1.
2. Garrison
3. Gold Rush
4. Drowning in Paradise

www.jyrk.com/yellowswans
coreleased with Deleted Art, Sweden

"TOTAL LIBERATION. Improvisational dance music vs. free noise abandon. From YS, "Musically comparable to a distillation of American hardcore, free improvisation, dub, hip hop, noise, industrial, and modern composition." Reissue of a self-released lathe cut lp (30 copies) with 2 bonus tracks from an unreleased split lp with Nice Nice."

Pitchfork Media
Rating: 7.3
There's nothing extreme about Yellow Swans. Extremists are universally shunned by normal folk; they lurk beyond the outer fringes of society, where no one with a sweet corn niblet of sense dares tread. Extremists don't push boundaries, they pretend to ignore them-- then return to defecate on the masses, spiteful cretins they are. Extremists don't bother releasing records; they're local basement legends, if anything. Extremists don't have brethren who are signed to Sub Pop.
Okay, okay-- so Yellow Swans make industrial noise. (I thought I had ya!) But theirs is sonic stench that's totally worth listening to. Think of Dreamed as kind of like Norwegian Christmas Pudding: Finding the almond at its center doesn't promise extra presents from St. Nick, but it will help you attain inner peace. As with most music of its ilk, the trick is finding the Eye of the storm. On Dreamed, Yellow Swans make the task seem easy: It's not the noise, but the rhythm, that dominates. Saddle up and take the 15-minute "Garrison" for a ride. Now double back and imagine the song without its insistent, pinioning drum machines and ask yourself if without them you would have made it half as far.
Even sans the chicks and clicks, Dreamed is still gentile compared to the shock-and-awe of last year's Bring the Neon War Home. By Swans' standards, Dreamed is like an hour-long Om, so there's some titular propriety. The album, if not exactly lullaby-like, is impressively fluid. A sturdy spine of drone withstands the rigors of furious industrial beats, chopped feedback like metallic dandruff, and, of course, the electro-noise tool of choice, dot matrix printer squalls. The band even treats us to some rare melody. Seething with oversaturated guitar swells and whirls of chirruping noise that can only be described as the sound of all the world's digital information being sucked through a wormhole, "Drowning in Paradise" is the most terrestrial thing Yellow Swans have done. It's more Eno than Whitehouse. Some might call it pleasant.
Still, noiseniks will be noiseniks. Swans are acrimonious little creatures, and Dreamed doesn't hesitate to chomp a dangling finger or two. Echoey, indecipherable utterances on "Gold Rush" and "Garrison" add an eerie depth, suggesting that if there's life within these miasmas, inhabitants aren't breathing clean air or sending their kids to the Friends Academy. Venus-hot opener "Untitled", this collection's harshest (and, mercifully, shortest) track, tears through sound like old terry cloth using all manners of oscillators and torture devices. Many a soulseeker won't make it through this first, grisly test of will. Dismiss it on ear-protection grounds if you must, but, as an entry point into Yellow Swans' scabrous oeuvre, Dreamed is ideal. -Sam Ubl, June 3, 2005

Splendid Magazine
D Yellow Swans' gimmick is simple: these Bay-area noisesmiths preface their name with a different "D" word for every recording and every show they play. Dreamed Yellow Swans, which compiles a 30-copy lathe cut LP with two other unreleased tracks, is anything but gimmicky -- this is noise rock to the hilt, antagonistic and abrasive sounds evoking Throbbing Gristle, Coil, and the other (not Yellow) Swans.
Members Pete Swanson and Gabriel Mindel Saloman owe more to the gloomy, proto-industrial sounds of the aforementioned bands than they do to anyone in the current noise scene. Whereas groups like Wolf Eyes and Lightning Bolt create explosive textured bursts that burn brightly, D Yellow Swans embrace a more layered and gradual compositional approach. This results in some long tracks, for sure -- "Drowning In Paradise" runs almost 20 minutes, and the untitled opener is the only track under eleven minutes -- but it also allows for a deeper introspection within the duo's sonic explorations. While a drum machine keeps a steady beat, electronics, analog synths and heavily processed guitars drone in and out of phase. When space erupts between these elements, it's like a glimpse of blue sky on a stormy day. -- Andrew Mall

Vital Weekly
The most varied thing here is the CD by Yellow Swans, aka GMS (guitar, electronics) and Pete Swanson (electronics, vocals). Two of the pieces on this CD were previously released in an edition of 30 copies lathe cut LPs and two tracks are from an unreleased split LP with Nice Nice. The music of Yellow Swans might be down to noise, but it's an altogether different kind. It has much more to do with free improvised stuff than the straight forward attacks of The Rita. Improvising freely on guitar, electronics and rhythmmachines, Yellow Swans are all over the place: noise, old school industrial but also musique concrete or even anything rhythmic. After the blasts of The Rita, Ramirez/Skin Crime and the unearthly sounds of Gruntsplatter, these lo-fi experimentalists come as a fresh bath. (Frans de Waard)

Aversion Online
All of the material offered herein by this duo was recorded live in 2002, with two of the tracks coming from a self-released lathe cut LP that was limited to just 30 copies, while the remainder is from an unreleased split LP with Nice Nice. Opening things up is an untitled piece with entirely different sounds coming from the right and left channels, among them faint percussive beats, ambient hums, glitchy distortion, chaotic fits of feedback, lots of acerbic high-end, etc. This is definitely the most active and aggressive selection, not to mention the most concise (despite running around six minutes). The 15-minute "Garrison" is initially more chilled out, using a subdued rhythm and ethereal ringing sounds in the distance alongside a weird sort of midrange loop. The panning effects are still prevalent, but certainly not as hardcore in this piece. Things persist in this manner with slight variations for several minutes, eventually morphing into a similar sounding but crunchier and more chaotic mishmash of the sounds, moving back and forth from layered and intense to slightly stripped down but still rather frantic. "Gold Rush" is more aggressive, still using strange beats amidst glitchy distorted sounds, but this time with shouted vocals way back in the mix behind tones that are more obviously generated by guitar feedback manipulations. Midway through the 11-minute piece things strip down to just rumbling feedback and switch over to a buzzing sort of low-end with more vibrant sounds bouncing around behind the undercurrents. The massive 20-minute "Drowning in Paradise" ends the disc, opening with guitar chords and randomly sparse guitar noises with humming low-end and such flitting across the background. I'm not really into that kind of stuff at all, but admittedly once the more windy distortion and biting feedback start cutting in it sounds pretty nice. This piece has a lot more shifting back and forth involved, and doesn't have any really consistent threads for significant durations of the structure. I'm not into all of the styles of sound explored, but the depth and resonance of the low-end later in the piece is quite admirable, and there are some pretty twisted manipulations in this one (Great shouting vocals at the end, too!). The disc comes in a black and white matte digipack with clean text over a black background on the back cover and minimal high contrast artwork of the duo performing live on the cover – complete with swans on their heads!? Included inside is a black and white booklet with awesome high contrast artwork devoting one panel to each song, and it has a very hardcore/punk looking aesthetic that I really like. This is an unusual release, certainly different from all of the other PACrec offerings to date. It's a little boring to me in its entirety, but I admire the group for taking a different path that doesn't sound like the majority of what's out there, and it is more good than bad, so… I'm intrigued.

Absolute Zero Media
I just think Phil lives in my head and says Clint will love this so lets release it. A it looks were 3 of 3 so far this trip of. Broken Beasts, Broken tones and weird effects are mixing to be a very interesting listening experience for me. Its beat driven but in a way noise fans and even enjoy it. If that makes any sense at all. I swear someone recorded video game music but it was at the wrong speed and the tape got corrupted and this is were the Yellow Swans were born. Its a very unique listen. Maybe this is a new genre " Experimental Broken Beat Noise". The Common theme with each release so far is there all lengthy tracks most well over 10 mins but they never grow boring is the pleasure of it all. For something off the norm check this out if your in to experimenting then get this for sure not what I would call a Noise release but brothers too it none the less.