Whether a conscious decision or not, Crow Swan Wolf may just be the perfect sound track to the world we find ourselves going into. Yes, the dystopian vibe is certainly obvious right from the start but there is also a texture and subtlety in the music that seems to reflect the intricate machinations of the world today.
Musically they are children of an unlikely post-punk coupling, where the 4AD ethic hooked up with clinical, urban goth chic, where the razor wire guitars of the latter cut through the romantic and bucolic washes of the former, where night fell on that hazy dreamscape. And if that seems as if it has all been done before, the trick here is that rather than pander to the windswept, crushed velvet urges of its parents, TCHZ, like all dutiful children, rebel against expectations and instead get their kicks running amok through the detritus of the modern world.
Theirs is a playground of dystopian hi-jinks, of night times on the decaying streets, of subversion and protest, of industrial wastelands and underground nightclubs, of shadows and neon, light and shade taken to it’s extremes. It is the collision point of the sound of brutal industrial machinations and transient, clinical digital languages, the distant humming of the modern world and the poetry of decay. It is a distant, disembodied opera, which echoes from our technology reflecting the detachment and unease of the world around us.
It is easy to see where they come from, where some of their references lie, but the ability to shape those influences into new statements about the world they find themselves in and comment on where it may be heading is all you can ask of them.