Swim Returns: Exploring Art, Absence, and a Fresh Start

After more than a generation since their widely praised debut, the Irish art-pop group Swim has bounced back onto the music scene with a fresh collection titled Nightstock. This new album is a fusion of intricate fabrics and enigmatic abstractions that reunites original members Joe Reilly and John McCrea. Reilly divulges his thoughts on motivation, creative freedom, and the insignificance of a legacy.

These two musicians rekindled their collaboration in the summer of 2024 after over thirty years apart. Initially, their encounter was social with no concrete intention of working together. However, Reilly found himself drawn to sending lyrical ideas to McCrea, with “Daria” being the initial spark that led to a chain reaction.

Nightstock marks a divergence from traditional song structures, offering a fresh approach to music creation. This departure presented both liberating and challenging aspects for the duo. The lyrical content of the album eliminated the need for the conventional song format, allowing Reilly to freely compose without the constraints of a set structure.

During the development of the track “Tony’s House,” Reilly experienced a surge of inspiration that culminated in a creative burst that led to the song’s completion in just a few hours. This immediate inspiration was a rare occurrence, sparking curiosity around the mysterious character of Tony and his unusual world.

Visual arts play a pivotal role in Swim’s creative process, with influences gleaned from the works of prominent artists like Mark Rothko and Edward Hopper, as well as filmmakers like Fellini and Paolo Sorrentino. These visual stimuli have left an indelible mark on Reilly’s artistic expression and songwriting.

Recording Nightstock was a swift process, characterized by a sense of urgency and excitement that was absent from their earlier works. The sessions were approached with an open mind, allowing for exploration and experimentation in the creative process. The collaborative effort between Reilly, McCrea, and the rest of the band was fueled by positivity and a shared enthusiasm for the music.

Swim’s musical journey has been peppered with unique experiences, including working with renowned professionals like Gary Katz on their debut album “Sundrive Road.” Memories of these encounters evoke a romanticized vision of middle America, shaped by the cinematic influences of directors like John Ford and Howard Hawks.

Despite touring with iconic acts like Fleetwood Mac and Cher, Swim never saw themselves as conforming to the rock band persona. Drawn to sophistication and an alternative approach to songwriting, they found inspiration in legends like Bacharach, Porter, and Jimmy Webb. Touring, however, was not an enjoyable experience for the band, viewed as a necessary but burdensome aspect of their musical journey.

Initially perceived as out of sync with the Irish music scene due to their traditional approach to songwriting, Swim’s legacy has now evolved into a unique badge of honor rather than a burden. With influences spanning across a diverse range from Bacharach to Porter, the band’s unconventional references set them apart from their contemporary peers.

As Swim’s latest album takes center stage, Reilly dismisses the notion of legacy and instead views their work as a standalone piece of art, open for interpretation and enjoyment. The new record does not seek to reinvent or reboot Swim’s previous trajectory but stands as a testament to their artistic evolution and the continued pursuit of creative expression.

Reflecting on the past three decades, both creatively and personally, Reilly acknowledges that music has always been a constant presence in his life, never truly departing but simply taking a brief hiatus. With a touch of humor, Reilly likens music’s absence to a brief trip out for a pack of cigarettes, a momentary absence that has now subsided with the passing of time.