Today is a great day to share the latest single and video from LA psych-pop band, SWIMM, called “Used To Saying Yes.” On this electric-charged single that provides absurdist commentary on social obligation, the band continue to evolve in the most creative ways imaginable. The track comes from their forthcoming LP, Best Comedown Ever, that releases everywhere music is sold on August 10th. I was also able to catch up with SWIMM for a brief interview below.
How does this new music video add to the single’s overall message regarding social obligation? How do you expect fans to feel while watching?
Each set piece of the video is directly tied to a verse of the song—each eventually revealed as an installation of a faux performance art show. The dick-punching installation is a payback piece. It’s a reflection of the 1st verse—which speaks to someone finding themselves in unhealthy relationships because they’re simply used to saying yes to any means of affection. The two friends texting and blocks of cliche text messages on the wall represent the social obligation side of the message. I often ask myself, ‘What is the point of being social if I can’t be present?’ And then I go drink a $20 margarita and pretend to smoke. At a base level, I’m hoping peeps will have fun with the video. And depending on how deep they wanna read into it, maybe even a hit or two of catharsis.
How did you come up with this video’s absurd concept? What inspired it?
Well, it all started with the idea that someone was gonna get punched in the dick–repeatedly. That was my North Star. Since I first had that sublime vision, it felt apropos of some much-desired payback to the patriarchy. Revenge a dish best served cold with a clobbered cock.
Generally speaking, how would you say this single helps introduce your forthcoming LP, on a sonic and thematic level? And what key takeaways do you hope to leave listeners with?
Sonically, it was all about restraint and not being scared to be a little absurd. I used an old Yamaha keyboard from Best Buy for all the synth and organ tones, and instead of masking the jankiness of the tones, I wanted to shine a spotlight on them. Even the guitar solo felt super indulgent and ‘bluesy’, but I actually wanted to lean into the pastiche of it. Theme-wise? I tend to get annoyed with blame songs. I get that sometimes you gotta get that frustration out and shout it from the rooftops with red eye shadow and mock general fatigues, but I suppose, like any good child of divorce, I tend to blame myself! Jokes. Kinda. I don’t know. I know all songwriting is therapy in real time, but I found a lot of these songs were steeped in curiosity not of the universe or why others do dumb shit, but why I repeat patterns and do dumb shit.