Rigasaurus’ “Swim” Drowns With Noise

Rigasaurus

By Ibn-Umar Abbasparker of Indie Band Guru

Life is like a wave.

When it surges, you could rise to new heights on its ascending peaks or you could crash and fall down hard.

The same statement can be said about “Swim,” the recently released single from Australian rock band Rigasaurus. First, it comes in steady and soft. Then, it hits hard with loud, roaring waves of noise that crash against listeners’ ears like a tsunami smashing into a coastline.

Rigasaurus — Heavy Rock from Down Under

Rigasaurus formed in 2012 in the city of Newcastle, Australia. Guitarists Harry Webber and Pat Olsen were asked by their friend Dylan Oakes to jam together and record a few songs he had written. Once they agreed, Oakes brought in bassist William Wood and drummer Joe Olsen. With Rigasaurus complete, they began recording together in Oakes’ private studio in Sydney.

Since then, they have been performing at venues throughout the Sydney music scene. The quintet plans to release their debut EP Swim later this year. Until then, its title track is out now for those interested.

“Swim” opens with languid guitar riffs laden with reverb. They are soon joined by a steady bass line courtesy of Wood. Next, Olsen delivers marching drumbeats that quickly crescendo and grow louder.

When it reaches its peak, a sonic explosion, the song is filled with booming drumbeats, cymbal crashes, and heavy guitar and bass riffs. Once it settles, Oakes sings in a hushed, whispered voice that’s resemblant of Marilyn Manson. His vocals here give the song an eerie mood. Lyrics such as “I’m not here to float, I’m here to swim / Unlike the shit that you’ve been drowning in” convey images of floating bodies that add an extra dose of creepiness, as well.

Oakes’ vocals then louden during the song’s chorus, when he unleashes several melodic howls. After 1:57, the pulsing bass line takes over with softer, subdued drum sounds in the background. Meanwhile, Oakes’ haunting vocals dance along the rhythm with jagged, buzzing guitar lines from Webber and Olsen.

At around 2:38, lively cymbal crashes, pounding drumbeats and driving guitar riffs erupt and bring forth another wave of overwhelming noise. Once it disintegrates, all that remains is warbling feedback. These distorted sounds carry the song to its ultimate conclusion like the life slowly fading away from a dying man’s eyes.

When all is said and done, “Swim” proves to be a dark, bleakish track that invites listeners to the shadowy borders between life and death.