by John Glab (@glabglabglab_)
Since 2018, Atlanta based collective Sword II have been dwelling in their local DIY underground. Coming together as titans of their scene and community, they’ve spent the last five years playing shows around the Atlanta area, aiding in protests like the ones against “cop city,” and experimenting in their basement practice space. Their new album Spirit World Tour is a product of these sentiments. The four band members, bassist Mari González, drummer José “Frio” Izaquirre, guitarists Corey Zuko and Travis Arnold, all come together without setting boundaries for their creativity. The eight dreamy, highly textured tracks reflect that uncontrolled burn.
The track “Damage” is a very punctual opener. Sudden bursts of punching drums give the structural bones to a driving gritty guitar rhythm. The kicking energy eventually dies down and gives space for ghostly voices repeating chants of “hold my breath,” and “wishing death.” The song then sputters back up into vigor with a booming bass solo bubbling up through the pumice of jagged sound. Prolonged hazy vocals guide along the second song “First Rule of the Bug.” A discordant drone of decaying chords spread throughout the track. It’s reminiscent of the chilled, nostalgic hum that many vaporwave tracks have. Spanish lyrics of staying by one's side, unintelligible blurting radio noise, and a glitching ethereal voice phase in like they’re invading from different astral planes. Like distant memories infiltrating the brain. The song then dissipates into the quiet atmosphere.
Spirit World Tour has an overarching darkness to its vibe. The gritty gothic tones give many of the songs a ghostly essence to them. It has a haunting nature that looms over you while trying to guide through the disorientating, imperceptible smog while listening. The tracks “Crystal” and “DRM” exemplify this. The former has quick, cycling dungeon sounding synths continuously oscillating up and down. Growling guitars double this pattern. Blown-out rumbling drums play at a blistering pace, making the song feel like it’s spinning in a ball of flames. “DRM” has a menacing cavernous feel, much like what can be found on the recent Mandy, Indiana album. The intimidating marching tempo pulsates like a heartbeat, with industrial groans bellowing from the depths.
Despite the album’s daunting gloominess, it doesn’t give the notion that Sword II are creating it. It’s more like the darkness is already there, and the songs are about navigating through it all. It’s very indicative of the chaotic and often desolate past three years since the band started working on the album. This contrasts with their previous EP released in January 2020, Between II Gardens, which has a much more shimmering radiant sound.
The song “Body” is a break from the dark murkiness on the rest of the album for something more upbeat and energetic. It plays like a dance track with its bumping, punchy electronic beats and glitzy synth leads that give it a party like atmosphere. The lyrics traded around by the band members are about reaching for emancipation from the physical realm. Following it is the song “Mirror” that traverses a diverse soundscape with wildly different parts morphing perfectly into each other. It begins with a mellow irritation in the vocals and the mildly reverberating riff, over a 90’s boom-bap like drumbeat, something that other shoegaze artists like Tanukichan have used in their songs. Clawing its way forward is a grinding fuzz and chugging guitar parts, which break out soaring. Glossy synths then rain down over crumbling, shattering sounds. The song relaxes with each part strung out into its own floating mass that slowly glide past one another.
In each song, a multitude of variegated textures overlay each other. The ever-changing parts, and myriad of unique layers of sound mold exceptionally well together to create strong cohesive pieces. Crystalline noises can fracture, or gleam and twinkle. Electronic modulations give an eerie uncanniness to parts of songs. An overlaying effect of compression throughout the album gives the instrumentation a crunchiness to it, like boots sinking through snow, or teeth biting into a popsicle. Glistening sonic riffs glaze over moments of hecticness like moonlight. A haziness permeates throughout, while shredding distortion drives forward. It all emanates from all four member’s own unique personality. Each individual's own personal experience shines through in the creative process, and results in a great collective piece with an eclectic range of tones.