The band unveil yet more material from 'Nobody Wants To Be Here and Nobody Wants To Leave' recordings.
If you loved The Twilight Sad's last album (if you're anyone, that is) then you'll be pleased to know that they are bringing it back with an album of stripped back renditions of the tracks, a cover and some other little extras for Autumn 2015. Yeah, so 'Óran Mór' is not a 'new' new album, but it's a very welcome addition to their stellar back catalogue.
The Twilight Sad release 'Oran Mor' in full this October
In October 2014, The Twilight Sad released 'Nobody Wants To Be Here and Nobody Wants To Leave' and probably doubled their fanbase with it. It became one of the most hugely acclaimed albums of the year and featured awesome tracks like 'I Could Give You All That You Don't Want' and 'It Never Was the Same'. They initially released 'Óran Mór' as an EP at the same time as 'NWTBHANWTL', as they geared up to head out on tour, but now they've compiled all the fun bonus content together in an extended re-release.
Incredible acts have been revealed for the eco-friendly Plissken Festival in Greece this summer.
The famous Plissken Festival is celebrating its fifth birthday this June with a phenomenal line-up. Hard-hitting, electric, and the best quality: this summer is looking amazing for Greece, with some of the best alternative artists and performers around.
Dom Gourlay's Top Albums of 2014
10) Soft Walls - No Time
Multi-talented musician-cum-producer Dan Reeves divides his time playing in several bands with running a record label. This effort, his second as Soft Walls ranks as his finest collection to date. Although heralded as one of new psychedelia's finest releases, 'No Time' owes as much to Phil Spector and Suicide as it does anything else, and sounds all the more accomplished for it.
9) Temples - Sun Structures
Having spent the best part of two years touring the songs that would eventually go onto become 'Sun Structures', it was perhaps somewhat inevitable that the album would be every bit as good as we'd hoped. What happens next will be key to Temples long-term future, but for now 'Sun Structures' is a fitting document of the band's inaugural stages.
8) Cheatahs - Cheatahs
This cosmopolitan four-piece might display their influences quite brazenly. However, this debut bears all the hallmarks of a classic. Referencing the likes of My Bloody Valentine, Swervedriver and Teenage Fanclub at regular intervals yet retaining a distinctive edge all the same, 'Cheatahs' is the sound of a band discovering an identity and using it to their advantage.
Continue reading: Dom Gourlay's Top Albums of 2014
For a band whose fourth album is such a majestic, enveloping journey, the Twilight Sad's singer James Alexander Graham had a less than prosaic way of describing it, admitting that while he doesn't feel it was his best work, he is nonetheless extremely proud. And by damning 'Nobody Wants To Be Here And Nobody Wants To Leave' with that sort of faint praise, he runs the risk of underselling a record on which he and collaborators Andy MacFarlane (guitars, accordion) and drummer Mark Devine have joined the dots between the dour, cult sobriety of Interpol and The Editors whilst simultaneously throwing themselves back to the vintage shoe-gazing of Ride.
Recorded at Mogwai's Castle of Doom studios in Glasgow, the trio, who've shifted musical tone throughout their career from walls of sound to soul-baring introspection, have this time settled on an approach which allows MacFarlane to emboss their usual tales of regret with moods of his choice. That Graham sings in an exquisite Caledonian burr is incidental; this is no trinket to authenticity, instead something that colours every sketch with a sanguine, fatalistic warmth. The result is a collection that should expand their appeal beyond a small, but devout and frighteningly sincere fan base.
It would equally be wrong to suggest that as a result this is a clumsily titled album centred around clumsy emotions. Former band member Martin Doherty has gone on to find commercial success as one third of Chvrches, but when Graham shows a surprisingly non partisan attitude to accessibility by insisting that while they don't write pop songs, they do indeed love them, you could be forgiven for taking the sentiment with a pinch of salt based on past endeavours. It's fair to say that Joy hasn't been their go-to emotion to date, but on the likes of 'Last January' and 'I Could Give You All That You Don't Want', they sound energised, almost chipper. On the former, a thudding bass and metronomic drums contrast against guitar lines that hint at delicacy, propelling another tale of desperately needed succour onto the fringes of daytime radio.
The Twilight Sad's forthcoming fourth full-length release, "Nobody Wants to Be Here and Nobody Wants to Leave", is not the Glaswegians strongest. It falls short of measuring up to the nervous grey-sky brilliance of their debút and after the electronic explorations of its predecessor, 2012's "Forget The Night Ahead", it feels like a retreat and a retread. On top of this it contains no real immediate highlights, nothing that strikes up limbs like 'Another Bed' or engages the vocal chords like 'I Became A Prostitute'. It is by no means a bad album, far from it, but it doesn't feel like one made to be played live, and most bands would struggle to give justice, and maintain audience interest, with such an ebbing, structurally unremarkable work.
Fortunately The Twilight Sad aren't most bands. When they play live their best track is the one they are playing, and the unremarkable becomes more than unremarkable; it becomes unmissable. Much of this is due to vocalist James Graham, who puts his entire body and soul into each track, hyper-extending limbs and screaming out words with such velocity and belief that they fill the room even when he jerks away from the microphone, towering above even the mightiest maelstroms that the other four members (two of which remind a touring concern only) of the band whip up.
In the eleventh year of the band's existence such abandon is a marvel, particularly when it is delivered in front of around a hundred (admittedly very dedicated) people on a weekday night. Delivered with such abandon 'There's A Girl In The Corner' and 'Last January', the opening couplet from "Nobody Wants to Be Here..." are wrought with an energy that is perhaps lacking on their recorded versions and the title track of the album is even more cloistering than it is on record, sounding like My Bloody Valentine's 'Loveless' condensed into four minutes and left out to die in freezing, pouring rain.
Continue reading: The Twilight Sad - Nottingham Bodega 7th October 2014 Live Review
The Glasgow musician beats some prodigious talent to the prize
RM Hubbert beat out popular Scottish outfits Django Django and The Twilight Sad to take Scottish Album of The Year at a ceremony at Glasgow's Barrowland Ballroom last night. The prize saw Hubbert receive £20,000 and an exclusive piece of artwork created by Emma Reid, of Glasgow School of Art, and Gregor Morrison, of Edinburgh College of Art.
Hubbert said in a statement: "I am shocked and delighted at winning. I never expected it. It is testament to all my collaborators that we won." John Williamson, chair of the judging panel, added: "In the view of the judges, RM Hubbert’s album was the one that encapsulated and engaged the most." The judging panel included an array of musicians, journalists, DJs and visual artists: Douglas Anderson, Christopher Brookmyre, Stewart Cruickshank, Tom Doyle, Douglas Gordon, Kate Molleson, Joe Muggs, Jude Rogers, Tjinder Singh, Rebecca Vasmant and Sue Wilson.
Django Django missed out
Continue reading: RM Hubbert Beats Django Django to Scottish Album of the Year
Listen to the rumours and whispers swirling around blogs and webzines and you may be led to believe that The Twilight Sad aren't the band they once were. Yes, on first listen, their latest full-length "No One Can Ever Know" doesn't pack the punch of its predecessors but it is full of the same nervous, razor-edge energy, which is, by no means, a step backwards. It is also an album that, as proved in the confines of a venue that only they alone seem to be able to fully use to their advantage, is truly brought to life on-stage.
Continue reading: The Twilight Sad, Nottingham 15th February 2012 Live Review
With almost a decade's worth of uneasy listening behind them, only the most nonchalantly optimistic soul would augur a drastic change in The Twilight Sad's psyche. Shrouded in mystique with a brooding intensity money can't buy, James Graham and long time cohorts Andy MacFarlane and Mark Devine have always delivered where many pretenders to the throne of miserablist pop failed dramatically. A simple trawl through the band's extensive back catalogue reveals an outfit unafraid of revealing their innermost thoughts, often drowned in a sea of feedback, distortion and ear shredding white noise. In the flesh the results have a tendency to be even more dynamic, Graham's imposing figure quite apt for a band whose earliest lyrical asides involved kids on fire in the bedroom and a rabbit that must die.
Continue reading: The Twilight Sad, No One Can Ever Know Album Review
Review of The Twilight Sad's album Forget The Night Ahead
Continue reading: The Twilight Sad, Forget The Night Ahead Album Review
Review of The Twilight Sad live at Nottingham Bodega, 24th October 2009.
Continue reading: The Twilight Sad, Nottingham Bodega, 24th October 2009 Live Review
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