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Cheers,

Jamie.

The Twilight Sad: Forget The Night Ahead

Some albums are easy to write about. Nuances leap out at you, hooks are obvious, lyrics are noteworthy, patterns emerge through the music. But none of that has happened for me with the Twilight Sad’s second album Forget The Night Ahead.

After ten listens, I’m still struggling to put my thoughts on the album into words. I think I like it. I think it’s good. But I can’t be sure. It’s so deep, so full of layers that need time and thought to unravel that it’s almost impossible to judge at this stage.

It’s definitely a progression musically from their début, I can tell you that for certain. It’s a bigger record, with more going on, more instruments thrown in (apparently the band used a fire extinguisher on one of the tracks), more sound, more everything. But it doesn’t suffer from it, it’s still subtle, gentle and charming, despite its brash, loud exterior at times.

Many of the tracks don’t seem to go anywhere, and they don’t go anywhere particularly quickly. It’s often a pedestrian ride, but that’s good, it gives you time to think, to analyse, to delve into the album’s depths, to interpret the meanings and feelings behind it.

Accessible windows into the album are few and far between. The Room, a future single, is possibly the best song to judge whether the band are right for you, all building, sweeping, epic soundscapes, with glockenspiel used to great effect. The band have never been shy of deviating from the traditional guitar-bass-drums-vocals combo, and they’re the stronger for it. Other styles and sounds might not appear on the surface, but listen carefully enough, and they reveal themselves over time.

Lyricist and singer James Graham could do with being higher in the mix; his voice is often straining to be heard below doom-laden guitar and you have to listen extra hard to snatch a couple of words of lyric. But it’s deliberately obtuse. Forget The Night Ahead is not a record to dip in and out of, to listen to the odd track on the bus or the Tube, to listen to at parties, or indeed in company. But it’s a great late night listen, the atmospheric darkness of the music drawing you in to the mysterious, thick world of the Twilight Sad.

Fans of Frightened Rabbit will find plenty to love here (the Twilight Sad are effectively their noisier, bolder cousins) but Forget The Night Ahead will also attract fans of My Bloody Valentine, the Jesus and Mary Chain, Hope of the States, Phil Spector and My Latest Novel, whose Laura McFarlane contributes to a couple of tracks here.

7/10

This review was written for TMM.

Radiohead ‘will be making an album’

Radiohead’s Ed O’Brien claims the band were misquoted when it was reported back in August that they had given up on making albums.

O’Brien, speaking to NME, said: “We were misquoted. We will be making an album!”

Thom Yorke had told Beliver magazine that “None of us want to go into that creative hoo-ha of a long-play record again.” However, the magazine elected to not print Yorke’s justification of that quote, adding “Not straight off.”

Yorke went on to say: “It worked with In Rainbows because we had a fixed idea about where we were going. But we’ve all said that we can’t possibly dive into that again. It’ll kill us.”

But O’Brien says Radiohead will be heading into the studio soon, with a release next year expected. He said: “We’re going into the studio in winter. It’s always miserable! Are we at the whim of the seasons? We are! When you’re in a studio in the countryside, the music you make is definitely affected by what season it is.”

This article was written for TMM.

Guardian part 7: A tale of two interviews

Just days after my last update I got a call from the Brighton Argus, inviting me to come down for a chat. Brighton is a long way away but I didn't have to think twice and booked my train tickets — all ten hours journey time of them — immediately.

But first was Congleton. I was taken with the place straight away. To get there you have to drive through the footballer's paradise that is Alderley Edge, and I was worried Congleton would be a clone, all boulangaries and pretentious little cafes. But it's a charming little town, formerly industrial, and now very much a place where it feels people go to bring up families, or to spend their last few years in peace and quiet.

I was kept waiting before the interview, which gave me the chance to flick through the three newspapers produced at the offices, the Chronicles of Congleton and nearby towns Sandbach and Biddulph. In essence the newspapers are identical apart from four news pages (the front and back pages, and the centre spread) specific to each paper. They have quite a distinctive design, with stories from the front page continuing onto the back rather than inside, and no set design for the pages. They basically pour the text onto the page and see how it fits, they told me. It's hard to explain, but it doesn't really look like a newspaper on some of the pages.

The interview went well, although I felt I could have sold myself a bit better on some of the questions. I spoke of my passions for music and football, and that I sometimes felt that writing about them spoiled my enjoyment — the editor, a music writer himself, seemed to agree.

After our chat, I had to do a press release re-write to test my news sense and writing skills. I felt very comfortable with this as it was the kind of thing I did regularly during my degree. It detailed some fictional tourism plans, focussing on the town's bearbaiting history, and I had some fun with it, coming up with the so-bad-it's-good word play headline of 'Bearly believable tourism plans'. I hope it raised a chuckle.

It's a small operation there, with only one edition produced per week. The staff seemed friendly enough, as well as busy, with some of the sub-editing and page designing done by the reporters. I'd be given my own patch if I got the job. I left confident that I had given a decent account of myself, but knowing that I could have done better. I was rusty after the long gap between interviews.

Brighton went much better. My day was already six hours long before I got there, and I was greeted by teeming rain and a swirling wind — not exactly what I had in mind from my adventure to the seaside. The Argus has a big, open-plan, office, and a youthful vitality about its staff. I was interviewed by two men, both under 30 I think, which was disconcerting at first but then comforting as the chat progressed.

This time I felt I put across my strengths more positively and more effectively, They seemed impressed by the editions of the Students' Union mag I edited last year. It was a hell of a trek for just twenty minutes or so of interview time, but I think this showed my dedication and hunger for the role.

The interview actually began with them mentioning this column, which threw me a little as for some reason I'd forgotten that potential employers would have read it having given the link on my CV and covering letter. But I recovered enough to explain how I got involved, although it slipped my mind to mention the Guardian careers fair I'm speaking at in a fortnight.

I wandered around the city centre after finding the right bus (the Argus offices are on an industrial estate three miles out of town) and wondered how I would fit in. It seemed a bit bohemian for me, but then perhaps there is that side of me just waiting for the chance to show itself.

Having had time to reflect on my performance at both interviews I think I may not be highlighting my achievements enough. I have realised I've been a bit reluctant to make a big deal out of writing these articles for the Guardian, apart from in pub-based bravado with my uni friends back at the start of the summer. I think I've been scared of coming across as arrogant to employers, who might think I am showing off about my achievements. But actually by downplaying it, I think I could have been depriving myself of the chance to get more interviews.

I mean, writing this column is hidden away at the bottom of the media experience section on my CV, when really, it's easily the most impressive thing I've done so far, and should be right at the top where it can catch the eye better.

I am going to re-do my CV.

I was told at both interviews that they would make their decisions quickly and that I would hear back this week, so I'm just playing the waiting game once more but to round off a productive week where I've learned a lot about myself, I also passed my driving theory test at the first attempt between the two interviews.

This article was written for the Guardian.

The Raveonettes - In And Out Of Control

It’s difficult to pinpoint exactly when the Raveonettes fell out of vogue. Back in 2003 they heralded a bright new era in rock, riding the crest of the wave brought about by the Strokes, showing that women could once more front successful yet alternative bands. Blondie are the obvious point of reference, but the Raveonettes were always a bit more sleazy and exciting.

But somewhere, undoubtedly, it all went wrong. Mention the name of the band to a teenage scenester and you’re likely to get a blank look in return (although this is generally just what their faces look like, so be wary of reading too much into it). A band who formerly adorned many a bedroom wall in poster form are in danger of slipping by the wayside.

So it’s a good job that their latest record, In And Out Of Control, is cracking, and arguably their best collection of songs so far. There’s not a totally duff track present, and although none of the songs really have the stunning immediacy of some of their early work, it’s a mature, thoughtful and polished record. That might set alarms ringing, as the Raveonettes were always brilliantly raw, with none of the rough edges smoothed out, but it’s very definitely a good thing. You have to move on eventually.

They’ve also moved on from the aping of the Jesus and Mary Chain, trying their hand instead at ear-bleeding My Bloody Valentine-style levels of sheer noise on ‘Break Up Girls!’, which, brilliantly, gave me a massive headache the first time I listened to it. That hasn’t happened since the first time I heard Mika, but this was much better. Unfortunately the effect is somewhat spoiled by the ploddingly pedestrian closing track that follows. It seems the duo haven’t quite got their annoying habit of trying to do ballads out of their heads yet. Note to the Raveonettes: You are not the Yeah Yeah Yeahs. ‘Last Dance’, the other prominent slower song here, flops similarly.

It’s a bitter contrast from the opening of the album, which goes, amazingly, “BANG!”, right in your ear. I don’t recommend listening through headphones as your head might actually explode on impact. More albums should definitely start with the singer shouting in your lughole.

The standout track here is the phenomenally brave ‘Boys Who Rape (Should All Be Destroyed)’. Based solely around the repeated line of, erm, “Boys who rape should all be destroyed”, some sinister sitary guitar floats over the top, before a stunning piece of harmonics from Sharin Foo and Sune Rose Wagner closes the track. It’s an astonishing song, and you have to admire the balls of the pair for even attempting it.

It really works as an album too. It’s over before you know it, but that’s not to say it isn’t involving and immersive. ‘Suicide’ and ‘D.R.U.G.S.’ are, conversely, highlights, and the sheen of quality persists right the way through the record, making it the band’s most complete work. As you’ve probably gathered, the album is typically dark lyrically, but the contrast with the newly upbeat music works particularly well. Juxtaposition is the in thing for the Raveonettes as they progress towards ten years as a band.

So could a renaissance for the band be on the cards? On the basis of this, there’s no reason at all why not.

This review was written for Muso's Guide.

Frightened Rabbit announce tour dates and new single

Scottish indie-folk heroes Frightened Rabbit have announced details of a November tour in support of a brand new single.

Swim Until You Can’t See Land will be the first release from the band’s upcoming third album, and is out November 16 via digital release and 7″ vinyl.

Singer Scott Hutchison explains: “Swim Until You Can’t See Land was the title I had in my mind before I even started writing the album. I was becoming more and more interested in the idea of a rejection of the habits and behaviour most people see as normal, and in turn embracing a certain madness.

“It’s about losing your mind in order to reset the mind and the body. Forget what’s gone before and wash it out. This is not necessarily a geographical journey, as the ’swim’ can involve any activity in which you can lose yourself. It’s a good introduction to the record as the theme unravels therein.”

Muso-speak maybe, but we love Frightened Rabbit here at TMM, and we look forward to hearing the new record, which should drop early next year.

The band will also head out on a giant tour in November in support of the new single. The dates:

NOVEMBER
07 Aldershot, West End Centre
09 Oxford, Academy 2
10 York, Duchess of York
11 Nottingham, Bodega
12 Liverpool, Academy 2
14 Coventry, Kasbah
15 Northampton, Roadmenders
16 Brighton, Corn Exchange
17 Southampton, University
19 Exeter, Lemon Grove
20 London, Troxy
21 Tunbridge Wells, Forum
22 Cambridge, Soul Tree
24 Sheffield, Plug
25 Whitehaven, Civic Hall
27 Fort William, BA Club
28 Stirling, Tolbooth
29 Inverness, Ironworks

DECEMBER
01 Aberdeen, Moshulu
02 Dundee, Fat Sams
05 Galway, Black Box
07 Dublin, Academy^
08 Dublin, Academy^
09 Belfast, Mandella Hall^
13 Manchester, Ritz^
14 London, Shepherds Bush Empire^
22 Glasgow, ABC

(^ dates with Modest Mouse)

This article was written for TMM.

The Twilight Sad: Forget The Night Ahead

Some albums are easy to write about. Nuances leap out at you, hooks are obvious, lyrics are noteworthy, patterns emerge through the music. But none of that has happened for me with the Twilight Sad’s second album Forget The Night Ahead.

After ten listens, I’m still struggling to put my thoughts on the album into words. I think I like it. I think it’s good. But I can’t be sure. It’s so deep, so full of layers that need time and thought to unravel that it’s almost impossible to judge at this stage.

It’s definitely a progression musically from their début, I can tell you that for certain. It’s a bigger record, with more going on, more instruments thrown in (apparently the band used a fire extinguisher on one of the tracks), more sound, more everything. But it doesn’t suffer from it, it’s still subtle, gentle and charming, despite its brash, loud exterior at times.

Many of the tracks don’t seem to go anywhere, and they don’t go anywhere particularly quickly. It’s often a pedestrian ride, but that’s good, it gives you time to think, to analyse, to delve into the album’s depths, to interpret the meanings and feelings behind it.

Accessible windows into the album are few and far between. The Room, a future single, is possibly the best song to judge whether the band are right for you, all building, sweeping, epic soundscapes, with glockenspiel used to great effect. The band have never been shy of deviating from the traditional guitar-bass-drums-vocals combo, and they’re the stronger for it. Other styles and sounds might not appear on the surface, but listen carefully enough, and they reveal themselves over time.

Lyricist and singer James Graham could do with being higher in the mix; his voice is often straining to be heard below doom-laden guitar and you have to listen extra hard to snatch a couple of words of lyric. But it’s deliberately obtuse. Forget The Night Ahead is not a record to dip in and out of, to listen to the odd track on the bus or the Tube, to listen to at parties, or indeed in company. But it’s a great late night listen, the atmospheric darkness of the music drawing you in to the mysterious, thick world of the Twilight Sad.

Fans of Frightened Rabbit will find plenty to love here (the Twilight Sad are effectively their noisier, bolder cousins) but Forget The Night Ahead will also attract fans of My Bloody Valentine, the Jesus and Mary Chain, Hope of the States, Phil Spector and My Latest Novel, whose Laura McFarlane contributes to a couple of tracks here.

7/10

This review was written for TMM.