Here it is at last - Swans' 16th studio album, 'The Beggar' just released in minimal style packaging and maximal 12-panel booklet. Save for the cover image, nearly nary a space is wasted with pictures or artwork, just the lyrics, album credits and thanks for support. (I find it interesting that 5+ panels are devoted to these supporters by name. Not many artists go to that length and it gets my admiration.) It's almost hard to believe that Michael Gira is still recording and releasing albums, as well as relentlessly touring (and selling out numerous venues) while many other long-time rock performers have thrown in the towel, retired, died, or sailed into the sunset on their farewell retro-cruise. I'm sure Michael himself will tell you "it's in the blood" and that's a disease you just can't shake, just can't stop, or walk away from. To do otherwise is to die- spiritually, emotionally and eventually, physically.

Unsurprisingly, 'The Beggar' is a double CD album. Hardcore Swans fans got a taste of it with Gira's 2022 limited edition (2500 copies) 'Is There Really A Mind?' which is nearly the whole album, save for the 44-minute "The Beggar Lover (Three)." From what I understand, it was a rough, preliminary draft with minimal arrangement, so nothing like 'The Beggar' in all its glory. While 'Leaving Meaning' (2019) seemed like it had a ton of musicians involved with it, 'The Beggar' relies on a half-dozen like-minded souls - Kristof Hahn – Lap steel, various guitars, vocals; Larry Mullins - Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals; Dana Schechter – Bass guitar, lap steel, keyboards, vocals, piano; Christopher Pravdica - Bass guitar, sounds, keyboards, vocals; Phil Puleo – Drums, percussion, vocals, piano, exotic wind instruments; Ben Frost - Guitar, synthesizers, sound manipulations. And, of course, Michael Gira – Vocals, words, acoustic guitar, production.

It begins with the 44 minute "The Beggar Lover (Three)," a truly psychedelic masterpiece that covers an awful lot of ground musically. It begins with richly mixed drones and bells, then a transformational recitation on death, followed by a drum barrage, screaming into the void, dark and doomy electronics, and then into what I'd call the "Ayahuasca Groove." It can't easily be described but suffice to say the band is on the full trip. There is no turning back from this as Swans forge on as an unstoppable force...until it stops in the middle with sweet acapella "ooohs." Of course, you know this is going to morph into something else, something much stranger. I'm not giving any more away, you just have to hear it for yourself. "The Memorius" that follows might seem anti-climatic in light of the previous opus, but Gira's Morrison-esque monologue over the music just seals the whole fucking deal. GOD, what a fantastic album! If 'The Beggar' ends up being the swan song of Swans, Gira would certainly be going out with a bang.