THE TWILIGHT SAD – Forget The Night Ahead (Fatcat)

This is the second release by this Scottish four-piece, but it is the first that I have heard. I must therefore try to ignore the numerous critics who are saying that this one is not as good as their debut and come to it with fresh ears. ‘Reflections Of The Televisions’ is a good start, with its thundering drums and fuzz guitar riffs, and that is before the My Bloody Valentine noise overload comes in halfway through. A promising start, and the band don’t let up with ‘I Became A Prostitute’, which is another noise-drenched rocker. I am starting to get the idea now, and that is reinforced when ‘Made To Disappear’ blasts from the speakers with hardly any introduction. It quietens down a bit for the verses, but the chorus is drenched in guitars, and the effect is overpowering. ‘Scissors’ is an instrumental that slows builds from a pulsing rhythm until it ends in a squall of feedback. ‘The Room’ starts with a piano intro, untreated and played normally, and for once you can actual hear James Graham’s lyrics, if you can work your way through his thick Scottish brogue. Guitars and violin do make an appearance towards the end, but mostly this is the band at their most acoustic. ‘That Birthday Present’ is the fastest song that they do, and it gives them a chance to pile on even more guitars, pretty much burying the song. Apparently there is a violin in there, but you would never know. ‘Floorboards Under The Bed’ starts with Graham’s solo voice, over which, firstly, the guitars and then a piano are introduced, and it is they who finish the track on their own, making for an interesting semi-instrumental piece. ‘Interrupted’ and ‘The Neighbours Can’t Breathe’ are as basic as the band get on this album, with the guitars toned down and played pretty much straight, and it is good to hear that they can play without all the feedback. They close with ‘At The Burnside’, which is an older song that has been revisited for this album. In this version the dark lyrics are buried under swathes of guitars which make them almost indecipherable - which is a shame are apparently they are worth hearing - but they do manage to impart a feeling of foreboding with the music. Although it might be obvious to say, you can’t get away from My Bloody Valentine’s influence on this album, and so it is for fans of that sort of music that I would firstly recommend this record, but really it is good enough to warrant investigation from anyone who likes experimental indie guitar bands. Think Jesus & Mary Chain crossed with Sonic Youth, and then go and give them a try.
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