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RICHARD SWIFT Even if you’re not a fan of Richard Swift’s many adventures in sound, you have to marvel at his respect for the medium and its history. A purist at heart and studio hermit by trade, Swift refuses to stop working. He’s tinkered with his own electronic rumblings, messed with celluloid and deconstructed the sounds of pop’s golden era. But no matter the destination, one constant has remained: Not one inch of magnetic tape shall be gussied up. As Onasis is a bloozified stopgap to keep the cultists occupied before his next proper full-length lands, and it works. From the first few crackles and postmodern pops of “Knee-High Boogie Blues” to the basement crunch of “The German,” the quickest double-disc outing in recent memory (packaged as two EPs, each about 20 minutes in length) is a refreshingly realized study of ’50s-rock romance. Like much of Swift’s previous work, there seems to be little hesitance in releasing recordings as is, without apology for scraps or warts. More about vibes than sound, As Onasis’ many dents and bruises should be celebrated. They communicate perfectly Swift’s love for the recorded moment, and perhaps more importantly, they capture his ethos: Rock ’n’ roll was never about keeping it perfect. [Secretly Canadian, www.secretlycanadian.com] —David Bevan
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