This Swim Deep article was written by Bethany Gray, a Gigsoup contributor. Edited by John Gittins. Photo’s by Xinyi Wang
Swim Deep, have described their latest album as “psychedelic sex music” and “zero-gravity gospel for the masses”, shaking off the hazy clouds of indie heartthrobs and opening the casket for a melting pot of genres. They embark on a mission to reignite the wonders of the indie landscape, via halcyon raves, gospel soul and psychedelic swamps. The Birmingham boys compliment the 90-minute set with their earlier material; fans eagerly embrace the golden moments of ‘She Changes the Weather’, ‘Honey’ and the dazzling ‘King City’ whilst the band immersed The Duchess with the wielding wonders of new album ‘Mothers’.
Indulging the crowd with trippy, electronica vibes from the offset, it is clear that Swim Deep are striving to steer away from the conformity of guitar pop. Opening with the trippy ‘Namaste’, the surprisingly sparse crowd burst into life- making up for a loss of numbers with seamless, vicarious energy. The atmospheric introduction to lead single ‘One Great Song And I Could Change The World’ is met with acknowledging nods and sways from the crowd as the electro fizz encapsulates the venue.
However, it is the return of old favourites such as ‘Red Lips I Know’ and ‘Honey’ that causeD a reeling of word-for-word passion from faithful fans. If one fault can be swabbed from their performance, it’s that the band almost elope too far into their psychedelic wanderings, leaving the audience hanging on to a veritable wall of sound, before they can return to a more uplifting beat. That aside, it’s hard not to be captivated by the band’s free spirited, effortless image. Through the acid-house musings of ‘Grand Affection’ and ‘Imagination’ the band became totally absorbed by the music, as frontman Austin Williams zoned out to the groovy, electronic synths.
Swim Deep then began to demonstrate an array of seamless transitions in style and variations. ‘She Changes The Weather’ began with a dreamy piano intro before changing pace into frenzied textures and rhythms. This celebrated the true resonance of debut album ‘Where the Heaven Are We’, but also, its wishy-washy dream state that helps emphasize the electrifying creativity of ‘Mothers’. ‘Fueiho Boogie’ is an eight-minute long groove that was inspired by the band’s trip to Japan where they discovered the law of ‘fueiho’, stating that dancing was illegal in clubs. It acts as a perfect example of Swim Deep’s new direction- a celebration of creativity, tottering on the verge of becoming dangerously ridiculous. The song demonstrates a richer, fuller sound that the band are more confident and comfortable performing as opposed to the daydreamer sounds of ‘Where The Heaven Are We’, which appear to be construed as ‘crowd pleasers’ more than anything.
Although at times appearing to be confusing and lacking of any substantial direction, Swim Deep have grown from ‘pop daydreamers to psychedelic kingpins’, confirming their place amongst the radical game-changers of the indie battleground. The overall sound is much more diverse and daring than anyone could’ve initially anticipated. The crowd praise ‘King City’ in all it’s worth as they surge forward to try and grasp every notion of the anthem-like tune, but it’s ‘To My Brother’ which really steals the show, dripping in gospel soul. It’s this enticing finale that hints towards Swim Deeps promising future.
‘Mothers’ is out now via Chess Club Records