The lush moods are like a film being flashed before your eyes. Craig Swan’s vocals are ethereal and spirited as though a young Jeff Buckley (Grace) and Ed Harcourt (Strangers) were an influence. The music spins a web, a trance-fable in the living spaces where we become different people.
“Innocence gone we are out here alone it means nothing to me / I hide in a dream flatline silent scream it means nothing to me” The lyrics to “Return to the Ground” is a spacey longing, a searching within the psyche through the perils of desperation and snippets of vintage montage filmmaking and indie rock.
“If it’s the end of the world/ then it’s the end of the world/ lie down don’t quit.” With an intent listening session one could get a whiff of the (Bauhaus) driven guitar and spacing-
Craig Swan’s “George’s Diner” is like a digital bath, we begin to pickup the sinewy rapture of the instruments working in tandem like waves, black and white or sepia sound images being whisked or carried by the voice of Craig Swan who is like the visionary of angels-
“This feeling comes over me almost like the singing of angels I think it’s the soundtrack or the film going through the machine,” another excerpt from Craig Swan’s “George’s Diner” is where Craig is at one of his many perceptive and introspective moments, like a conversation with the future only to disseminate to the masses what was spoken, an instance of prophecy: The album “George’s Diner” is like Atlas holding the world on a tilt unbeknownst to us. There in the throat of the heart we sit down and let in Craig Swan’s glow
Written by Hari Palacio
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