Twin Shadow – Confess Twin Shadow – Confess

Twin Shadow – Confess

Every so often an album is released with cover art that is so completely indicative of the record itself, it’s quite surreal. One such example is Burial’s Untrue – one look at that album cover tells you all you need to know before you’ve even listened to it – dark, introspective music is on the way, preferably to be enjoyed in the early hours of the morning. A slightly cheerier example of this would be Japandroids’ Post-Nothing – a simple photo of two friends embracing and, seemingly, without a care in the world. They are both fairly straightforward images which manage to capture in each case music that is both emotive and personal, in their own understated and subtle ways.

But the indulgent and melodramatic artwork on Confess, the second album by George Lewis Jr. under the Twin Shadow moniker, is in no way surreal or subtly accurate. Indeed, you suspect that amongst the thousands of words which will be written about this album, ‘subtle’ is unlikely to be found. A recent interview with Pitchfork confirmed that Lewis Jr. sees Confess as a lyrical and thematic revolution, rather than evolution from his debut album, Forget. “That record was me remembering things, and forgetting them. Like, I’m so done with that”. Tellingly, the same degree of self-absorption which pervades through that interview – and indeed, through the clichéd and cringeworthy artwork – is all too apparent on Confess, an album which plays out like a satire of 80’s synth music.

The duel offenders-in-chief, “Five Seconds” and “Run My Heart”, are perhaps the two most effective arguments around against the modern trend of 80’s revivalism in music – the former revolving around desperately tired sounding cold-wave synths and guitar riffs that land somewhere between an F-Zero X soundtrack and Top Gun. On the latter, no cliché is safe, “This isn’t love, i’m just a boy/and you’re just a girl”, sung along to what Lewis Jr. presumably identified would be his ‘Bruce Springsteen-esque’ track. Not a fan of the Boss? No problem! Prince, Sting and various other revered names of the era all get a mauling on Confess.

Stale and ham-fisted references to his influences aside, Lewis Jr. also seems unable to pen a half memorable lyric; never more apparent than on the emo-pop ‘When The Movie’s Over’; “I’ll Cry, I’ll Cry, when the movie’s over”. Whilst that’s just plain odd more than anything else, the same generic lovelorn language is used throughout Confess; with ‘Running’, ‘Heart’, ‘Love’, ‘Cry’, and ‘Tonight’ all used with the same non-existent lightness of touch that Lewis Jr. demonstrates throughout the rest of the album.

You get the impression that Lewis Jr., with his newfound love of leather jackets, Brylcreem and motorcycles – sees himself as quite a mysterious, troubled soul; the album artwork on Confess, the last known photo to be taken before he sped off into the sunset down Route 66 on a wave of sexual ambiguity and pouting. But there is no such intrigue on Confess – only a tired compilation of influences which actually manages to put you off listening to the original source material.

1. Golden Light
2. You Call On Me
3. Five Seconds
4. Run My Heart
5. The One
6. Beg for the Night
7. Patient
8. When The Movie’s Over
9. I Don’t Care
10. Be Mine Tonight
11. Mirror in the Dark (Hidden Track)

Twin Shadow - Confess, reviewed by Lemon on 2012-07-26T10:00:53-07:00 rating 1.5 out of 5

One Response about “Twin Shadow – Confess”

  • rowe says:

    everything about this album is ridiculous, I wouldnt be surprised if we were all getting “Punk’d” or something