The Sway, an English indie band based in London, has re-released their classic EP “Going Blind” for its 30th anniversary. Recorded in St. Albans, Hertfordshire during the summer of 1994 and released on 31st January 1995, this extended play consists of “Going Blind, “No One (Comes Close To You),” and “The Death Of Venus,” three incredible compositions that undoubtedly stand the test of time. It’s also good to mention that the band has included legendary Helen Terry from Culture Club on backing vocals on the two first tracks further elevating this material to an entirely new level. Lyrically, The Sway implements storytelling lyricism into this marvelous song, covering various sentiments, relationships, love, different moods, situations, and circumstances. It’s a highly relatable material that will unquestionably evoke some nostalgia for longtime fans but also gather a new army of listeners along the way. Soundwise, The Sway combines several complementary music genres to illustrate such rich and luxuriant sonic imagery. Perhaps indie rock comes to mind first, but you’ll also notice how some of the finest properties borrowed from alternative rock or post-punk found their way into this sonic equation. They used all these additional elements as more than necessary enhancements, accentuations, decoration, and other details to uplift their songs to an entirely new level while remaining loyal to the primary sonic direction. Therefore, these experimentations with many different but complementary styles resulted in a catchy, memorable, engaging extended play release that will resonate with even the pickiest music enthusiasts.
As soon as you press play, you’ll notice that The Sway poured heart and soul into this release. Each composition arrives with an expertly assembled structure, garnered with many profoundly detailed segments, brilliant ideas, and marvelous orchestrations. Each vocal, sonic, and rhythmic maneuver has its place and purpose, making “Going Blind” such an incredible material that transcends time. This epic sonic journey commences with the title track, a perfect opening composition where you can hear everything these experienced musicians intended to achieve with this EP. It’s one of those songs that vividly showcase what you might expect from the remainder of the material. The lunch, jangly, angular chord progressions immediately wrap around the listening apparatus, preparing the listener for what’s about to come. You’ll also notice how these guitar interplays simultaneously display the different layers, serving as a perfect backdrop for all the vocals to shine upon. Both guitars gradually transit from those jangly, angular chord progression into raw, powerful, heavily distorted guitar riffs, vividly hearable during the choruses. In the meantime, the detailed, audible, warm-sounding bass lines provide heaviness, clarity, and depth while binding guitars with rhythmic patterns. Those low-end are rich, dense, and luxuriant, contributing more power to the song. The impressive drumming performance based upon tastefully assembled, flawlessly performed, well-accentuated beats, breaks, fills, and other percussive acrobatics keep everything in line while dictating groove and tempo. Of course, this song wouldn’t sound this good without the outstanding vocal performance. You’ll notice how all those beautiful vocal harmonies command attention and guide the listening apparatus from scratch to finish with such precision and finesse. The impressive vocal range seamlessly balances low, mid, and high notes, emphasizing all the segments and instrumentations. The additional back vocals, performed by Helen Terry, spice things up and elevate particular moments during the song. It’s a perfect composition that instantly gets into the ears and refuses to let go long after it ends.
No One (Comes Close To You) brings more of a straightforward nineties alternative rock sound with all those expertly performed guitar riffs and additional string instrumentations, which in this case, serve as a main theme throughout the entire track. Each layer is tastefully implemented into the song’s core, bringing a delicate balance between melody and power. Once again, the rhythm section delivers more than necessary groove and dynamics through carefully prepared rhythmic patterns. But, the vocals steal the show here. They resonate with such passion, confidence, emotion, and power, decorating everything these experienced musicians intended to achieve with their music back then. Helen Terry also shines in the limelight, with her high-pitched shouts and more calm, soothing, relaxing, ethereal harmonies. Everything sounds so perfect, inviting listeners to repeat this masterpiece over and over again. “The Death Of Venus” closes this epic sonic journey with its post-punk, goth rock ambiance. It’s an eerie, dark, ethereal composition where haunting, reverby, jangly chord progressions, and heavy basslines reign supreme. The drums sound almost tribalistic like they’re inviting you to the ritual. However, this ambiance gradually transformed into a heavily distorted, colossal track during the choruses. In the meantime, the vocals guide listeners through this expansive sonic universe with such emotion that’s impossible to ignore. It’s a cleverly written, composed, arranged, and produced composition that will satisfy even the pickiest fans of the genre.
“Going Blind” is an exceptional EP, an alternative rock masterpiece that bends time and space. Although it was released 30 years ago, it still sounds fresh, unique, and exciting, like it was recorded yesterday. These songs showcase all the talent, skills, knowledge, and experience of these profoundly creative musicians who managed to blend fundamental elements of alternative rock, indie rock, and post-punk into a marvelous, colossal, harmonious wall of sound. You should immediately place this EP on your radar. It’s available on all streaming platforms. Don’t miss it!
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