Twin Shadow - Confess


More often than not I miss the debut of someone genuinely exciting or interesting - I can't keep ahead of everything by myself. So I'll treat this as I treat debut albums (with a "for fans of" spot at the bottom), since I suspect there're more than just little old me with the same predicament.

Twin Shadow, stage name of George Lewis Jr., a Dominican Republic-born, Florida-raised, did technically breakthrough in 2010 with his debut album Forget (which I'm told is rather brilliant, but haven't got around to listening to yet). A mere year and a half later, Confess emerges on the wave of Florence + the Machine support slots, and (perhaps with her influence) a whole new range of 80s sounds.


Persisting throughout the entire listening of this album there's a nagging feeling that you've heard a certain chord or instrumental inclusion somewhere else. It's unexplainable. But opener 'Golden Light' is one such moment, a synth-powered grower aimed squarely at the current indie scene with aplomb. "I'll follow you", Lewis vows, with a voice somewhere between TV on the Radio's Tunde Adebimpe and Sam Sparro. Its straightforward pop sounds, though, are matched in hair metal moments on 'You Call Me On'. Huskier and more menacing, it's almost single-handedly my reason for placing Prince in the criterion below; its whole dream-sequential and coy yet sensual romance just reeks of Prince. Rather than an album full of tense, slow R&B angst, though, Twin Shadow indulges in a whole load of power pop guitar riffs and drumbeats; 'Five Seconds' might well have just time-leaped from a Bruce Springsteen record, it's that catchy.

The whole Echo Beach-sounding riff of 'Run My Heart' does well to further the sense of nostalgia about the record but does so quite apathetically with its lyric "I'm just a boy and you're just a girl". Lyrically, much of the album suffers from ubiquitous cheese. "I can't believe sometimes I lost the one who cared" whines 'The One', but admittedly over a stomping tune and a rather intruiging Morrissey impression in the verses. Some lines are so forthright in their desire that it's difficult to doubt their honesty: "I want every word upon your lips/ I know it's absurd to cherish every kiss" reveals 'Beg for the Night', whilst on 'Patient' Lewis' object of waiting is "for you to give up everything". Sexy.

Although its lyrics are sometimes choice, one area that Twin Shadow never fails to deliver is a fascinating and catching melody. The vocal lilts and stutters on 'When the Movie's Over' accentuate its hook perfectly, and he's not hesitant to risk something radically different from the rest of the album on 'I Don't Care' with its tribal drums and sweeping, dark themes: "Before the night is through I will say three words/ I probably meant the first two and regret the third". It all builds to our closer 'Be Mine Tonight', though, with a simple, repeated chorus (the song title). It then unveils the hidden track 'Mirror in the Dark', which is relatively unremarkable to end on.


Right down to the echoing notes, Confess feels like watching a John Hughes collection in legwarmers. But far from unoriginal, Twin Shadow's sound is a rich, modern take on the classics with unusual instrumentations and arrangements and a bleak romantic story. Think Drive rather than Sixteen Candles.

Rating: 8/10
Highlights: Five Seconds, The One, When the Movie's Over, Golden Light, I Don't Care
Avoid: Run My Heart

Artwork Watch: It is him, it has his name, and the colour blue is quite nice.
For fans of: Prince, Daniel Merriweather, Ladyhawke
Up next: Frank Ocean    

Comments

Post a Comment

Popular posts from this blog

Fleet Foxes - Helplessness Blues, a review

Image
In 2008 the Fleet Foxes launched onto the music scene with their eponymous debut, landing themselves #1 positions in end-of-year reviews from the likes of Pitchfork, The Times and Mojo. Their unique brand of baroque-fused folk struck a chord with many, and the time has now come for them to follow that success up. In May they will release 'Helplessness Blues', the title track for which they recently released as a free download. The opening track 'Montezuma' is a slow repeat of their signature sound - the version I have unfortunately riddled with a few technical glitches - a minimalist and pensive reflection on life and impending death. In dirth or in excess /Both the slave and the empress/ Will return to the dirt I guess/ Naked as when they came. There's a slight rockabilly tune to 'Bedouin Dress', a slight threat to Robin's claim that the record will be "less poppy, less upbeat and more groove-based". The groove is certainly here, a Garfunkelia
Read more

Neon Trees - Picture Show

Image
The only other time I've seen another person acknowledge the existence of Neon Trees was when a pair of Americans came to stay with my next-door neighbours. Over here they've made almost no impression at all, but Stateside the band have tapped into an unusual fanbase. Their vocal twangs might scream Tyson Ritter (All-American Rejects) but their sound is a whole lot less pop-punk. In fact, pop might be a more succinct label. Their 2010 debut album Habits might've failed to wow critics but with the aid of monstrously-catchy hit (#13) single Animal they established a pretty solid fanbase. Sure enough it was just a collection of catchy pop songs, but they are Mormons. Expecting soul from them is too much, right? Predictably, their opener 'Moving in the Dark' heads straight for the stockpile sounds - a church organ and a 1985 synth give them their foot-tapping kickstart. Innocently spouting lyrics like "Live fast, it's a feeling not an art"
Read more

Marina and the Diamonds - Electra Heart

Image
"Dr Luke is kind of at the helm of American pop music and, in the beginning, I felt really excluded from that world. I was like, “Everything sounds the same; I don’t ever want to do that.” Then Katy Perry’s people asked if I wanted to support her in America. I bought her album and I was like, “This is actually really good.” Then I bought Ke$ha’s and obviously I had Britney’s LPs already. Slowly, I changed my perspective. If you’re in a club, you don’t necessarily want to be listening to super-meaningful music, but it doesn’t take the value away from it." The idea of personas and characters in pop music predates Marina Diamandis' birth. Today, though, there are increasing signs that the ability to reinvent one's image in the most commercial sense is a cheap excuse to sell out and aim for chart stardom. Diamandis, achieving somewhat lukewarm praise for her debut record The Family Jewels despite being a collection of excellent new wave pop songs, has thus
Read more