need Swiftâs idiosyncratic ilk more than ever.