Since the early 2000's, Pete Swanson has released more CDR's, tapes and vinyl records than most countries release postage stamps. As a member of cult noise duo Yellow Swans, he amassed a worldwide following of noise fans swayed by the duo's clamorous beats and screech combo and ability to carry their sound live just as much as they did on record.
As a solo artist Swanson has continued to deliver, but unsurprisingly has been able to explore far more ground tonally.
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Since the early 2000's, Pete Swanson has released more CDR's, tapes and vinyl records than most countries release postage stamps. As a member of cult noise duo Yellow Swans, he amassed a worldwide following of noise fans swayed by the duo's clamorous beats and screech combo and ability to carry their sound live just as much as they did on record.
As a solo artist Swanson has continued to deliver, but unsurprisingly has been able to explore far more ground tonally. Whether tangling with the kind of corrupted rock you'd most likely find on a 灰野敬二 album (see I Don't Rock at All) or the sandblasted Surgeon-indebted 4/4 crunch of Man With Potential, Swanson has proved he can leave an indelible mark on any genre he tips his hat to. Not only that, he can make it his own; whether warbling incoherently, tackling an axe or wrestling with a synthesizer there's always a sense that you're listening to Pete Swanson. Maybe it's the density, the saturation, the signature tape hiss – whatever it is, you have the sense that there's a veteran at work, and Swanson's insatiable appetite for innovation is something we can all rely on.
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
…shrink me down again
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