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    

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