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The Twilight Sad
Nobody Wants to Be Here & Nobody Wants to Leave

The Twilight Sad — Nobody Wants to Be Here & Nobody Wants to Leave (October 27, 2014)

 The Twilight Sad — Nobody Wants to Be Here & Nobody Wants to Leave

 The Twilight Sad — Nobody Wants to Be Here & Nobody Wants to Leave
♠♠   Intense and thrilling! Scottish foursome featuring gloomy swirls of post–punk and indie rock, thick vocals, an accordion, and oodles of noise.
Formed: 2003 in Glasgow, Scotland
Location: Glasgow
Album release: October 27, 2014
Record Label: FatCat
01 There’s a Girl in the Corner     3:50
02 Last January     5:11
03 I Could Give You All That You Don’t Want     4:17
04 It Never Was the Same     5:01
05 Drown so I Can Watch     3:16
06 In Nowheres     5:24
07 Nobody Wants to Be Here and Nobody Wants to Leave     4:08
08 Pills I Swallow     4:01
09 Leave the House     4:31
10 Sometimes I Wished I Could Fall Asleep     3:52
2014 Twilight Sad under exclusive license to FatCat Records
♠♠   Written by James Alexander Graham / Andy MacFarlane
♠♠   Andy MacFarlane
♠♠   Craig Orzel
♠♠   James Graham
♠♠   Mark Devine
♠♠   Andrew Bush Additional Production, Engineer
♠♠   Mark Devine Group Member
♠♠   Johnny Docherty Bass
♠♠   James Alexander Graham Composer, Group Member, Lyricist
♠♠   Peter Katis Additional Production, Mixing
♠♠   Andy MacFarlane Composer, Group Member, Producer
♠♠   Mike Truscott Cornet
Product Description
♠♠   The Twilight Sad is set to release Nobody Wants To Be Here And Nobody Wants To Leave via FatCat on October 27th. Their anticipated fourth studio album follows the release of 2012s No One Can Ever Know. The Scottish trio — James Graham (vocals), Andy MacFarlane (guitar), and Mark Devine (drums) "has also announced a short UK tour before heading off to the USA to tour with We Were Promised Jetpacks. (More UK and European dates to be announced shortly) Where each album prior to Nobody Wants To Be Here And Nobody Wants To Leave saw the Twilight Sad tackling new sounds and ways of writing, their latest work draws from their entire career. Over the eight years we''ve been touring, our live sound has taken on different forms, from full on noise/feedback, to a sparse, synth led sound, to a stripped back set up with just keys, drum machine and guitar, to playing with an orchestra, and to just an acoustic with vocal, says MacFarlane. We wanted to try and capture all of those elements and develop them in some way to make the new record. Opting to stay in Glasgow, the album was produced at Mogwais Castle Of Doom studio, engineered by live soundman Andrew Bush, mixed by Peter Katis (also responsible for Fourteen Autumns), with touring member Johnny Docherty playing bass.
♠♠   The Twilight Sad release their fourth album as a band who have firmly established themselves as a staple for any self–respecting follower of miserable music. As such, there are dreary expectations to meet and dismal standards to abide by. Thankfully, on Nobody Wants to Be Here and Nobody Wants to Leave, the Kilsyth gloom–merchants are at their maudlin, woeful, and dreadful best.
♠♠   Vocalist James Graham cited that the period leading up to the recording of this album was a difficult time for the band due to a busy touring schedule after their critically acclaimed third album No One Can Ever Know. However, buoyed by being back in the studio and coming off a successful tour of their debut, Fourteen Autumns & Fifteen Winters, the band could be said to be in high spirits — which in The Twilight Sad‘s terms is about 3/10 on the average human’s happiness scale.
♠♠   Nobody Wants to Be Here and Nobody Wants to Leave comes off the back of those turbulent two years to showcase a sound which embraces and combines all of The Twilight Sad’s previous releases. There are flashes of the industrial, krautrock tones which lit–up the dank factory sounds of No One Can Ever Know, such as the machine-like percussion of the record’s leading single, “Last January” and “It Was Never the Same”.
♠♠   Elsewhere, there are traces of the band’s earlier sounds. The title track sees that frantic mechanical pulse meet the perma–punch of tremolo guitars and anthemic vocals typical of earlier albums. The angular guitar riff of “There’s a Girl in the Corner” turns, unsurprisingly, yet not unsatisfactorily, into the indie–cum–shoegaze noise–wall which the band has mastered over their career.
♠♠   Then there’s the excellent “In Nowheres” which, despite the obligatory onslaught of marshy, reverb–sodden guitars, stands out as a refreshingly clean, forward moving, and cathartic track in the Twilight Sad repertoire. The LP signs off with the hauntingly bleak “Sometimes I Wished I Could Fall Asleep”, a ballad over which Graham’s trademark vocals bawl some of his frankest and most emotionally resigned lyrics to date.
♠♠   That said, the general mood of Nobody Wants to Be Here and Nobody Wants to Leave is one that, like the title suggests, is of an uneasy sense of stasis, sonically and emotionally. Percussion like clockwork, lingering synth–tracks and clouds of reverb guitar tend to hang heavy over lyrics which tell of impossible romantic endeavours, long nights staying indoors and not getting much sleep. A handful of frustratingly illogical song titles alone such as: “I Can Give You All That You Don’t Want”, “It Was Never The Same” and “In Nowheres” is just scratching the surface of this album’s fraught and mysterious emotional make–up.
♠♠   Although by no means an instant classic, Nobody Wants to Be Here and Nobody Wants to Leave shows an integrity to The Twilight Sad which cements their position as one of the more creatively important bands operating today. But this isn’t an album for the weekend gloomster. No no, this is for full–timers. The Twilight Sad have nurtured their sound into one that, in comparison, would make Radiohead‘s “Street Spirit” sound like the feel good anthem of the summer, and The Smith’s “Heaven Knows I’m Miserable Now” apt backing music for a Zumba class. If that’s not an achievement, then nothing else is. :: http://www.thelineofbestfit.com/
♠♠   Distinguished by James Graham's heavy Scottish accent, an accordion, and oodles of noise, the Twilight Sad rose from Glasgow, Scotland, in late 2003 with the lineup of Graham (vocals), Andy MacFarlane (guitar, accordion), Craig Orzel (bass), and Mark Devine (drums). After playing a couple of shows in Glasgow that featured extensive pieces of music using an abundance of instruments, they holed up in the studio to write new material. In September 2005, with four new songs in hand, they sent a demo to Fat Cat. The label ended up putting them on the bill of a showcase with the Mutts, Charlottefield, the Rank Deluxe, and Frightened Rabbit. The Twilight Sad's debut EP was issued in the U.S. in November 2006; the full–length Fourteen Autumns & Fifteen Winters arrived the following April. The 2008 EP Here, It Never Snowed. Afterwards It Did featured reworkings of several of the album's songs with simpler, more acoustic arrangements, plus a cover of Daniel Johnston's "Some Things Last a Long Time." Killed My Parents and Hit the Road, which featured more covers, including songs by the Smiths and Joy Division among its previously unreleased tracks, also arrived that year. The Twilight Sad continued to tour as they worked on their second album, playing dates in the U.S. with Mogwai as well as appearing in the U.K. ♠♠   Tracks from the album began appearing online in spring 2009, with "Reflection from the Television" premiering on Pitchfork's website that May; the single "I Became a Prostitute" arrived that August. Forget the Night Ahead, which had a darker, more streamlined approach than the band's earlier work and was co–produced by guitarist McFarlane and the Delgados' Paul Savage, was released in the fall. By February 2012, Twilight Sad strayed from their shoegaze Wall of Sound leanings to offer No One Can Ever Know, which adopted a cold, aggressive, industrial–influenced approach with help from influential British producer Andrew Weatherall (Primal Scream). The band went further in this electronic direction with a remixes collection featuring Com Truise, Liars and Optimo that was released late that year. The band weathered departure of keyboardist Martin Doherty (who left to pursue his other group Chvrches), recording 2014's Nobody Wants to Be Here and Nobody Wants to Leave at Mogwai's Castle of Doom studio. Mixed by Peter Katis — who also worked on Fourteen Autumns and Fifteen Winters — the album reflected all of the past and present aspects of the Twilight Sad's sound.
♠♠   2007 Fourteen Autumns & Fifteen Winters  (FatCat)
♠♠   2008 Killed My Parents and Hit the Road  (One Little Indian)
♠♠   2009 Forget the Night Ahead  (FatCat)
♠♠   2012 No One Can Ever Know  (FatCat)
♠♠   2014 No One Wants To Be Here and No One Wants To Leave  (FatCat)

The Twilight Sad
Nobody Wants to Be Here & Nobody Wants to Leave




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