Swampboots

After a lengthy hiatus, Brooklyn’s Swampboots finally broke their silence at Death and Taxes’ installment of Brooklyn’s Night Bazaar with a jolting performance of their newest material- the act’s first full band material since the inception of Dylan Schultz’s brainchild in 2010. With the spirit of Minnesota running through Dylan’s veins, it’s no wonder that he evolved from a Bob Dylan-inspired soloist into an full on alt trio more reminiscent Uptown’s The Replacements. The new EP from Swampboots contains two tracks, “Space and Time,” and “Pickup On 95th Street,” and can be heard below.

If you’re located in Brooklyn, catch the release show for the trio’s EP on Sunday, July 13th at Cameo Gallery with Kitty Litter, Natural Stranger, and Mission Drift. - Deathandtaxes

Listening to Swampboots might make you think you’re an adolescent Tom Petty walking through a desert with a guitar strapped to your back. No? Just me? OK, well, regardless, Brooklyn’s Swampboots are a treat for the ear — especially if you’re the kind of listener who likes your audio with a mild twang and a whispery croon.
The minimalist production suits the genre, although it might have you questioning Swampboots’ Brooklyn origin. Could sounds so praire-esque really come from the Concrete Jungle’s neighbor?
Swampboots’ Dylan Shultz toes the line between feel-good acoustic chords and crawl-into-a-hole violin melodies, telling a poetic story about Jitka, a wayward traveler fleeing from romance. “Jitka chooses the celluliod glow of the cinema over a chance at real love,” Dylan tells Diffuser.fm. “Given her odds at happiness, I can’t say I blame her.” You can hear Jitka’s story below on the single ‘Jitka.’ - Diffuser

Swampboots is a poet and an artist. Coincidentally, the singer-songwriter, Dylan, shares a name with the man who his spirit seems to emulate… or is it a coincidence? Much like Bob Dylan, Swampboots also hails from Minnesota, became a transplant in New York, and most importantly gained his start by adhering to a process that’s free from ulterior motive, writing about his surroundings, writing to write, art for the sake of itself. Obviously, I’m not going to tell you that their respective cultural impacts compare; they do not. Times are much different now; but what I love about Dylan and his body of work is his pure, humble attitude toward the music and music as an industry. And after all, the rest is still unwritten.

It was just last night that we were sitting in the back patio of La Esquina after seeing Weekend and Snowmine play inside of Brooklyn Denim & Co, just across the street, discussing Dylan’s incredible new EP “Lessons in Hunger”. Embarrassingly, I asked, “Did your new record come out? Last time I heard it was in your bedroom, just after the masters came back.”

“Yeah, definitely. It’s been out about two months now,” he replied.

This spurred a conversation about the necessities of PR, and how unappealing it is to “hype” yourself and your work. It’s a daunting task, and the truth of the matter is that no one really wants to hear you talk about how great your “new stuff” is.

“I don’t want to be in peoples’ faces begging or convincing them to appreciate my songs. I just want to keep making art,” Swampboots.

While this approach doesn’t lend itself to financial gain, and has the potential to hinder longevity, it reminds me very much of the beautiful mind of Detroit’s Rodriguez: a man who remained a humble poet, dedicated to his craft through commercial “failure,” victimhood by industry scammers, and finally legendary folk success.

Stay gold, Swampboots. - Death and Taxes

Tonight I went to Bowery Electric for the release show of Dylan’s second album, ‘Lessons in Hunger’. And what a cracking show it was.

Ever since he recorded the EP in Minnesota in October, I’ve watched him slog through lists of logistics. But tonight, nearly two years after he started working on the first songs, he showed why it was all worth it.

Along with his electric guitarist Brian, drummer Dave, keyboardist Corey and bassist Paul, Dylan put on a great performance. They were so clean and Dylan looked like he was enjoying every moment – bolstered by friends and fellow musicians who have enjoyed and supported his music over the months.

I have heard these songs millions of times, but each time they surprise me with their nuances. Dylan’s lyrics are poetry, and his band mates are top-notch.

Best of all is how varied the EP is: There are rockabilly twangs, gentle violins, catchy melodies and eerie harmonies. If I had to choose a song to recommend, I would say go for Milo for its catchiness and Anna Come Home for its vulnerability. (Yes, I appreciate that’s two.)

When we got to the last song of the set, I struggled to keep my emotions in check. I am so chuffed for Dylan. Tonight was the accumulation of months of playing, planning, fretting and doing what he loves, and his EP is a testament to his hard work and his talent, as well as the friendships and collaborations he’s garnered along the way. - Today's The Day I

The mix of sounds on this two song release is pretty intriguing. There is a lot of Americana here, along with alternative rock, punk, psychedelia and more. It’s cool stuff. I’d like to hear more from Swampboots, really.

Space and Time
As this starts, it makes me think of Tom Petty just a bit. It works out to more of an alternative rock vibe. There is some psychedelia in this and almost some modern progressive rock. It’s a cool jam that is both modern and classic in sound. This gets run though some cool changes and there’s a great fuzz-laden heavier section late in the piece.

Pickup on 95th Street
Much more of a straightahead rocker, this makes me think of Bob Dylan meets the White Stripes. There is definitely a retro rock edge, but also a punk rock one. - Music Street Journal

MEANWHILE over at Mercury Lounge there’s a VERY solid lineup featuring Basic Shapes, Swampboots and Alus for a mere ten bucks entry! Show starts at 7:30pm // BE THERE. - Brightest Young Things

The songs on this album make you feel as if you're on a road trip with a best friend in an old convertible twisting through the back roads of America confident that the "short cut" will at least take you somewhere interesting even if it doesn't lead where you intended to go. - Brian Berlin