10 Songs, 48 Minutes

EDITORS’ NOTES

Released more than two years after its last studio album, No One Can Ever Know finds the Scottish indie rock band bypassing its usual wall of sound for a sparser attack, influenced by bands such as Can, Cabaret Voltaire, Public Image Ltd., and Liars. Had Joy Division been Scottish, it might have sounded a bit like The Twilight Sad here. It's a mix of Unknown Pleasures and Closer brought to a cathartic head. On "Dead City," analog synths meet an anonymous ethereal ambience to set the stage for James Graham's existential yet committed vocals. "Sick" suggests a Scottish folk song being transported to Manchester for the post-punk explosion. "Don't Move" uses guitars to strike while the iron is hot. "Don't Look at Me" warms up the sound with more generous backing vocals providing emotional support. Producer Andrew Weatherall gives the band the proper space and a full sonic spectrum to make this a positive step in its creative direction.

EDITORS’ NOTES

Released more than two years after its last studio album, No One Can Ever Know finds the Scottish indie rock band bypassing its usual wall of sound for a sparser attack, influenced by bands such as Can, Cabaret Voltaire, Public Image Ltd., and Liars. Had Joy Division been Scottish, it might have sounded a bit like The Twilight Sad here. It's a mix of Unknown Pleasures and Closer brought to a cathartic head. On "Dead City," analog synths meet an anonymous ethereal ambience to set the stage for James Graham's existential yet committed vocals. "Sick" suggests a Scottish folk song being transported to Manchester for the post-punk explosion. "Don't Move" uses guitars to strike while the iron is hot. "Don't Look at Me" warms up the sound with more generous backing vocals providing emotional support. Producer Andrew Weatherall gives the band the proper space and a full sonic spectrum to make this a positive step in its creative direction.

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Ratings and Reviews

4.7 out of 5
29 Ratings
29 Ratings
ragingdave ,

The Cure Meets The Jesus and Mary Chain

The more I listen to this record, the more I think that it's too bad Robert Smith was afraid to stray from his formulaic 90's emo mindset in the new millennium. If he felt comfortable enough to really release his inner demons and write/produce a record with the same conviction he did earlier in his career this very well may have been the result. For those of you that like Disintegration era bass lines and Joy Division's UK inner city despair esthetics you found your next listen. I also pick up strong hints of Radiohead circa Kid A in both the chord progressions and production values. Right now it's hanging four stars since it is a bit derivative, but it definitely may grow bigger into its own entitiy...

RUX ,

Impressed after listening straight through

I was worried about the electronic aspects of this album but after listening several times through i'm really digging it. Refreshing that a band can step out of their comfort zone and create an excellent album end to end. Now they need to come back through Atlanta, last show was outstanding.

Hurley, dude ,

Thank you, Twilight Sad

The Shoegaze powerhouse has returned. If you loved "Forget the Night Ahead" get this album.

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