Antony and the Johnsons
music has always made me
sad. That being said, when I
caught wind that a new album,
“Swanlights,” had been
released, I got my box of
Kleenex ready, and turned
down the lights and gave it a
listen.
A year after his last album,
“The Crying Light,” Antony
Hegarty released an EP entitled,
“Thank You for Your
Love.” Now he’s back with
another full length LP. Morose,
dark, melodic, and bumpy
singing has set him apart from
the pack. The vocals that burst
through Antony’s mouth are
nothing short of unique and
creative; an avant-garde singer,
but that being said, this time
around, his vocals take a backseat
to the new arrangements,
instruments and experimentation.
Always seen behind a piano,
his music was always seemed
little one-dimensional, but with
a newfound use of percussion
(which in previous albums felt
non-existent) are more prevalent.
A more gentle and understanding
Antony takes a seat
before his piano, with a cast of
instruments behind him.
Antony is the epitome of a
leading man, the main attraction.
His music has always
centered around him, no one
else; the other members are his
helpers, almost feeling like a
collaboration rather than a full
fledged band. No one else really
stands out.
Antony has always had
major collaborators. Rufus
Wainwright, Lou Reed, and
Devendra Banhart have all
made guest appearances on his
two previous albums. On
“Swanlights,” the special guest
is none other than the great,
eccentric Bj