Flynndie Reviews #51: The Twilight Sad - Nobody Wants To Be Here and Nobody Wants To Leave

Written 28th October 2014:

The Twilight Sad – Nobody Wants to be here and Nobody Wants to Leave

The Band: James Graham (vocals), Andy MacFarlane (guitars) Mark Devine (Drums), Johnny Doherty (bass)

This week sees the return of Scottish alternative-rockers The Twilight Sad with this their fourth album ‘Nobody Wants to be here and Nobody Wants to Leave’.  Originally hailing from Kilsyth, Scotland the band have built a loyal and dedicated following with three well-received albums under their belts from their full-debut record ‘Fourteen Autumns and Fifteen Winters’ receiving critical-acclaim back in 2007, followed by 2009’s excellent, brooding and guitar-distortion heavy second-album ‘Forget the Night Ahead’.  2012 saw the band’s third album ‘No One Can Ever Know’ still capturing the band’s intense and cavernous live sound while the record was more laced with synths and electronics throughout, now leading us up to this week’s latest album release.

Nobody Wants to be here and Nobody Wants to Leave

1.     There’s A Girl In The Corner

2.     Last January

3.     I Could Give You All That You Don’t Want

4.     It Never Was The Same

5.     Drown So I Can Watch

6.     In Nowheres

7.     Nobody Wants to Be Here and Nobody Wants to Leave

8.     Pills I Swallow

9.     Leave The House

10.  Sometime I Wish I Could Fall Asleep

With a nicely picked electric-guitar riff and an arena-filling drum-rhythm ‘There’s a Girl in the Corner’ opens the record with distinct backing-synths helping to set the dark, haunting tone for this album alongside James’ distinctly Scottish vocals “You’re not coming back/She’s not coming back for more…There’s a girl in the corner/and she’s crying for you”.  It’s a slow-burner and deliberately crafted track that sets the early dark tone for ‘Nobody Wants to be Here’.  Second-track ‘Last January’, previously previewed by the band online and in recent live performances, has a more up-tempo rhythm and percussion to it with spooky synths and a nice bridge “And they say you can’t be won/And it’s your eyes…touching my eyes”.  ‘I Could Give You All That You Don’t Want’ continues with another upbeat tempo and particularly a driving bass-line at its heart from Johnny intertwined with electric-guitar strums from Andy before we have a stand-out track on the record ‘It Never Was The Same’.  Initially another slowed-down, synth-driven song it has real endearing and touching vocals midway through the track from James “So we danced to save them all/We asked to save them all/We tried to save them all/You didn’t have to kill them all”.  This track is a strong highlight early on in the record.

• The Twilight Sad previously stormed through a headline set at The Boston Rooms, Camden

‘Drown So I Can Watch’ despite being a brutally bleak track-title sees guitars and bass pulse this track along, while James’ vocals portray a rocky relationship between a couple “I put you through hell/But you carried it all so well/You carried it all so well”.  This is a heartfelt, honest track yet with a captivating, alluring charm about it.  Midway through the record ‘In Nowheres’ is the loudest track on the album so far, featuring heavy guitar-riffs from Andy and James’ vocals coming across with a distant effect here creating a broad and large sounding rock-track, before title-track ‘Nobody Wants to Be Here and Nobody Wants to Leave’ sees guitars, bass, synths and percussion all chug-away together in union as one with the real-focus on James’ cryptic story-telling here “Can you stay tomorrow?/You won’t leave tomorrow/I don’t know where we went wrong?”  This an atmospheric, brooding track, a featured trademark sound of The Twilight Sad.

‘Pills I Swallow’ is another bleak track-title but also another charmer of a track, again with a haunting sound about it featuring a sweet, twinkling gentle synth-melody hand-holding the track along nicely “It’s you/It’s always you/Telling me what to do”.  It’s like the soundtrack to an eerie, unrequited fairy-tale.  Lovely stuff.  Penultimate track ‘Leave the House’ is another, stripped-down, slower affair with organ-like synths and gentle percussion featuring alongside James’ dulcet tones gently repeating lines “And I see you/I see you/It’s lonely in the dark/Lonely in the dark” and more intensely further into the song “I’ve been put to bed/I’ve been put bed/I’ve been put to bed/I don’t know what you know” with a more rocky guitar-riff midway through the track, before we have album closer ‘Sometimes I Wish I Could Fall Asleep’.  Again another stripped-down haunting track with gentle piano notes being featured here it’s very much a closing ballad for the record with soft percussion coursing throughout it and crisp, tender vocals here again from James “You don’t love me anymore/You don’t need me anymore/And we’ve been left behind” and is possibly the most moving track on the album.

‘Nobody Wants to be here and Nobody Wants to Leave’ doesn’t pull any punches with its content; it’s a dark, bleak and brutally honest record yet at the same time an amazingly haunting and beautiful piece of work all the same which flourishes with repeated listens.  If you’re familiar with the band’s previous albums you will have expected nothing less here but let’s be clear here that The Twilight Sad are a band that masterfully hone and carefully craft the songs that they write and this album arguably sees the band at the height of their song-writing.  As I say I found this to be a tender and sublime record, that has a tendency to reveal further charms with repeated listens and I’m going to give this one 9/10 as it’s refreshing to see a band, pushing and challenging themselves to create a sound that’s really true to them.  I highly recommend to watch the acoustic session below to see the amazingly beautiful sound the band create on this latest record.    

It Never Was the Same

‘Flynny’

Track 1 ‘There’s a Girl in the Corner’

http://www.youtube.com/watch?v=l8H38U4nZag

Track 2 ‘Last January’

http://www.youtube.com/watch?v=j4YrixHiLpw

The Twilight Sad - Acoustic Session for Tenement TV

http://www.youtube.com/watch?v=enl6TJiTeLY   

Band Website:
www.thetwilightsad.com

Flynndie Reviews #50: Catfish and the Bottlemen - The Balcony

Written 14th September 2014

  

Catfish and the Bottlemen – The Balcony

The Band: Van McCann (vocals/guitar), Billy Blakeway (guitar/vocals), Benji Bibby (bass/vocals) Rob Hall aka Dr. Bob (Drums)

This week see the release of Catfish and the Bottlemen’s much anticipated debut album ‘The Balcony’.  Originally hailing from Llandudno, Wales these four young upstarts are hell-bent on making a big impact on the Indie-Rock scene and have been garnering some serious attention and airplay from the likes of X-FM, Zane Lowe and Steve Lamacq, thus gaining the band a lively and intense fan-base.  I’ve been closely keep an eye on these lads for about three-years now upon hearing early single ‘Broken Army’ (previously reviewed in Flynndie Reviews #25) and listening to their debut EP ‘The Beautiful Decay EP’ a ridiculously obscene amount of times upon its release.  Having been lucky enough to catch the band live on a number of occasions I can confirm that Catfish and the Bottlemen seriously deliver a full-on rock ‘n’ roll assault live and on a number of times I have walked out of their gigs overhearing people saying “Wow that band were just fucking amazing!”  So with a lot of anticipation and building hype how does ‘The Balcony’ shape up then?

The Balcony:

1. Homesick
2. Kathleen
3. Cocoon
4. Fallout
5. Pacifier
6. Hourglass
7. Business
8. 26
9. Rango
10. Sidewider
11. Tyrants

Opening track and previous single ‘Homesick’ starts with a stripped-down guitar riff from front-man Van and lines “I got mislead, mistook, discard/Anything that I said/See I’m not the type to call you up drunk/But I got some lies to tell” and an almost calypso drum-rhythm from Dr. Bob before it gets into full-swing after with a great chorus “I said “I’m only looking out for you”/She said “it’s obvious that’s a lie”/I only ever put out for you/You know it’s obvious you don’t try” which gets the record off to a great start.  However, if ‘Homesick’ is a great opener then it’s second track and previous single ‘Kathleen’ that starts showing the full potential of Catfish and the Bottlemen “You’re Simpatico/And of all the lifts home/And all the mixed feelings/You’re cuts above/And you don’t own worries/Or a chest full of heartache” as the band continue their tight sound with some nice guitar licks from Billy and perfectly timed bass from Benji giving this track a delightful rhythm and groove to it while featuring an infectious chorus as Van belts out “I gotta give it to you/You give me problems!/When you’re not in the mood”.  As Indie-Rock tracks go this is nigh-on fucking perfection.  ‘Cocoon’ continues the smooth groove on the album so far building with rocky drumming and bass, before effortlessly coasting along with crisp, clear vocals again from Van “I remember when we swapped names/And I thought maybe/You’d stay and try and outdrink me/Your friends all hated it” followed by “Fuck it if they talk/Fuck it if they try and get to us”.  This is a smooth track, with particularly great guitars, drums and bass over the bridge before the chorus.

Fourth track ‘Fallout’ features sharp guitar strums and accompanying bass notes and percussion, the band still continue a nice smooth sound here with an edgy chorus “And we just always seem to just fallout/When I’m most in need of it/You just seem to call out/When I’m up for leaving it” you can tell the band really believe what they’re into here and enjoying themselves on this track.  Much like second track ‘Kathleen’, ‘Pacifier’ captures the core-sound of Catfish and the Bottlemen here with another excellent Indie-Pop Rock track “Oh but babe/You know I tried and failed/But you just don’t know how it feels/To lose something/You never have and never will” before the track rocks out in its final third with Van repeating the track-title “I’m her pacifier/I’m her pacifier”.  It’s another very instant and incredibly catchy tune yet sounds pulled off with effortless ease here by the band.  ‘Hourglass’ showcases a lesser seen side of the band as Van picks up acoustic guitar here, with a driving, backing bass rhythm here from Benji, it’s a sweet and tender track midway through the record and builds up steady layers with gentle backing vocals, light-drums and even charming piano notes, a surprising ballad to be found here on the album.

• Catfish and the Bottlemen previously stormed through a set at London's the 100 Club back in 2013 

Getting back much more up-tempo, ‘Business’ goes back to Catfish’s full-on, ballsy rock.  Another strong track pulsing along with driving bass and percussion “I wanna make you my business/I wanna tolerate drunk you honey/I wanna make you my problem” another very instant track featuring some nice guitar work here and a nice guitar solo midway through, meanwhile ‘26’ was previously an opening live favourite and one which I always thought was a great track that the band opened with and the final recording here further confirms that with a fast accelerating guitar rhythm driving away at it “I’ll come/Based on/Facts like/She’ll be there/Making self-control”.  This is a fast-paced and no-nonsense track.  Previously another early single ‘Rango’ remains upbeat and tight guitar-rock with smooth vocals here from Van a particular highlight “You see Abby she’s got to wait/Until she gets you on your own/She’ll make you make mistakes/And you can offer to take her home” and this track features a really nice guitar solo from Billy in its latter stages and is generally another very likeable track. 

So far ‘The Balcony’ has been some ride and then track 10 ‘Sidewinder’ hits you!  This is full-on, ballsy rock with an amazing opening guitar-riff.  This track previously featured on the band’s ‘Beautiful Decay EP’ but is such a strong track in its own right that it just had to feature on this debut record with some of my favourite lines on the album “Give me some/Assumptions I/Can make of you/Cause you’re getting lazy/You used to frustrate me” and “Whoever/You’re mixing/Your drinks with/Is dying to/Go to town on you”.  This is another seriously solid track before the album closes with another live favourite and another track from their previous debut EP which has been re-recorded here, ‘Tyrants’, which has a raw industrialist hard-rocking vibe about it and a particularly nice closing guitar and rhythm featuring some great closing lines “Tyrants helped build us/Then they won’t/Mind throwing it away”.  It’s another great track to close this debut album with the fiercely rocky instrumental ‘Trippin’’ tagged on to the end of the album nicely much like the band’s live shows.

• The Bottlemen tear through another dynamic and energetic set at The Borderline

As I said at the start of this review I’ve been closely keeping an eye out for Catfish and the Bottlemen as one to watch and have always been patiently looking forward to this debut album ‘The Balcony’ over the past three years.  As time went on I was a little apprehensive as to the final sound of this album what with high hopes for this band but I have to say these four young lads have delivered a debut album they should be very proud of.  There are many strong tracks on this record with for me personally ‘Cocoon’, ‘Pacifier’ and particularly ‘Sidewinder’ and ‘Kathleen’ being amazing highlights from this bright, young band and I’m going to give ‘The Balcony’ an unprecedented 10 Pacifiers out of 10 as this is a quality debut record.  Every 5 years or so a band comes along which just changes the game and for me Catfish and the Bottlemen are the real fucking deal.  Their music is no-nonsense ballsy rock about being young and in complicated relationships something everyone can relate to but they back them with amazing guitar riffs and rhythms and ‘The Balcony’ doesn’t disappoint.  The band look and sound great and are amazing live probably due to their sheer dedicated commitment to live touring over the past 7 years, so try and catch them in small venues while you can as I can only see this band going all the way on to much bigger things.

 

Simpatico

‘Flynny’

Track 1 ‘Homesick’

http://www.youtube.com/watch?v=uhfXl1OefI8

Track 2 ‘Kathleen’

http://www.youtube.com/watch?v=dgW67efQduY 

Track 5 ‘Pacifier’

http://www.youtube.com/watch?v=iX1sJClsQxE

Track 10 ‘Sidewinder’

http://www.youtube.com/watch?v=cWvN42M8JWQ  

Band website:
www.catfishandthebottlemen.com

Flynndie Reviews #49: Interpol - 'El Pintor'

Written 28th August 2014:

Interpol – El Pintor

The Band: Paul Banks (lead vocals/guitar), Dan Kessler (lead guitar/vocals), Sam Fogarino (drums)

Well early September sees the long-awaited return of New York City descendants and sharp suit-wearing Interpol with their fifth studio album ‘El Pintor’ a suspicious-looking album title which translates from Spanish as ‘The Painter’.  The album is released on the 8th September but the band are currently streaming the album early via the NPR Music website below, so go check it out:

http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=341629732&m=341705409

The band have built a core, dedicated following with their edgy, atmospheric and distinctive post-punk sound over the past ten years building up from their incredible debut album ‘Turn on the Bright Lights’ (see Flynndie Reviews #15 for more on that, the only record that has previously been given a perfect 10 on this blog) to their latest release, 2010’s eponymously titled ‘Interpol’.  Sandwiched in-between was their very solid second album ‘Antics’ released in 2004 with well-known hits ‘Evil’ and ‘Slow Hands’, followed by 2007’s ‘Our Love To Admire’.  So with four fine records under the belts from the band from The Big Apple, the big question is then how does ‘El Pintor’ shape up?

El Pintor

1. All the Rage Back Home

2. My Desire
3. Anywhere
4. Same Town, New Story
5. My Blue Supreme
6. Everything Is Wrong
7. Breaker 1
8. Ancient Ways
9. Tidal Wave
10. Twice as Hard

Recently previewed on live tours earlier this year ‘All the Rage Back Home’ gets ‘El Pintor’ up and running with tingling slide-guitar notes from Dan Kessler teasing away while backed with Paul’s softly-sung vocals, before the track kicks into full-flow after about 45-seconds “She said you don’t need time/Be tame you won’t need your mate inside/My faith won’t lie” and the track continues to build before reaching it’s full-stride before the track-title’s chorus “I keep falling maybe half the time/And it’s all the rage back home/All the rage back home”.  It’s a track that coasts and flows effortlessly and gets the record off to a fine start.  Launching with trademark, angular guitars ‘My Desire’ is more of a steady burner of a track, featuring duelling, shimmering guitars between Paul and Dan accompanied by a steady drum-rhythm from Sam with angst lyrics to be found here “In my desire, I’m a frustrated man/Some of us ask for peace, do what we can”.  This is a more familiar haunting, atmospheric type of track that the band are also well known for.

‘Anywhere’ is a good example of Interpol on fine-form.  With an incredibly catching guitar-riff from Dan pumping at its heart, further driven by thumping bass and percussion through its veins before reaching a large crescendo of a chorus “The ocean…I could go anywhere/I could go anywhere/So free/It’s my nature to want/I could go anywhere.”  ‘Same Town, New Story’ eases the pace of the album again, with another trademark Kessler melancholic guitar-riff laying the foundations for this eerie, haunting track, a style of sound not too dissimilar to that found on some of the tracks on their eponymous fourth album ‘Interpol’.  With opening and subtle backing synths ‘My Blue Supreme’ is another soft, gentle and thoughtful Interpol track which continues its progression with synths being entwined by nice gentle guitar riffs, while midway through the record ‘Everything Is Wrong’ is an initially bass-driven track, perhaps harking back more to Interpol’s earlier sound from their first two albums, slowly building with soft vocals from Paul and his American accent coming through particularly stronger here on a catchy chorus featuring the track-title repeated.

• Interpol headlined the NME Tour back in March

‘Breaker 1’ features a very jaggered-sounding guitar at it’s opening, with an echo effect used on Paul’s voice initially “Come back/Come back without warning/Come back/Come back Breaker 1” with this effect interspersed between the main verses of the track which see the band in a comfortable groove here and still on good form.  Previously given early previews online (see the link at the bottom of this review) ‘Ancient Ways’ is a no-nonsense rocky track, high-tempo with snarling guitars and fierce percussion and a strong chorus “The city feeds us all like babes/And we’ve taken a bow” before Paul emphasizes “At the station!”  It’s a very instant track, with a strong dance-vibe behind it, for the album.  ‘Tidal Wave’ is initially driven by synths and percussion before backing guitars and sees Paul using a high-pitched voice on vocals here, it’s another deeply flowing and floating track before we have album closer ‘Twice As Hard’ with Dan creating a real shimmering sound as the main melody of the track here and near spoken vocals from Paul, and this track has a somewhat familiar feel as an album closer to the track ‘Leif Erikson’ also the closing track from the band’s debut album ‘Turn on the Bright Lights’ while Paul sings repeatedly over the chorus “Your twice as hard/Twice as hard”.
    

So overall ‘El Pintor’ in my opinion sees Interpol maintain their fine, edgy, raw and moody post-punk sound with another album packed with songs that each have charm, character and a story behind them.  There are certainly some Interpol tracks here that really show what the band are all about with their core-sound, in particular early tracks ‘All the Rage Back Home’ and ‘Anywhere’ are two examples of instantly catchy Interpol tracks.  Throw in some more subtle, slow-burning yet real thought-provoking tracks such as ‘My Desire’, ‘Breaker 1’ and ‘Tidal Wave’ and a couple of highlights midway through the album with 'Same Town, New Story' and the epic 'My Blue Supreme' and this record really covers the full experience of what you would hope to expect from an Interpol record and one that perhaps finds the band rediscovering their sound and roots from earlier Interpol albums yet not neglecting the charm of their two more recent albums.  I was lucky enough to catch the band on the NME Tour earlier this year and felt at the time that the new material showed real potential and I feel that ‘El Pintor’ doesn’t disappoint and delivers another solid album from the New York three-piece so I’m going to give this record a strong 8 out of 10 and would also suggest if you’re not too familiar with Interpol’s sound, this album would actually be a good starting point to get into them with.

Oh and hopefully by now you will have noticed that the suspicious-looking album title ‘El Pintor’ also doubles as an anagram of a certain New York band…

All the Rage Back Home

Flynny

Track 1 – ‘All the Rage Back Home’

https://www.youtube.com/watch?v=-u6DvRyyKGU

Track 9 - ‘Ancient Ways’

https://www.youtube.com/watch?v=ni9bLpflDCY

Band website:

http://www.interpolnyc.com