I never got around to writing about Swans’ last Vienna concert in 2014 or whenever it was, so this review can probably stand as a review of that one as well, especially since not much has changed chez Michael Gira since that time. Other than by exchanging Thor Harris for a new, nondescript and barely noticeable keyboard player, the group has declined to refine its approach from previous outings. The long, monotonous riffs, rudimentary songwriting and entirely predictable use of dynamics (The loud bit! The quiet bit! The loud bit again!) are all present and correct, testaments to the creative dead end into which Gira has steered himself since reactivating Swans six years ago.
Since I’m now based part of the time in Geneva, this blog, never frequently updated at the best of times, is becoming more sporadic than ever. There are a few decent venues in Geneva, but on the whole the live music scene is far quieter than it is in Vienna. For some reason there seem to be more concerts in the neighbouring cities of Lausanne and Vevey than there are in Geneva, even though they are both much smaller, which blows.
Anyway, since moving here in July I’ve only been to two concerts. The first of these was Cat Power, which I may get around to reviewing at some point (although I wouldn’t hold your breath). It was a great pleasure, though, to catch up with Peter Rehberg last week on the first date of a mini Swiss and French tour. The venue, Cave 12, seems to be the nearest equivalent to the Rhiz in Geneva, with an impressive roll-call of visitors from the avant rock, noise and experimental music scenes. Centrally located just a few minutes’ walk from the main station, staffed by friendly people and with a PA that has plenty of wallop, Cave12 gets the thumbs up from me.