Swainn’s recent remaster of their debut Under a Willow Tree goes a step further than many similar revisits. Introducing new bassist Rob MacIntosh into the fold prodded the Arizona-based Celtic punk five-piece to incorporate his playing into Under a Willow Tree. It likewise created a further opportunity for the band to lay down new guitar tracks for several cuts. These additions sharpen the collection’s character without risking changing it. The album’s eleven songs still percolate with the same celebratory though, at times, doomed energy that has been a Swainn staple since the band’s earliest incarnation as Cockswain. It now snaps together with previously unrealized physicality.
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“Voices” manhandles listeners into submission. However, the tumultuous nature of Swainn’s music doesn’t preclude artfulness. A clear structure emerges from the opener with a single listen, and the climatic moments built into the recording achieve the desired effect. Even if you don’t ultimately care for Swainn’s music, they earn your respect from the outset. The commitment fueling “Voices” is audible. Other bands have unquestionably peddled this particular musical vision. However, though Swainn isn’t breaking new ground, they imbue songs such as this with palpable personality.
Swainn cuts “Bag o’ Bones” from a similar cloth. The band modulates their approach rather than pursuing the same straight-ahead pummeling that pushes “Voices” along. Swainn has a penchant for memorable choruses that peak several times during Under a Willow Tree. “Bag o’ Bones” is an ideal example of Swainn resolving a song’s chorus in an especially satisfying way.
“In the Morning” embodies the devil may care and come what may attitude of the band’s songwriting better than most. Outright dissipation brings about an unrepentant morning, and singer/guitarist Neil Jay Ward passionately belts out the lyrics. Once again, the chorus is a high point that ties the song’s disparate elements into a sternum-rattling crowning blow.
Under a Willow Tree (2023 Remaster)
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The Lubkings, Mandy on fiddle and backing vocals, and Wake on mandolin, banjo, and backing vocals make mighty contributions to Swainn’s sound. Mandy’s vocal presence adds a crucial final dimension to the loose and comparatively sedate swing of “Home”. The fifth track dispenses with the flailing bombast characterizing the earlier songs in favor of a stripped-down, slower approach and shifting gears in such a way that improves Under a Willow Tree. “Sink or Float” will be a favorite for many. It’s one of the most physical, balls-to-the-wall moments on the release, an impassioned personal statement as well, and summons arguably the collection’s finest chorus.
However, the album is far from running out of gas. “Fairwinds” has stronger imagery than many other songs and elicits a rugged performance from the band. It’s as high energy as any other Under a Willow Tree track while leaving a distinct impression on listeners. There’s surprisingly little sense of repetition. “Up on the Mountain” reveals Swainn in an even rougher light. Marrying hard rock influences into the band’s approach is a natural fit, and they have a keen ear for maintaining the necessary stylistic balance. “Up on the Mountain” is a successful synthesis; it never veers too far in any particular direction. It’s indicative of Under a Willow Tree as a whole. Swainn has a rare thing, an unified musical vision and the necessary songwriting and performing chemistry to pull it off.
Clay Burton