“The true and genuine Pythia of the American underground”
Jarboe draws from a variety of sources: childhood in the Mississippi delta and New Orleans, life in NYC’s east village during the post no-wave era in the band Swans, university studies in literature and theatre, global travel, and a history of extensive recordings, collaborations, and performances (clubs, theaters, art galleries, cathedrals, festivals, live radio, television, film). Jarboe’s voice and music is known for versatility and emotional conveyance in bold experimental as well as melodic diversity and expression. Over the course of her life, Jarboe has explored and discarded structures of personae.
Highlights from Jarboe’s career include :
- Co-fronting, vocals, keyboard performance on stage, studio song arrangements, songwriting, recording in SWANS
- US Tour, London performance, album with NEUROSIS
- “Work In Progress” Arts Program grant for rock theatre performances in Chicago, Atlanta, New York City of which a concert film DVD was created
- Performance at the Serralves Museum in Porto, Portugal
- Performance Art at PS122 in NYC
- Japanese tour and shows with Vampillia, Merzbow, Boredoms
- Europe/US Tour with the Italian avant-garde group, Larsen
- East Coast shows with Amber Asylum
- Performances in the Baltic region in cathedrals
- Concert tour on the West Coast with Blixa Bargeld
- Concert tour in Europe 2015 with Alexander Hacke, Danielle De Picciotto and Helen Money
- MONA museum’s Dark Mofo arts festival 2016 in the Odeon Theatre, Hobart Tasmania accompanied by artist P. Emerson Williams
- Wave Gotik Treffen 2016 festival accompanied by artist P. Emerson Williams
- Concert tours in Europe 2017 and 2018 with Father Murphy including Roadburn Festival 2018, Netherlands
- Dark Mofo Tasmania, Australia 2018 with Father Murphy
- Concerts for SXSW- Austin, Bumbershoot Festival -Seattle,, CMJ -NYC
- Performance for Women In Music conference at the Centre de Cultura Contemporània de Barcelona
- Concerts outside the U.S. – Russia, Hungary, Spain, Norway, Portugal, Poland, France, Germany, Switzerland, Ljubljana, Greece, Czech Republic, England, Scotland, Japan, Bulgaria, Romania, Latvia, Estonia, Austria, Netherlands, Iceland, Sweden, Denmark, Belgium, Finland, Croatia, Serbia, Italy, Lithuania, Australia …
- Performances at festivals : Reading (w. Swans. England), Pukkelpop w. Swans. Belgium) Roskilde (w. Swans. Denmark), Hellfest (Jarboe performance. France), Inferno Fest (Jarboe performance. Norway), SuperSonic (Jarboe performances. England), Wave Gotik Treffen (Jarboe performances. Germany), Roadburn (Jarboe performances, Netherlands), Stella Natura (Jarboe performance. Sierra Nevada Mountains US), Dark Mofo (Jarboe performances. Tasmania), NecronomiCon (Jarboe performance. Rhode Island, US)
- Soundtrack and voices including Tale Of Tales game “The Path” (award winning best game composition with Kris Force at Bilbao, Spain international game awards and “The Path” was also a selection at the Venice Biennale 2011) and Tale Of Tales “Fatale” (voice of Salome), voice of Lady Macbeth in the Black Sun Drum Korps production of Macbeth for Fringe Festival Edinburgh, voice for television character for Adult Swim network, Venture Bros, Uriel’s Chasm…
- Fermata at Artisphere , Arlington County Terrace Gallery audio installation- alongside Ryuichi Sakamoto, Alvin Lucier, Don Zientara + Ian MacKaye and other notable sound artists
- Mitra Music for Nepal project. Jarboe created the track “Paramahansa” with profits going to the rebuilding effort in Nepal.
- John Fryer’s “Black Needle Noise” project. Jarboe authored and sang both “Human” and “Vexation.”
- National Parks Arts Foundation Advisory Board member
- Leo Kuelbs Collection : Jarboe composed and performed the audio for two video artists (Thomas Rotenberg for the Decomposition & Transcendence show ), ( Eike Berg for the ‘Earth Revisited’ show ) and these films premiered in NYC (including Manhattan Bridge projection) and in Berlin. leokuelbscollection.com
A selected list of people/projects with whom Jarboe has worked includes: Michael Gira, Phil Tan, Philip Anselmo, Attila Csihar, Blixa Bargeld, Bill Laswell, John Fryer, J.G. Thirlwell, Merzbow, Kris Force, Lustmord, PanSonic, Mark Spybey, Steven Severin, Chris Connelly, Cedric Victor, Alan Sparhawk, Neurosis, Edward KaSpel, William Faith, Monica Richards, David J, David Torn, Bill Rieflin, Iva Davies, Julia Kent, Zoe Keating, Anni Hogan, Meredith Yayanos, A Perfect Circle, Colin Marston, Cobalt, Cattle Decapitation, Byla, Justin K. Broadrick, Jesu, Peter Valsamis, Josh Graham, Esoteric, Vampillia, Secrets Of The Moon/Crone, Baleyyg, P. Emerson Williams, Helen Money, Father Murphy, Thor Harris, Jozef Van Wissem
- Visual artists in film/photography/video/design including : Richard Kern, Cedric Victor, Danielle de Picciotto, Marilyn Chen, Beth B, Laura Levine, Tamara Rafkin, Wim Van De Hulst, Rochelle Heagh Phister, Auriea Harvey & Michael Samyn, Mick Rock, Cameron Crowe, Thomas Rotenberg, Eike Berg, Marco Porsia (for Swans documentary, “Where Does A Body End” )
- Jarboe is featured / referenced in books including Catamania by Adele Olivia Gladwell, Angry Women In Rock by Andrea Juno, Take the Cannoli by Sarah Vowell, Sacrifice & Transcendence by Nick Soulsby…
- A true independent, a featured panelist on “Artists and the Internet” at the CMJ convention NYC, Jarboe currently has 36 solo albums in addition to her work on 21+ Swans albums and 63+ collaborative projects with visual & sound artists all over the world and has recorded albums in studios located in the United States, England, Italy, Netherlands, Japan, Israel
from ‘METAL INJECTION’ :
Few artists have been as prolific as Jarboe. Through almost sixty albums, the Mississippi native has maintained an abrasive consistency in her work. Not limited by labels or definitions, Jarboe has surpassed terms such as ‘avant-garde’ and ‘experimental.’ While some artists find themselves easy to describe or pigeonhole, Jarboe continues to defy convention all the while reinventing herself in the process.
Jarboe is best known for her time as a member of Swans. She and songwriter Michael Gira’s tumultuous relationship culminated in several releases for the group. In doing so, they were able to push the limitations of what could be accomplished with abrasive musical art. The pair’s dysfunctional love life played out in their collaborative efforts and served as a part of Gira’s Drainland album. On “You See Through Me,” a recorded conversation between the pair showed a disjointed partnership unraveling in the wake of alcoholism. She would go on to collaborate with Neurosis in 2003 and even contribute a to Swans’ album Seer in 2012.
Illusory sees Jarboe merging serenity, atmosphere and demonstrating musical prowess that resides at the highest levels of conceptual and experimental art. It would be easy to simply pigeonhole this newest effort as Avant-Garde. Jarboe shows us that she’s an artist without limitations and offers something altogether different from expectation and definition.
In 2020, there appears to be no shortage of subgenres that cater to every taste in music. Experimentation is almost becoming oversaturated at this point. Now more than ever, it’s important that artists are true to themselves and the work they create. Nowhere is this more apparent than on the albums opening track, “Illusory.” The haunting score of a piano fused with Jarboe’s ethereal voice engulfs the listener in serenity and isolation. The closing lyric of “I’m here, I’m still her…” is a firm declaration from an artist who hasn’t compromised their vision to fit current trends.
“Cathedral” and “Flight”, in particular, are standout songs that demonstrate spellbinding vocal prowess. Sewing harmony and discord together, Jarboe’s vocalizations crawl down your spine and wrap around themselves around you. The vocal production on “Cathedral” mimics a dirge and Jarboe emphasizes pathos and melancholy that few are capable of. At times it’s difficult to discern what’s more captivating–the vocals or the dissonant music that accompanies them. Both flow together flawlessly as a cohesive unit. Like many conceptual works of art, Illusory needs to be experienced in its entirety to be fully appreciated.
Jarboe sustains fluid continuity on Illusory, not once coming close to repetition or tedium. Her vocalizing throughout is one of the decisive factors in shaping the unique atmosphere that emanates with each passing moment. “Man of Hate”, the albums concluding track, is driven prominently by clean vocals. As the lengthiest composition on the album, it contains lyrical content that grants insight into the tortured soul that dwells in so many artists. Passages such as “Reveal my good confession, what I hope to gain. I admit to grand obsession, breathing in my veins…” are poetic in their turmoil, All of these years later, and it appears Jarboe has a response for Gira’s Drainland ballad.
Very few artists have captured the type of emotion and cataclysmic atmosphere of Jarboe. She continues to captivate audiences all the while furthering her legacy. With the uncertainty of recent events ever-present, we have the reassurance that there will always be artists who create a separate reality that we can not only retreat into but embrace as our own.
from ‘METAL INJECTION’ :
Invincible and immaculate, Jarboe is the goddess of dark and avant-garde music. The forward-thinking queen of unreality, this is the woman who had a huge part in starting a new generation of weirdness. Her’s is a project that is forward thinking and thrilling, dynamic and over the top, constantly enamored with the promise of a darker and more potent tomorrow. Her records have always been deep and thoughtful, full of unique sonic twists and turns, overwhelming beauty and a very real sense of the crushing struggle of being.
With powerful sonic pulses and crushing ebbs and flows, The Cut Of the Warrior is an amazing blend of four original compositions as well as a set of three collaborative remixes that have led to some really thoughtful and exciting new musical directions. This is the spirit of avant music recaptured by someone who has chosen to remain at the cutting edge, crafting music that is wholly different, very beautiful and currently scaring the hell out of my cat. What more could you want?
I think what gets me about The Cut Of The Warrior is that while Jarboe’s music remains incredibly beautiful it also represents a much darker side of the human psyche and operates far outside of the realms of traditional music, placing an emphasis on minimalist ideas, mesmerizing repetitions and reverb packed effects around her massive vocals. These songs are powerful explorations of Jarboe’s Buddhist ties and they create music that is not only meditative but enveloping. This all being said, this is not a record that gets lost in navel-gazing.
Even in the most Steve Reich-esque moments of a track like ‘GodGoddess’ there is a clear sense of forward motion and an overarching sentiment that Jarboe is creating something powerful that is going to draw you in and keep you fascinated. The transcendent and simple poetry of these trance-like reflections is addictive. I’m on my fifth or sixth listen of The Cut Of The Warrior now and every time I go through this record I find even more to love. It’s an album that rewards the listener right away with lush soundscapes, but with the more that you invest the more you understand to what extent Jarboe has been able to truly embrace her inner greatness.
Powerful and transcendental, Jarboe really taps into what makes her special on The Cut Of The Warrior. This record sees her leap from peak to peak, and the collaborations add a sense of breadth to her work that we have perhaps not seen since the Neurosis collaboration she did all those years ago. This is one of the United States’ most important composers at the height of her late period powers crafting something that is uniquely heavy and incredibly, almost disconcertingly disturbing in all the most subtle ways whilst simultaneously communicating a message of love and hope. There are some truly subversive ideas going on here paired up against some gorgeous melodies.
Jarboe has unveiled something that cuts through the ego and uses ideas of repetition in order to put the listener in a state of pure and unadulterated sonic adulation. This is not an album to be taken lightly nor is it one that isn’t going to leave you with a few surprises, but that’s part of the point. This is an album that was meant to leave you in awe, allow you to embrace the future and fall more in love with the music of Jarboe and her incredibly rich history in the world of avant-garde than ever before.
THE WIRE issue # 298 U.K.
If Jarboe’s recent collaborations with Neurosis, Colorado ‘War Metal’ duo Cobalt and UK bliss-Metallers Jesu suggested that the vocalist was seeking to align herself with the constantly mutating world of avant Metal – not unreasonable given her part in Swans, perhaps the single biggest influence on this burgeoning area of music aside from the obvious likes of Black Sabbath et al – Mahakali (which features guest spots from Mayhem frontman Attila Csihar and Pantera/Down howler Phil Anselmo) serves as an uninhibited exploration of the possibilities she herself helped to crack open alongside her erstwhile ‘partner in filth and redemption’, Michael Gira. It’s intriguing that, while Gira bares his soul without recourse to Sturm und Drang in Angels Of Light, Jarboe, often considered the softer, more feminine (whatever that means) element of the NYC dirge machine, is leaning more and more towards extreme sonic violence.
Mahakali is hardly a cynical grab for the currently robust Metal dollar, however. These songs are expansive rather than claustrophobic, the aggression emanating chiefly from Vincent Signorelli’s pummeling drums rather than Colin Marston, Kevin Hufnagel and Josh Graham’s hyper-distorted riffs- the blackened, beatless drone of “A Sea Of Blood And Hollow Screaming” being a notable exception. The album hits its stride with “The House Of Void” and “Transmogrification”, which witness Jarboe shapeshifting from vengeful revenant to innocent martyr over shuddering fields of rhythmic noise.
As for her vocal collaborators, Csihar acquits himself brilliantly, festooning “The Soul Continues” with guttural sobs and spectral groans … Anselmo on “Overthrown”….Neither are a match for the overpowering presence of The Living Jarboe.
– Joseph Stannard
“JARBOE … who sang with New York’s legendary nihilists the Swans for more than a decade, is not an easy musician to categorize. She pairs the visual flair of performance art with a fiercely eclectic arsenal of styles, and she never shies away form the aggressive and the extreme.” The New Yorker“From her time in the soul-scarring monolith that was Swans through her collaboration with Neurosis, vocalist extraordinaire JARBOE has built up an intensely personal yet wide ranging body of work that’s left an indelible mark on the world of extreme music.” – Terrorizer magazine
Introduction to Jarboe by Andrew Wales :
The multi-disciplinary artist and musician known as Jarboe first came to public attention as a member of the US avant-rock ensemble Swans during the period from 1985 until 1997. It was a time that saw the release of acknowledged classics in the bandʼs canon such as “Children of God” (1987), “White Light from the Mouth of Infinity” (1991) and “Soundtracks for the Blind” (1996) and the significant impact she had on the evolution of their sound is clearly audible to even the most casual of listeners.
Her close relationship with the bandʼs founder Michael Gira resulted in the project Skin and the 1987 album “Blood, Women, Roses”. Then 1991 saw the release of “13 Masks” the first album to appear under her own name. While “Sacrificial Cake” (A “Swans Related Project” from 1995) developed the use of “tribal”/ritual elements and use of multiple voices, it was the 1998 album “Anhedoniac” (initially self-released in an edition of 1500) that truly served to announce the emergence of a unique, uncompromising artistic force. More than just a catharsis for the Swans years, this is an album that to this day confronts the listener with a degree of full frontal, all-encompassing, emotional honesty that few of her peers have come close to replicating. Jarboe quickly exploited the opportunities afforded by the internet and via her website thelivingjarboe.com established herself as an independent and prolific artist self-releasing much of her subsequent output in the form of often limited editions wherein she exercised full control over matters of artwork and presentation.
A deep interest in spiritual/belief systems such as Buddhism, Hinduism and Occult practice inspired much of her work in the first decade of the 21st century and beyond as exemplified by the “Magick” trilogy (2006/7), “Mahakali” (2008), “Skullgirl”/”Alchemic” (2009) and later “Dreams” (2013). Meanwhile, a facility for collaboration has been demonstrated by: “Beautiful People Ltd” (w. Lary Seven (1992)), “Neurosis & Jarboe” (2003), “J2” (w. Justin Broadrick (2008)) and “Jarboe & Helen Money” (2015) to list just a few examples. “The Men Album” (2005) was a double CD where every track was a collaboration and featured noted artists such as Blixa Bargeld, David Torn, J. G. Thirlwell amongst others.
Additionally Jarboe has re-visited/re-worked her Swans era material on “Indemnity” (2011) and “Indemnity 2” (2012) and composed the soundtrack to a videogame “The Path” (2010).
Further releases are planned for 2017 and will include a tour with the “Italian Occult Psycedelia” band: Father Murphy.
– Andrew Wales, London
Ten Songs For Another World of 1990 completed the (World of) Skin project initiated by ‘Blood, Women, Roses’ in 1987. Jarboe and Michael take the lead vocal on alternate tracks and the album has an overall folk-pop flavour which includes touches of psychedelia and ambient electronics.
Jarboe performs the lead vocal on the two arresting cover versions, Nick Drake’s ‘Black Eyed Dog’ and the traditional ‘Drink To Me Only With Thine Eyes’ which concludes with a recital of the Lord’s Prayer amid spectral atmospheric effects. Both interpretations are spectacular in their own way.
The two tracks closest to Swans’ rock style of the period are ‘I’ll Go There, Take Me Home’ and ‘You’ll Never Forget’. Michael sings these, as well as the folky melancholic ballads ‘Please Remember Me’, ‘The Child’s Right’ and ‘A Parasite and Other Stories’.
Jarboe renders the mystical pieces ‘Dream Dream’ and ‘A Mystery Of Faith’ in an ethereal way. On the second, a recital in German by Hans Blatter emerges at the halfway mark, to supersede the first hymnal part. The bellowing delivery of ‘Black Eyed Dog’ contrasts starkly with Drake’s delicate and forlorn original; the eerie breathing and disembodied barking that bookend the howling blues confirm the mood of malevolence.
Tony Maimone of Pere Ubu plays bass guitar on the magnificent ‘Everything for Maria’. Jarboe’s moving elegy for Maria Callas employs striking imagery to devastating effect through the use of the present tense to report the disturbing events immediately following the legendary singer’s death.
The sonic texture of Ten Songs differs from that of the two early Skin albums. They were graced by additional classical instruments like the cello, double bass, Indian oboe, violin and viola, whilst Ten Songs features only acoustic, bass and electric guitar, keyboards, piano, percussion, programmed drums and samples.
That, however, makes no difference to the glorious expression of the otherworldly ambience associated with Gira and Jarboe’s 1980s output. The same mournful spirituality and eerie sorrow of ‘Children of God’, ‘Blood, Women, Roses’, ‘Shame, Humility, Revenge’ and ‘The Burning World’ pervade these melodious compositions, confirming Ten Songs’ stature as their equal.
– Pieter Uys