The Twilight Sad's Dour Downturn

By Jon Graef in Arts & Entertainment on Mar 1, 2012 9:40PM

Scottish trio The Twilight Sad are known for their sublimely depressing sound-swashes on albums like 2007's acclaimed Fourteen Autumns & Fifteen Winters, so it's no surprise their recently released third album, No One Can Ever Know is something of a bummer. What is surprising, though, is the why: Know trades in the band's past fondness for walls-and-walls-and-what-the-hell-more-walls of guitar tones for a sparser, more keyboard-based sound. While Know has its moments of appealingly morose reinvention, the album is indeed the sound of a talented, risk-taking band spinning its wheels, resulting in a listening experience more insipid than inspired.

Which is a shame, since singer James Graham gives it his detached all, while his bandmates Andy MacFarlane and Mark Devine go for a moody yet subtly cathartic brand of croon-rock reminiscent of The National, but more dependent on synthesizers than alt-rock. Know has garnered comparisons to both Joy Division and even Nine Inch Nails, with the former's influence a more apparent reference point. The Gothic moodiness of Ian Curtis permeates Know, as opening track "Alphabet" and mid-album cut "Nil" demonstrate. While both of these songs begin with spine-tingling synth spookiness -- really, the production here is immaculate -- once they start developing as songs, the lack of melodic development becomes apparent.

On "Alphabet," Graham evokes the sing-songy nature of fellow Scot Roddy Woomble of Idlewild. While Graham's voice, like Woomble's, is appealing in the tenor range, Graham exercises much more restraint -- nary a scream to be found. Which means that, while Graham's style of singing may be more suited for this type of somber sound, his melodies don't connect as much as they would in a more upbeat approach.

Which, not to repeat myself, is a shame, because comparatively uptempo numbers like "Dead City" and "Don't Look At Me" do connect, expressing listless emotions in musically dynamic ways. (The latter's driving, U2-like bassline being particularly appealing). They just so happen to be surrounded by mid-tempo synth-goth sameness. Only closer "Kill It In The Morning" throws in a distorted industrial-disco groove into the mix. That song in and of itself isn't successful, but it shows at least a willingness to throw a curveball. More experimentation of its kind would be welcomed. The Twilight Sad just can't forget to bring the songs too.

The Twilight Sad play with Young Prisms and Micah P Hanson Friday, March 2nd, at the Empty Bottle, 1035 North Western Ave, 10 p.m., 21+, $12