Review Summary: THE lost shoegaze gem of the 21st centruy
Very rarely does the genre shoegaze get a worthy revitalization for a new generation. There have been many who have attempted this, yes, but few who have succeeded. The temptation to recall the beautiful guitar tones of genial acts like Slowdive and MBV seems all too easy, and quite frankly it’s been done to death. As the present situation would have it, if you want to create modern dreampop band that sounds straight out of the ether, you need to find a way to make it resonate with the unifying consciousness of humanity and also do something original. Tricky, eh?
Apparently one person is up to the task. Indeed; just a single man. Sway (Andrew Saks) is like the Cloudkicker of shoegaze. Ok, not really, but he’s this one man music machine of astronomical potential. Upon listening to his 2003 release The Millia Pink and Green EP, it’s never really evident that there could be a single entity at the helm of all the magic, for there are simply too many layers and dynamics for this too be happening. And yet, it is! So what does Sway sound like? Imagine the most open space you can, and instead of sounds bouncing off of surfaces, they ripple through eternity; crystalline male vocals echo across twinkles and huge waves of guitar. It’s the dreams of a young child who has settled in for nap time, unexpectedly being thrust into the shimmers of their own playful thoughts. This is Sway.
In terms of actual music, distorted guitar is almost non-existent. Sway instead relies on clear oceanic guitar lines. I know that’s not correct terminology, but that’s exactly what it sounds like. Through the use of this and quantifying the sound through multiple layers, a heavenly effect is achieved. The Millia Pink and Green EP is five tracks of consistency, and this is its biggest strength. The first track, “Fall”, in particular is the best shoegaze song I've ever heard. Quite frankly it’s probably one of the single most beautiful songs I've ever heard, regardless of genre. As Andrew’s gentle voice reassures ‘she waves like the sun/ oh, waits like/ she waits like the ocean’, I’m hard pressed not to tear up. The sounds I hear are ones of pure nostalgia and euphoria, and they’re defined perfectly.
Criticisms are hard pressed to make here, unless one is already put off by the genre. The music itself is crystal clear, and the production entirely unique. The music on this album is very much like the album cover; a young girl in a dreaming mind populated with her own playful creations and drawings. The lack of distortion leaves no stone unturned, as other instruments such as droning synths, sparkly sounds, and even sparse horns can be heard in the background of what altogether sounds like one massive wave of sound. I suppose one complaint would be that it is much too short, however perfect, at only five songs long. But this is how shoegaze should be done in theory, and the sounds themselves are refreshing enough so that it sounds entirely new.
I know I probably sound like the biggest fanboy, but I’m simply genuinely taken back by this atmosphere. This EP is what it is, and listening to it will only further prove this point. It gained no attention upon it’s release in ’03, for no other reason than bad marketing. This is a diamond in the rough if there ever was one, and for shoegaze it is a must own.
