Swift Robinson

SWIFT ROBINSON
Tight, spunky, and teeming with talent, three-piece rock outfit Swift Robinson gives new meaning to the term “power trio.” Their presence on stage is so full of energy that photographers will need a fast lens to catch a clear shot of them. Each of these guys brings exceptional skill to the table music-wise as well. Though Swift Robinson boasts a catalogue of catchy choruses, there is substance behind each song, giving enough depth to captivate the ears of even the most seasoned music snob. Bassist Ben Robinson and drummer JC Mears build an air-tight fortress of rhythm around which mobile bass lines and gliding guitar riffs can weave a tapestry of sonic force. Overall, the band has a diverse sound that ranges anywhere from the like of Sublime to Chevelle to late-era Toad the Wet Sprocket, with Casey Bennett’s vocals mixing a cocktail of Finger Eleven, Maroon 5, and Justin Timberlake (with a dash of comic/musician Stephen Lynch). All players display an abundance of skill on their individual instruments, and that was to their detriment during guitar solos. Syncopated drum beats and bustling bass lines make poor anchors for wild guitar solos. The three-piece lineup works so well for them the rest of the time that a second guitarist is unnecessary, but maybe a loop pedal would come in handy to give those solos a platform from which to spring into action. Read more about Swift Robinson or hear their tunes at http://www.swiftrobinson.com. - Starving Artists Records

The guys in Swift Robinson aren't old enough to buy beer. But this quintet of 10 to 20 year-olds can arrange a song better than many older combos. Swift Robinson tunes shift gears more often than a truck driver on amphetamines. That's not surprising given the group's divergent listening habits. Singer/guitarists Casey Bennett and Eddie Williams favor alternative records, while drummer Sonny Hopkins digs heavier material. The band's bassist, Ben Robinson, is the resident jam band junkie.
Williams is currently writing the score to an independent film, called "The Republic." According to the guitarist, his work for the futuristic movie has a Square Pusher/Aphex Twin vibe. The scoring gig has lent a cinematic bent to the group's material.
"I really like what the Dust Brothers did for 'Fight Club,'" Williams said. "That's been a pretty big influence. Our preferred method (of writing) is someone will bring in a figg and then we'll all contribute and help shape the song."
In 2006, Swift Robinson recorded an eight-song demo. The disc includes a magnificently epic track, "The Flame." The song begins with an extended woodsy intro reminicscnt of "Little Martha" by The Allman Brothers Band. Nine minutes later, the song concludes after a modern rock rave-up.
"I started on that song right when the band formed," Williams said. "I recorded three or four versions and took my favorite parts from each one. Then I brought it to the band and we all through our two cents in. The lyrics are about those intrinsic friendships that never leave you, as cheesy as that sounds."
On "Uncle Sam," a muscular riff gives way to swatches of ambient world music and finally a grungy bridge.
"Casey is the riff man in the band," Williams said. "I added the delayed verse thing."
According to Williams, "Symbiote" has become one of Swift Robinson's best live numbers. THe song's buzz-bin guitars and sterling harmonies highlight a bustling chord structure.
Another song, "Getaway" is likely a hit with the granola set. After a tremolo guitar figure, the tune resolves into a Spin Doctors/Blues Traveler groove. According to Williams, "Getaway" will be featured on a compliation disc from Illumina Records, a Boston-based label.
In addition to the band's 15 originals, Swift Robinson also delves into some unexpected covers, including "I Want You Back" by the Jackson 5. The group even gives Usher's "Yeah" a granite-hard makeover.
Despite their young age, Swift Robinson's inter-band roots run deep. Robinson and Williams have been playing together since the eight grade, when the pair covered The Red Hot Chili Peppers' "Californication" for a school talent contest.
"It was awful," Williams said.
The rest of the band came together through typical college band circumstances, like shared roommates and dorm logistics.
Swift Robinson cut their demo with a mishmash of gear, including a Korg 16-track digital record, Acid Pro, Sound Forge, Cakewalk and SONAR Producer.
"It was recorded in bits and pices throughout dorm rooms, apartments and back home," said Williams, who hails from Concord, N.C. "The impact of digital recording is huge. You can basically teach yourself to record a track that's not quite L.A. quality but it's pretty damn close."
- Bootleg Essential Culture