The JangleBox

Indie, Noise, Shoegaze… Music

The Twilight Sad: Forget the night ahead (2009), Fat Cat Records

La banda escocesa The Twilight Sad va a editar en breve el que será su segundo álbum, este Forget the night ahead (Fat Cat, 2009), tras su primer trabajo Fourteen autumns and fifteen winters (Fat Cat, 2007), y el disco de rarezas The Twilight Sad killed my parents and hit the road (2008), amén de varios singles de portadas curiosas. Producido por el ex-Delgados Paul Savage -que se está labrando una reputación como productor- y el guitarrista Andy McFarlane, en este segundo trabajo los escoceses han experimentado una cierta evolución hacia un ensombrecimiento tanto de su sonido como de sus letras. Para no ser demasiado extenso en los comentarios, os diré que el sonido de la banda está a medio camino entre unos Joy Division y Glasvegas, tanto por sus aproximaciones a sonidos oscuros como por ese deje épico tan empleado en la década de los ochenta. Parece que tenemos ciertos reparos a la hora de juzgar influencias de los ochenta en la música, pero es que, personalmente, ese regustillo ampuloso y recargado no nos engancha demasiado. Desgraciadamente, el tono general del disco es ése: Seven years of letters, Made to disappear, That room, That brilliant present, Interrupted, The neighbours can´t breath, At the burnside; son temas todos ellos que nos parecen demasiado ambiciosos y alambicados, y que a la postre, se quedan en ejercicios algo vacíos de contenido. Reflection of the television y I became a prostitute son los dos únicos temas salvables, en ellos la banda asoma su lado más Emo/Ruidoso para facturar dos canciones que, sin ser excepcionales, dan más o menos la talla en un disco demasiado irregular. Como curiosidad, aparecen en el álbum dos temas: Scissors y Floorboards under the bed que son dos instrumentales que aportan un ambiente y un cierto aire Shoegaze/Electrónico. Sería interesante que los tiros creativos del grupo giraran hacia esos tonos en un futuro. Por lo pronto, este Forget the night ahead es, en nuestra opinión, un disco demasiado ampuloso y prescindible.
“We have definitely moved on from ‘Fourteen Autumns and Fifteen Winters’, musically and lyrically. One thing that I can promise is that the lyrics are very dark, but you might have to look into them a bit to realise [that]. They are mainly based around things that have happened to me over the past two years, revolving mainly around losing people and being none too proud or happy with myself about my antics and situations I’ve found myself in.” Guitarist Andy MacFarlane concurs, “It is a step forward from the first record, the song writing and the sound of the band has moved on from that time, which is something we’ll always try and do, we don’t want to ever stand still and make records that sound like each other.”
Produced and mixed by ex-Delgados’ man Paul Savage and guitarist Andy MacFarlane at the legendary Chem19 Studios in Glasgow, musically too, the new record is no less tumultuous, MacFarelane’s distinctive tremelo’d guitar creating seismic shifts between melancholy introspection and explosive release, the cacophony broadening to accommodate the band’s most melodic and yet also most thrillingly discordant moments yet. Here the influence of artists like early 80’s Cure, Neu, Wire or even Shellac are just as prominent as longer-standing comparisons to MBV or Joy Division.
“The recording was approached differently this time”, says MacFarlane “We made a point of staying home to write. Writing on tour is a bad idea, so we stayed in Scotland for the full process. It let us go home after sessions – if we weren’t getting snowed-in the studio – and we had more time to experiment and develop the ideas we had. We’d make a lot of use of an old, half-working, Roland Space Echo that we’d plug the vocals, noise strings and piano through, that would get an out of tune effect, like some of the early krautrock recordings. All the reverbs are natural, which were done by mic’ing up inside the studio walls and rooms on the other side of the building to get the drum sound. Three bass heads were blown up [in the process]. There are no big, long delayed guitars, just a lot more noisy ones and there were a few songs that maxed out the desk because of the amount that’s on there!” (
drownedinsound.com)
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11 septiembre, 2009 - Posted by | Música, The Twilight Sad

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