Scotland's Twilight Sad, fronted by James Graham, concocted
melodramatic and bombastic arrangements and equipped
their post-pop tunes
with lyrical overtones on
Fourteen Autumns & Fifteen Winters (2007), notably
Cold Days from the Birdhouse and especially the less noisy
And She Would Darken the Memory (that could be taken from the
Bruce Springsteen canon).
The extreme application of their method is how the
sedated litany of That Summer at Home I Became the Invisible Boy
is revitalized by a sudden burst of guitar distortions.
The most interesting song is the
oneiric chamber experiment of Last Year's Rain Didn't Fall Quite So Hard,
but it remains an isolated case.
This should have been a four-song EP.
Even worse, Forget The Night Ahead (Fat Cat, 2009) sounded like
a collection of inferior leftovers from the first album, despite
Reflection of the Television and I Became A Prostitute.
It occasionally evokes the moronic pop of the Smiths, revealing a side that was missed on the first album under the
grandiose instrumental scores.
No One Can Ever Know (2012), produced by Andrew Weatherall, brought
elements of old industrial music and pushed the electronics to the forefront.
Sick sounds like
Nine Inch Nails lite.
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