Swainn’s re-release of their album Under a Willow Tree isn’t a case of a band trying to cash in on past glories, second-guessing their creative direction, or buying time in the face of creative bankruptcy. The Arizona Celtic punk rock band christens new bassist Rob MacIntosh with this remaster and subs out prior guitar work and vocals for fresher takes. Abbey Road engineer Sean Magee remasters the band’s new mixes with a skilled ear. It layers an already colorful and memorable work with a brighter coat of paint that highlights its uproarious and life-affirming character.
You can’t ignore the wild romanticism in the heart of songs such as this. “Voices” has a carefree attitude that burns white hot in the lyrics and rambunctious playing. It doesn’t ask listeners to take it too seriously, but it isn’t all fun and games. The chorus alone makes that apparent. Many of Swainn’s songs are celebratory, without a doubt, but peopled with edgy characters, and often depict them with straightforward language like in “Voices”. One of my favorite tracks is “In the Morning”, for several reasons. The arrangement has a dynamic snap capable of holding the listener’s attention, and the chorus is among the best Swainn pens for this collection. Their balance of traditional folk music with a rock sensibility reaches one of its zeniths with this track.
Mandy Lubking’s hard-charging fiddle opening “Take Action” is the harbinger for one of the band’s strongest musical salvos. This song summons every round of the considerable firepower at this disposal without ever lapsing into heavy-handedness. It achieves the pitch of a rallying cry, as implied in its title, but never hits a wrong-headed note. “Let’s Get Loose” is another number intended to bring an audience to their feet. Wake Lubking’s banjo and mandolin contributions scattered throughout Under a Willow Tree are among the album’s strengths, but it’s the primary mover behind songs such as this. His presence is essential.
The group never falters. “Sink or Float” is another dazzling showstopper. It’s a shared call to arm that we’ll either endure the slings and arrows of life’s outrageous fortunes or else wilt and fall under their fire. Songs such as this show that the overarching style is really nothing but regionalized window dressing for songs expressing sentiments that respect no border. “Sink or Float” is a survivor’s song and great fun. “Up on the Mountain” is another of Under a Willow Tree’s pivotal performances. Swainn’s blending of rock and Celtic musical influences pushes the envelope further than before. The band dispenses with punk rock posturing in favor of hard rock or even near metal muscle that gives “Up on the Mountain” unexpected teeth.
“Another Drinking Song” lowers Under a Willow Tree’s curtain with a knowing wink. It has much of the same freewheeling roll-the-dice demeanor of the prior ten songs but peppers it with previously unexplored wit. Subtle flexes such as this are the understated moments helping to set Swainn apart from formulaic Celtic rock acts. I hear a brash and fiercely bright personality bringing these songs to life and don’t expect it to dim anytime soon.
Cleopatra Patel