Number One of Three by The Body Lovers: A Swans Related Project, reviewed by Pieter Uys.

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    The Body LoversA Swans Related Project

    The Body Lovers was Michael Gira's first project following the dissolution

    of Swans. This atmospheric excursion from 1998 traverses extraordinary

    psychic terrain as it meanders through alternately menacing, soothing,

    harrowing, eerie, soulful, anguished and uplifting soundscapes.

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    Industrial passages alternate with swirling symphonic textures but often a

    particular movement incorporates widely disparate elements like mechanical

    drones that give way to traditional instruments that fade in turn for solo

    segments. The word "movement" is more apt than "track" since the album is

    one continuous piece uninterrupted by its superficial division into 10 tracks,

    although these are helpful for describing the chronological progression.

    http://www.nicoleboitos.com/p/album-covers.html

    The first & longest one is a wall of sound integrating polyphonic drones,

    synthesizers & stringed instruments plus the ghostly hint of choral vocals

    samples or synthetic constructions that lends it a spacious, astral air.

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    The initial chimes and accordion of the next movement are startlingly

    disturbed by Jarboe's sobbing which sounds uncomfortably authentic and

    quite harrowing; upon its cessation the track turns pastoral with an acoustic

    guitar playing a simple melody accompanied by flute. In the 4th movement,

    the chiming pattern is interrupted by a drumming tempo so rapid that it

    resembles machine gun fire.

    Insect-like noises occur frequently throughout. To me they sound mechanical

    althoughJarboeis credited on the sleeve notes with "trapped insect vocal."

    The full cornucopia of these would be revealed on Dark Consort, her 2008

    collaboration with Cedric Victor, where tracks like Black Dream II,Divine

    Protection and Summoning Tigers in Dark Eden display an other-worldly collage

    of mammalian, avian and insectoid sounds recorded three decades ago, before

    she joined Swans. These sounds are difficult to identify or describe as they

    dont fit into any known frame of reference.

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    Sometimes a familiar spectrum of Swans sounds is discernible as in the 5th

    movement which reflects Jarboe's spectral vocals on the oneiric or ethereal

    pieces such as In My Garden fromChildren of God,Song for Dead Time from

    White Light from the Mouth of Infinity, and Dream Dream &A Mystery of Faith

    from World of SkinsTen Songs for Another World.

    http://www.nicoleboitos.com/p/album-covers.html

    I wouldnt call the music "dark ambient" as it contains episodes of tranquillityand outbursts of exultation. The crests caress the clouds whilst the troughs

    reveal the murky depths of the psyche where demons still dwell. The profusion

    of voice samples includes a Yippy Hi Hey chant and the wailing of a baby

    (during circumcision as the sleeve notes obligingly inform us) on the

    penultimate track where the only singing occurs as Gira drawls a few world-

    weary lines in half-spoken vocals.

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    When measured against the entire Swans oeuvre this album comes closest to

    The Seer which moves even deeper into uncharted areas "where be dragons."

    The instruments include accordion, bells, Celtic harp, dulcimer, drums,

    percussion, piano, acoustic & electric guitars, flugelhorn & harmonica but

    except during the aforementioned acoustic interludes, they are seldom

    individually discernible in the mix. Number One of Three is a challenging work

    that grows on you; it took me 10 years to fully appreciate it.

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