Since their formation in 2016, the Brooklyn-based indie act No Swoon, currently comprised of Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths) have received attention locally and elsewhere for a sound that features elements of dream pop, shoegaze, post-punk and ethereal wave. Interestingly, much like BLACKSTONE RNGRS, Lightfoils and others, the Brooklyn-based act have added their name to a growing list of acts that have actively pushed the sonic and aesthetic boundaries of shoegaze and dream pop.
Last year’s critically applauded EP 1 was written in Los Angeles during a self-imposed exile from the East Coast. For Abbott, a native of Ontario, CA, the idea was to get back to her geographic and musical roots with a great deal of time spent driving around the suburbs listening to the goth and new wave that her mom played in the car when Abbott was a little girl (Bauhaus, Love and Rockets, New Order) and the indie rock and punk rock of her teenage years (Yeah Yeah Yeahs, The White Stripes).
Now, as you may recall, the duo’s forthcoming Jorge Elbrecht-produced, self-titled debut is slated for a November 1, 2019 release through Substitute Scene Records, and the album reportedly is an ambiguous and urgent affair that thematically touches upon the confusion, frustration and uncertainty of our zeitgeist. And naturally, as a result, the material is at times searingly critical, frustrated and despondent over everything from misogyny to global power imbalance and inequality with each of the song’s narrators seeking answers to questions that may never be resolved. The album also finds the duo collaborating with Robi Gonzalez, best known for his work with A Place to Bury Strangers and This Will Destroy You, contributing drums.
“Don’t Wake Up, Wake Up,” their self-titled debut’s first single and opening track was a Joy Division-like take on shoegaze, centered around layers of fuzzy and distorted power chords, a motorik-like chugging groove, an enormous arena rock-like hook. But at its core, Abbott expresses confusion, unease and frustration while asking uncomfortably familiar, large questions: has the world gone crazier or is it me? Is this real or is this some horrifying and unending nightmare? “Forward,” No Swoon’s second and latest single off their forthcoming full-length debut is a lush, synth-driven track featuring shimmering and arpeggiated synths, thunderous drumming, a soaring hook and Abbot’s ethereal cooing. And while being their most dance floor-like single of their growing catalog, the song expresses frustration about how we haven’t made progress on racism, sexism. homophobia, inequality and so on.
“You know when you’re talking to someone about how fucked the world is (in many ways) right now and they say ‘but it’s better than it used to be, we’ve come so far!’ I hate that, ‘we’ve come so far,’ it’s such a cop-out,” the band says in a statement. “Sure we’ve made progress, some things are better than before and some things aren’t. It doesn’t mean that racism, sexism, homophobia, abuse (the list goes on), doesn’t exist today or that climate change isn’t a real threat to the world. And if that all still exists, we still have work to do. And that’s what this song, ‘Forward’ stems from. That cop-out of an idea that things are better and great. ‘Are the clouds really breaking, or merely moving over?’ Meaning are we really making progress or is whatever problem just shifting, either to someone else, or in a different form.”