• Culture Collide

    "With his newest single “Mirrors,” Charlottesville-based cellist, singer-songwriter and multi-instrumentalist Wes Swing continues his exploration of both the emotional core of folk-rock and indie-pop and its sonic eccentricities. While Swing has been known to juggle his classically tinged cello with straightforward acoustic balladry and indie-folk structures, “Mirrors” revels in flowing string arrangements. The entire sonic spectrum of the cello manifests through rapid staccato, full-bodied resonance and swaying legato to tremendous effect."
  • Whurk

    "Acoustic hymnals flourish into an orchestral apex with an electronic chaser on cellist Wes Swing’s sophomore album. Written during a post-tour hiatus and period of self-discovery, the songs weave through melancholic valleys and uplifting peaks. Second track “All Other Love” introduces Kid A instrumentals before emerging as a delicate postpunk plucking. The blend of instrumentation and genre could not be more beautifully captivating, supported by Swing’s lush vocals, a grounding force. Fans of Owen Pallett and Andrew Bird will find great solace in Swing’s introspective explorations."
  • No Depression

    "The compositions, pieced together very carefully, are orchestral without orchestra. They are movements, and they are moving. They take place in that grey area between pop and symphonic. They are surreal and sometimes eerie but also grounded enough that they are not wisps. I was surprised when I first heard them. Everyone who knew him had talked cello, not voice, so when his (basically) alto vocals took precedence, it took me aback. Songs written for aura and feel, couched in just the right amount of electronica with pieces of folk/psych and rock thrown in almost as afterthought.

    And The Heart is Wes Swing at his present day creative best, most of it over a bedrock of acoustic guitar with fringes of violin and cello. That and his voice--- that eerily beautiful, wavering voice."
  • C-Ville Arts Pick

    "The second album from chamber pop cellist Wes Swing traces its origin to California, Texas and Washington, D.C. While composing in San Francisco, Swing struggled to overcome a wrist injury, before reconnecting with producer Paul Curreri (living in Austin at the time) who was facing his own physical challenge. Once collaboration on the new pieces began, says Swing, “I moved back from SF, Paul and Devon [Sproule] from Austin, and both Paul and I pushed through musical injuries and brought more vulnerable parts of ourselves to the music.” Described as deliberately sparse with stark instrumentation, And The Heart uses restraint and delicate vocals to pull you in for a closer listen. Curreri and Sproule perform as part of the album release celebration."
  • Washington Post

    "The Charlottesville-based singer-songwriter performs pop with modern classical influences"
  • The Liberty Project

    "And the Heart does an impressive job of pushing into avant-garde without losing its center. "Mirrors" brings delicate harmonies. The title track explores empty space and silence just as much as other tracks delve into the depth of full-band arrangements. Wavering strings and a plucked guitar line support Swing’s voice, louder and brought to the front." - Hailey Nuthals
  • New Haven Independent

    "With a touch of sorcery, Swing used his dream-like set to cast fans into silent, entranced listeners tranquil from hypnotic rhythms...
    A unique folk-electronic-alternative sensibility to an instrument normally reserved for classical stylings ... from a growing genre of indie interpretations of classical instruments linked to artists like Andrew Bird and Kishi Bashi. Swirling smooth vocals with the drama of the cello, the musical workings of Swing were anything but ordinary."
  • C-Ville Weekly

    "Wes Swing has heady aspirations for And the Heart, aiming to “create an introspective space that allows folks to rest and connect to themselves…” Composed after a debilitating injury and subsequent depression, the mostly acoustic album sounds steadfast, if not jubilant—several songs are dark and heavy on low strings (Swing’s main instrument is cello). But Swing’s voice is delicate and fluid, floating into upper registers on “Missing Winter” and “Sing to Me”—he imparts a fragility possessed of tensile strength, a little like the gentler moments of Anohni." - Nick Rubin
  • The Wild Honey Pie

    "This music gives an audio backdrop that would make your eyes want to follow your ears and find the beauty all around"
  • Folk Radio UK

    "Listening to the album became a journey that I found lent itself to a full listen rather than dipping in and out of tracks...Swing demonstrates his vocal prowess with delicate intonation"
  • Stephanie Garcia, The Hook

    "Like a cold fall night pierces a mountain hollow... Swing's voice rings out over his classical cello strings."
  • Buzzpost

    "Beautifully swelling cello-folk...Wes Swing creates a rich and lilting soundscape that is a sheer joy to explore. Swing crafts an album of surprising grace and beauty."
  • Shaun Harvey, The Velvet Rut

    "A classically trained musician who began playing violin at the age of 4, Wes Swing is creating a very unique and personal style of music that is unlike most of what I've heard in Charlottesville. By drawing together elements of minimalism and modern classical pieces with expressions of folk that are at times reminiscent of the late Nick Drake, Swing hopes to push upon the boundaries of what defines the singer-songwriter genre."
  • Andrew Cedermark, Cville Weekly

    "Where a chamber pop artist might adorn a finished song with a series of pizzicatos, or a dramatic glissando, Swing uses these flourishes as a starting point. He utilizes a loop pedal to impressive effect, which allows him to compose, de- and reconstruct a single measure of an orchestra on the fly. This setup tends to lock a songwriter into a repetitive pattern, since all you can do is what you've already done, but Swing subverts these limitations with his lyrics, which are sparse, and loop with subtle repetition along with the music."
  • Hearsay Magazine

    "A string quartet combined with an alt-rock edge. A surprisingly great combination that's very calming."
  • Cville Weekly

    "Wes Swing makes us wish that Damien Rice could collaborate with Bartok, or that Radiohead would get really into Philip Glass. Thankfully, each of his sets scratches the same chamber-pop itch. After a gorgeous, cello-looping set at The Bridge...Swing has us convinced that he has one of the best ears in town, and the fine motor skills to knit a silky melody from any stringed instrument you could put in front of him."
  • AuxSend

    "Wes’ music is nothing short of beautiful...For music that is so perfect in it’s simplicity, I chose the longest way possible to describe it. Wes’ music is thick with texture, it evokes emotion and paints a visual scene with the fewest words possible to build a world you can nearly step into and live inside for the duration of a song."