Micheal Gira shared insight into the new album, as well as insight into the future of Swans: "The material contained in this album was largely developed over the course of a yearlong Swans tour, during 2023 – 2024 ('The Healers,' 'I Am a Tower,' 'Birthing,' 'Guardian Spirit,' 'Rope,' and 'Away'), then recorded and further orchestrated and rearranged in the studio. Two pieces were created and performed in the studio ('Red Yellow,' 'The Merge'). In all cases the material began with me sitting in my office with an acoustic guitar, singing and dreaming about what would become of these skeletal songs. I'm blessed to have such a stellar group of musicians to work with live, and through improvisation, endless revisions and an intensity of focus in performance (not to mention endurance), over the course of time the music morphed into what you generally hear on this collection. This album, coupled with the recent live release, Live Rope, constitutes my final foray (as producer / impresario) into the all-consuming sound worlds that have been my obsession for years. We'll do a final tour in this mode towards the end of 2025, then that's it. After that, Swans will continue, so long as I'm able, but in a significantly pared down form. Hints of that direction can be found in a few moments on the current album. In the meantime, my hope is that the music provides a positive and fertile atmosphere in which to dream." Birthing pre-orders (https://younggodrecords.com/collections/frontpage/products/birthing-preorder) are available now, with the album available on triple vinyl (in a brown chipboard sleeve), double CD (in a brown chipboard digipak), and digital formats. Initial pressings of the triple vinyl and CD editions include a bonus DVD featuring "Swans Live 2024 (Rope) The Beggar," a concert film directed by Marco Porsia from the last Swans U.S. tour, plus Christopher Nicholson's documentary on Gira's 2022 solo tour, entitled "I Wonder If I'm Singing What You're Thinking Me To Sing." Michael Gira founded Swans in 1982. Initially known for their brutal, high-volume onslaughts of sound and the extreme, abject imagery of Gira's lyrics and his thundering vocals, Swans underwent a series of startling transformations over the next 15 years. After early punishing albums like Filth and Cop, they explored proto-industrial rock with Greed, atmospheric and martial elements on Children of God (1987), acoustic meditations on The Burning World (1989), and grand, melody-dense sonic whirlwinds with White Light from the Mouth of Infinity (1991) and Love of Life (1993), before becoming more dissonant and sharp-edged with The Great Annihilator (1994). Finally, the ultimate statement of that epoch of Swans, Soundtracks for the Blind, combined all of these elements across well over two hours of music. Gira disbanded the group, shifting focus to Angels of Light and his Young God Records label, fostering artists like Devendra Banhart and Akron/Family. In 2010, he revived Swans with My Father Will Guide Me Up a Rope to the Sky to ecstatic critical response followed by The Seer (2012) and To Be Kind (2014), with both earning critical and commercial success, leading to sold-out tours and multiple Billboard chart placements. The Glowing Man (2017) marked the end of that Swans incarnation, with Leaving Meaning (2019) and The Beggar (2023) continuing Gira's work with an evolving lineup.

Best known for his work with the seminal outfit, SWANS, Westberg's output beyond that group is sprawling and restless. His name recurs and ripples through many interconnected micro-histories surrounding New York City's music and art scenes. From appearances in film works associated with the Cinema Of Transgression, through to his participation in bands such as The Heroin Sheiks and Five Dollar Priest, Westberg's name is woven deeply in to the fabric of NY, over the past three decades.  A Note from Lawrence English… "Norman Westberg's guitar playing with SWANS has influenced a generation of musicians across genres. I can personally attest to how his particular approaches to that instrument, in creating both harmony and brute force, have challenged and ultimately influenced my own sonic preoccupations.  What Norman has created with his solo works is an echoing universe of deep texture and harmonic intensity. His solo compositions generate an affecting quality that drives the listener towards reductive transcendence.  His guitar, as a singular source, becomes transformed through a web of outboard processes. He transforms vibrating strings completely, taking a singular gesture and reshapes it through webs of delay, reverb and other treatments. To me, these works echo many of the concerns of American minimalism and sprawl outward towards the work of bands such as Stars Of The Lid. Norman has created a very dense and powerful statement of intent with [his] recordings and I couldn't be more pleased to have some small part in helping to share them"