I hadn’t quite appreciated until I went back to read over the previous time The Twilight Sad had featured, that the that the ICA series had been running for such a long time. They were #3, posted on 9 September 2014, following on the back of The Smiths and the solo career of Edwyn Collins. The rush to complete that particular ICA was that I wanted to pull together something before the fourth album hit the shops as to wait would likely have made it an impossible task. In the end, I went with four songs from Fourteen Autumns & Fifteen Winters (2007), four from Forget The Night Ahead (2009) and two from No One Can Ever Know (2012)

Since then the band has released two more albums Nobody Wants to Be Here and Nobody Wants to Leave (2014) and It Won/t Be Like This All the Time (2019), both of which have taken the group to even higher levels of achievement and enjoyment.

Nobody…..was an album which could very well have been their farewell to the music industry. Andy McFarlane, the guitarist and main music writer, stated on its release that the aim was to capture all the different forms the music has taken over the years, 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.” It certainly achieved that, but the interviews that accompanied the album’s release caught a band seemingly unsure of themselves, feeling as if they had run out of ideas and really worried about how fans and critics alike would respond. The very title of the album captured the dilemma they seemed to be in.

Despite the band’s fears, there was near universal acclaim, and leading the plaudits was none other than Robert Smith who ended up covering one of the tracks from the album and making it available as a b-side to 7” single by The Twilight Sad. He then followed it up by offering the band the opportunity to be the supporting act for The Cure on their May/June 2016 North American tour, which included three nights at the Hollywood Bowl in Los Angeles and three nights at Madison Square Garden in New York and to then fulfil the same role on the October–December 2016 European tour, which included three nights at London’s Wembley Arena as well as dates in Berlin, Rome, Madrid, Barcelona, and Paris.

I was quite fearful when the news of the support slot was revealed – history records that many names bigger than The Twilight Sad have taken on the task of opening up arena/stadium tours and freezing with fear when the enormity of the task hit home. I ended up one evening in the company of someone who is highly respected as a performer and entrepreneur in the Scottish music industry, who told me I had nothing to worry about. It was his view, and there were few better qualified than him to judge things, that The Twilight Sad made music that would easily fill the arenas and in such a way that would connect wonderfully with the sort of fan base that The Cure were able to command. He felt they would relish it but it would leave them exhausted and again unsure of what to do next….but against that, it would at long last bring them the financial rewards that were long overdue.

Those predictions were uncannily accurate. There were no Scottish dates on The Cure’s European tour and so fans awaited the announcement of some sort of one-off headlining gig at the end of 2016 or early 2017, but it never came. Lead singer James Graham went off and did some side projects, all the while remaining coy about the future of his main band, albeit he did say songs were being worked on.

There was no discernible activity in 2017 and then a bit of a bombshell in January 2018 with the news that drummer Mark Devine was leaving – this meant that only James and Andy were now left from the original four-piece that had started out back in 2003. The band announced an immediate replacement and stated that work was well underway on a new album which would also be coming out on a new label as they were leaving Brighton-based Fat Cat Records after a ten-year association.

May 2018 saw the band play at the Primavera Festival in Barcelona, their first gig in 18 months since the end of the tour with The Cure. The following month saw them play this astonishing set at the Brudenell Social Club in Leeds as a warm up to more Cure-linked activities in London.  July saw the announcement of them signing to Mogwai’s label Rock Action Records and the release of a new song “I/m Not Here [missing face]”, for streaming and as a digital download, together with dates in North America and Europe taking place towards the end of the year. In September 2018, just before the North America/Europe tour, it was announced that the fifth album would be called It Won/t Be Like This All the Time and would see light of day on 18 January 2019, before which two more tracks would be made available for purchase/download/streaming.

I’ll cut to the chase…..the latest album is an absolute knockout and has attracted praise from all quarters. It’s been called timeless and full of high-quality songs, but Paul Carr at Popmatters nailed it better than anyone:-

“The squalling, shoegaze guitars of Fourteen Autumns & Fifteen Winters, the brooding electronics of No One Can Ever Know, [and] the raw intimacy of Nobody Wants to Be Here and Nobody Wants to Leave are all present but they are melded with fresh, nuanced sonic textures and bright, emphatic post-punk synths all injected with more direct pop hooks and melodies. What’s left is an album informed by all of their musical experiences and as such works as their definitive artistic statement.”

I haven’t stopped listening to the new album since I picked it up at the launch show at Mono in Glasgow were I was privileged to hear Andy and James perform a spine-tingling stripped-down acoustic set of new and old material. I had the luck of getting to hear the songs played by the full band at two Glasgow shows – a warm-up gig at King Tut’s and then the sell-out show before a devoted audience at Glasgow Barrowlands, after which I had the unforgettable honour of being part of the Simply Thrilled gang who hosted the official post-gig after show, where I’ll be played a set as part of the warm up for none other than our guest DJ Stuart Braithwaite of Mogwai.

Talk about surreal.

All of which leads me, finally, to a second ICA for The Twilight Sad. I never thought a second volume would better the first, especially as that had contained some of their oldest and most enduring songs from the first two albums. But trust me on this dear readers, volume two utterly transcends it.


1. There’s A Girl In The Corner – from Nobody Wants to Be Here and Nobody Wants to Leave (2014)

The band played a few gigs in 2014 before the release of the album and this was very much to the fore in the sets. It was an obvious tour de force, mixing that sparse synth sound of later albums with the pounding drums and guitars of the earlier material as had been promised by Andy McFarlane. This was the one which Robert Smith couldn’t wait to get his hand on, and no wonder.

2. Don’t Move – from No One Can Ever Know (2012)

It was a really tough call having only two songs from the 2012 album make it on to the first ICA but that all came down to me trying desperately hard to make it a ‘proper’ album which maintained a flow throughout, with the consequence that there was less ‘natural’ space for the more keyboard driven songs. There’s no such issues with this ICA as N/O/C/E/K really set down the template for the direction the band would take into the studio in later years and they link well to the 2014 and 2019 LPs.

I’m happy to admit that Don’t Move was a track I kind of missed when the album was initially released, slotted as it was into the middle of the running order and not quite as immediate or mind-blowing as those which preceded or followed it, but I soon realised, from hearing it live, that it was one of the real stand-outs.

3. Shooting Dennis Hopper Shooting – from It Won/t Be Like This All the Time (2019)

This was the first of what turned out to be three unreleased songs which were aired at the Brudenell Social Club gig and it was immediately clear that the new material was going to be quite sensational. The band have always had the habit of giving songs obscure or strange working titles which are kept even after they’ve gone beyond the demo stage. The lyrics have nothing to do with the American actor, nor have they anything to do with photography. This loud, bombastic tune works amazingly well as a stripped back acoustic tune, as evidenced when it was played that way at the album launch show. I’ve a feeling the band, as they have done with previous albums, will release the unplugged versions.

4. Alphabet (alternative version) – from N/O/C/E/K Tour EP (2012)

As mentioned above, The Twilight Sad have a history of later releasing alternative versions of songs. Alphabet is the disturbing and haunting opener on No One Can Ever Know and becomes even more so on this unplugged version which was made available for download (along with five other tracks) from the band’s website and as a limited edition CD for sale at shows. If you do ever see any live shows billed as not being by the full band, it will almost certainly mean its James on vocals and Andy on acoustic guitar…..and if you go along and watch any such shows, this is the sort of thing you will be lucky enough to hear.

Worth mentioning that this slowed-down version of Alphabet was the inspiration for Bill Wells & Aiden Moffat doing a cover version for one side of a 7” single for Record Store Day 2013, with The Twilight Sad offering their take of Bill and Aiden’s If You Keep Me In Your Heart on the reverse.

5. Vtr – from It Won/t Be Like This All the Time (2019)

In the fullness of time, this might very well become the song which most defines The Twilight Sad. James has said in interviews recently that the line ‘there’s no love too small’ is one of the most hopeful he’s ever penned which nevertheless is surrounded by lines which are full of anxiety and fear. He’s also said that the album was written while the band was dealing with ‘birth, death, illness, uncertainty and self-hatred’. But in an album of outstanding numbers, it is this upbeat tune with its optimistic refrain which carries the biggest and most important message.


1. The Wrong Carsingle (2010)

I’ll play this near eight-minute epic and wonder to myself how it didn’t make it onto the previous ICA. It’s actually down to the fact that the first ICA was packed with equally epic numbers and there was just no room. The Wrong Car was recorded at the Chem 19, the studio just outside of Glasgow which is owned and run by Chemikal Underground and Paul Savage from the Delgados worked alongside Andy and then drummer Mark on the production side of things. It was the most ambitious thing they had done up to that point and they haven’t quite explored similar territory since. In most instances, it would be a fair bet to say that the best part of a decade on The Twilight Sad won’t ever make another song quite like The Wrong Car…..but this is a band who never stand still and never fail to surprise in the most pleasant of ways.

2. I/m Not Here (missing face) – from It Won/t Be Like This All the Time (2019)

This was the track chosen to showcase all of the new material, being released as a digital download last July. If this had been the 80s or 90s, there is no question in my mind that this, on vinyl or CD, would have flown out of the shops and gotten the band into the mainstream charts and led to appearances on shows such as Top of The Pops. Even a decade or so ago, a tune as anthemic and danceable as this would have made been all over daytime radio. Having said that, the thought of The Twilight Sad having to play the game in the same way that chart bands have to would be a huge risk in terms of them keeping going – there’s just a feeling that James in particular would be uncomfortable with such attention. As things stand, he and his mates can do things as they feel suits their continued development best, and this includes taking time off to do the side projects or accepting the opportunities to do the mega gigs as guests in and around their own much smaller headlining tours. Sometimes it’s just better that way.

3. I Could Give You All That You Don’t Want
4. It Was Never The Same (both from Nobody Wants to Be Here and Nobody Wants to Leave (2014)

These songs are back-to-back on the 2014 album and it’s one of those rare occasions when I can’t help but always wanting to hear the latter immediately after hearing The former. They were, incidentally, the two songs given physical releases as singles by Fat Cat Records.

I Could Give You All That You Don’t Want is another track which I imagine had Robert Smith nodding his head in appreciation recalling the many times when he could write and record perfect indie-rock music. Fat Cat Records elected to issue this as limited edition picture disc which was great for those of us who were happy to snap up every release on the day of issue, but in the hands of major label, and with the marketing push they are more than capable of delivering, I reckon this could have been the breakthrough hit…..

The latter is a wonderful example of the mellower slower side to the band. It’s a beautiful and haunting piece of music, one which enables James to display his vocal abilities. The band played a Scottish tour of smallish venues at the end of 2014 and myself and Aldo got ourselves along to the Tolbooth in Stirling (at which the wonderful Adam Stafford was supporting). We arrived early and as we made our way past the venue on our way to a nearby pub, we could hear, through an open window, the band sound checking with a really haunting take on It Was Never The Same. It was one of those spine-tingling moments that won’t ever be forgotten.

5. Videograms (Weatherall mix)

Andrew Weatherall first worked with The Twilight Sad on No One Can Ever Know, receiving the very strange credit of ‘anti-producer’ on the album. There is no doubt that his contribution to that particular record was immense, helping to guide the band into making the sort of sounds which enabled critics to mention the likes of Public Image, Magazine, Can, Nine Inch Nails, Joy Division, Cabaret Voltaire and The Cure in the accompanying reviews.

In advance of the release of the new album, The Twilight Sad (or more precisely, Rock Action Records) revealed that the producer had given his attention to Videograms, a track that had already been made available on vinyl as a one-sided 10” single. The Weatherall mix was only available as a download….it was wonderfully reviewed by Adam over in the Bagging Area late last year:-

Unless he sneaks something out between today and New Year’s Eve this looks like being the final Andrew Weatherall remix and release of 2018, a seven minute re-working of Scottish post-punkers The Twilight Sad. Weatherall adds that metronomic drum machine and sends the whole thing through an FX box called ‘Early/Mid 80s New Order’. A friend aptly described this as Widescreen Goth. I just hope there will be a proper 12″ release because it’s a fine example of the art of the remix (you can buy it as a download but somehow that’s not quite enough).

Sadly, this seven plus minutes of magnificence has still only been made available as a download, but given that The Twilight Sad have a very happy habit of occasionally offering up remix albums a while after the original LP has been released, then I’m not giving up hope entirely.

I know this has been something of a long read, and prrhaps it has just been a bit too much for some of you.  But as far as I’m concerned, The Twilight Sad are probably the most important band out there just now and so there’s no apologies on offer……

And don’t rule out a volume 3 at some point in the future – possibly full of remixes!!



You’ll have to forgive me, but I’m, understandably, a bit obsessed with The Twilight Sad this week.

The poster above indicates that our Simply Thrilled night, in which we get to host the official post-Barrowlands gig event, has completely sold out. What it doesn’t indicate is that the sell-out involves the entire space within The Admiral Bar, both the basement level where the club night normally takes place together with the ground floor bar area. The band have a good number of guests coming along but we have sold over 300 tickets which means there will be a substantial donation going the way of the Scott Hutchison fund.

The planning and preparation for the Simply Thrilled night has kind of overshadowed the fact that I’ll be seeing the band at the Barrowlands beforehand – I’m still working out how best I can quickly get out of the venue and make the mile and a bit journey to The Admiral for the 11pm start time and as such, a taxi may well be utilised.

I didn’t think things could get much better but at the tail end of last week the band announced a warm-up gig at King Tut’s in Glasgow for Tuesday 26 February with tickets available only via a link from their mailing site. Tickets went on sale the following morning (Friday) at 9am, but with a capacity of just 300, and each person entitled to two tickets, it was always going to be a long shot to land lucky, even getting into the queue would be something of a result!!

I clicked on the link…..pressed a few keys on traffic lights to prove I wasn’t a robot…..entered in that I would like two tickets please…..and waited all of ten seconds to be advised that tickets weren’t available just now and to try again later. I did and went through the same process except this time I clicked on few cars in squares to demonstrate that I was genuine flesh and blood, and again was advised to try again.

Third time lucky????? Well, I wasn’t asked to prove my credentials but then again I was quickly advised no tickets were available….in other words it was a sell-out.

I checked up with four other folk who had been trying and each had the same sad story to tell but then my dear mate Aldo, who had been incommunicado because of work issues, got I touch to say I wasn’t to worry!

I found out later that while most of us were sitting at laptops with the fastest possible wifi speeds, he had been walking along to his office at 9am and casually clicked on his mobile phone to have a try and not only got into the queue but got the tap on the shoulder to enter in the full payment details. And I’m going to be his +1!

It also looks as if a couple of the Simply Thrilled gang are getting in via the guest list, so all in all, it’s shaping up to be a memorable evening and hopefully my hearing will recover in time to do it all again four nights later.

The critics have given an enormous thumbs up to the new album It Won/t Be Like This All the Time, and understandably so. There is no question that the four year gap since last being in the studio, during which time they played cavernous arenas and outdoor shows as the special guests of The Cure, has been good for The Twilight Sad with the new record meshing all that they have put down before – the loud guitars, the sombre electronics and the intense vocals from James Graham – but adding in places a number of almost pop-like hooks and melodies that can only bring them to the attention of a wider audience. I’ll be very surprised if hear a better album in the rest of 2019.

I was lucky enough to attend this show in Leeds last year at which three unreleased songs that were aired and it was immediately clear that the band’s new material was going to be quite sensational. They have, some twelve years down the line since the first album, penned a song which will most define The Twilight Sad. James has said in interviews recently that the line ‘there’s no love too small’ is one of the most hopeful he’s ever penned which nevertheless is surrounded by lines which are full of anxiety and fear. He’s also said that the album was written while the band was dealing with ‘birth, death, illness, uncertainty and self-hatred’. But in an album of outstanding numbers, it is this upbeat tune with its optimistic refrain which carries the biggest and most important message.

The other ten songs on It Won/t Be Like This All the Time are every bit as strong…’s some more footage to help illustrate that:-

Oh….and is that isn’t enough to get me thinking how special the next few days are going to be, the Simply Thrilled team have been given another huge honour in respect of this Saturday as will be the first to air, outside of a couple of radio stations, a new song by the incredibly talented Siobhan Wilson, whose debut album There Are No Saints, released in 2017, just gets better and better with age.

Her sophomore album, The Departure, is being released in May 2019. I’ll certainly be giving it a mention or two around then.

Seems appropriate to return to The Twilight Sad and their tour de force from 2014’s Nobody Wants to Be Here and Nobody Wants to Leave. This was the one which Robert Smith couldn’t wait to get his hand on, and no wonder.

mp3 : Robert Smith – There’s A Girl In The Corner

Just occurred to me…..all that is needed to make this week unbelievably perfect is for Robert, should he happen to be attending the Barrowlands gig, to come along and say hello at The Admiral afterwards.

Dreaming is Free.



FROM UNDER THE COVERS (Parts 64, 65 & 66)

When I saw that Glasgow’s very own The Twilight Sad had recorded a cover version of a great David Gedge song for the b-side of one of their singles earlier this year, I knew I just had to have it.

It wasn’t what I expected. But that made it all the better.

That’s three cover versions I now have by this lot – they’ve all been of songs that I’ve adored for a long, long, long time. And all of them get the TVV seal of approval:-

mp3 : The Twilight Sad – Suck
mp3 : The Twilight Sad – Half A Person
mp3 : The Twilight Sad – Twenty Four Hours



I recently mentioned that myself and Aldo were heading off to Leeds to catch The Twilight Sad play their first UK show in 18 months and their first headline show since December 2015. I wasn’t sure beforehand if I was going to say anything after the event, but as you can surmise from the fact these words are appearing in a post on the blog, I’m now entirely sure that, unlike Rod the Mod and Everything But The Girl, I do want to talk about it.

First up, some thoughts on the city of Leeds. It’s a place I hadn’t been to for the best part of 20 years and the last time around I wasn’t all that impressed – but then again I had gone down to watch a day of cricket with a group of mates and we didn’t venture too far from the hotel bar or the ground at Headingley. The railway station, which had been the arrival point, was a dark and depressing place, reliant on unpleasant smelling underpasses to get you from one part to another and the city centre seemed equally unappealing with the pubs not offering much of a welcome to non-regulars.

The Leeds of 2018 has been transformed way beyond recognition. It’s not a city which seems to be incredibly dependent on tourism in that there’s none of these ‘hop-on, hop-off’ buses which are so common in such hotspots, but there has been a remarkable growth in the number and quality of hotels in the centre, with all sorts of new accompanying commercial and retail developments. There’s been an explosion of new bars but at the same time, many of the older traditional places have clearly upped their game, offering all sorts of real ales/craft beers and high-end vodkas, gins, whiskys etc. for the most discerning of tastes.

In short, the city proved to be well worth a visit and would be one I wouldn’t hesitate to return to if the opportunity arose, which it might well do given that the Brudenell Social Club has jumped straight to the higher echelons of my all-time favourite gig venues.

As I said last week, it was one of two long sitting on the bucket list and I had knocked off the other last year with a trip to Hebden Bridge Trades Club, again in the company of Aldo, when we had enjoyed Jens Lekman followed by a memorable afternoon and evening in Manchester in the company of the man in charge of the bagging area. The Brudenell, however, proved to be something else again.

The Twilight Sad have a long association with the venue, but even this was a first for them in that they were making their debut in the Community Room, a new part of the building which opened just last year. It’s a superb space, just perfect for gigs with its width, low-roof and raised stage offering great views no matter where you choose to stand. It also has the very best in acoustics and thanks to it being designed in a way that the bar area is separated and largely buffered from the main auditorium, it reduces the likelihood of the yakkity-yak nonsense which often spoils a good night out at a live music event.

Mind you, having had a look at the Function Room where the majority of gigs have previously taken place, I’d love to catch an act in there sometime of an evening as it had the look, feel and vibe of a very special place where an audience and singer/band would bond brilliantly; last Saturday is was busy with folk watching Croatia v Nigeria in the 2018 World Cup – I can’t imagine how rammed it would be if England and/or one of the big teams were involved.

So….with all this in mind, given that the city and the venue hadn’t disappointed, the onus was on the band to ensure the feel-good factor remained intact.

They took to the stage at 9.15pm and they ended a 14-song set at 10.30. They opened with a classic and they closed with something that was awe-inspiring, moving, powerful and as sensational 7 or 8 minutes as I’ve ever experienced in what is now almost 40 years of watching live music. In between, we got some familiar and often aired favourite songs from the back catalogue and were also treated to three as yet unreleased numbers. They sounded pitch perfect thanks to the afore-mentioned sound system and acoustics…..and while they are very much a five-piece band, especially in the live setting, there has to be special mention of frontman James Graham who is, without any question, the most mesmerising of performers whose vocal delivery and accompanying movements surely leave him on the brink of complete physical and mental exhaustion every single time.

It was fascinating to look around the audience when the lights went up. Given it was such a rare show, it had sold out quickly and of interest to fans from all over – you could certainly pick out a fair number of Scottish accents in the bar area beforehand – and so was always going to be one in which there were very few, if any, folk who were experiencing the band live for the first time. Most seemed to be, like myself and Aldo, quite speechless, coming to grips with what had just been witnessed; there were some in tears, understandably overcome by the intensity and emotion of the final few minutes. I’m sure if there had been an exit poll, the option of ‘best show they’ve ever played’ would have won a landslide victory.

The band have always been prolific in their use of social media. The following morning, as we sat down to a lovely and value-for-money breakfast in an old café which was defying the surrounding regeneration and partial gentrification of the canal area, Aldo read out what had just been posted on the official Facebook page:

“I’ll never forget last night. A room full of beautiful people. Brudenell Social Club is part of our history and will be part of us as we try to move forward. There’s no love too small x.”



That Summer, At Home I Had Become The Invisible Boy
Don’t Move
Dennis Hopper (new song)
Last January
I Became A Prostitute
It Was Never The Same
VTR (new song)
Reflection of The Television
The Wrong Car
Arbor (new song)
There’s A Girl In The Corner
Cold Days From The Birdhouse
And She Would Darken The Memory
Keep Yourself Warm (cover version)

mp3 : The Twilight Sad – Last January
mp3 : Frightened Rabbit – Keep Yourself Warm


PS :   Typing this up at 6pm on Tuesday night at which point The Clash are hoilding a narrow lead over Echo & The Bunnymen in the ICA World Cup quarter-final. There’s still time to cast your vote if you haven’t done so already – do you prefer Clampdown or Never Stop?


It’s been two and a half years since the last time I saw The Twilight Sad when they played a triumphant pre-Christmas show at The Barrowlands in Glasgow. They spent most of 2016 travelling the world a the support act to The Cure while last year they took some time out to recuperate during which lead singer James Graham ventured into a side project called Out Lines, working with Kathryn Joseph (winner of the Scottish Album of the Year in 2016) and Marcus Mackay.

Tomorrow night they are playing at the Brudenell Social Club in Leeds, a venue that has long been on mine and Aldo‘s bucket list and so we are off down south to take it in where we will hopefully be joined by Comrade Colin.

I’ve been excited about this one for months, counting down the weeks impatiently. And yet, I was nearly in a position of not being able to go as the death of a close friend last week threatened to put things on hold – if the funeral had been tomorrow, then there would have been a very tough decision to make. As it is, Aldo will head down as planned later this morning and I’ll delay my departure for a few hours and join him this evening.

The gig promises to be special. They have a new drummer following the unexpected but amicable departure of Mark Devine which was announced a few months back. They also are likely to include a Frightened Rabbit number in the set as a tribute to the late Scott Hutchison – I’ll do well to stay in control of myself if that happens.

Here’s a reminder of why this band are, and have been for a while, my favourites:-

mp3 : The Twilight Sad – That Summer, At Home I Had Become The Invisble Boy (from Fourteen Autumns & Fifteen Winters, 2007)
mp3 : The Twilight Sad – The Room (from Forget the Night Ahead, 2009)
mp3 : The Twilight Sad – The Wrong Car (frm The Wrong Car EP, 2010)
mp3 : The Twilight Sad – Sick (from No One Can Ever Know, 2012)
mp3 : The Twilight Sad – It Was Never The Same (from Nobody Wants to Be Here and Nobody Wants to Leave, 2014)



“Firstly, this song is not about being a whore, it’s a line from the Jean-Luc Godard film Vivre sa Vie (My Life to Live) that seemed to fit with the concept of the lyrics. I’m not sure if we shot ourselves in the foot with that title, seeing as it was the first single. For radio, it had to be called “I Became a ……..” because the word ‘prostitute’ is apparently offensive. This one came together quite easily when writing it and always stood out to be a single.”

So said singer James Graham an interview given back in 2009 when the songs on the LP Forget The Night Ahead were dissected one-by-one.

mp3 : The Twilight Sad – I Became A Prostitute

One of the most powerful and impressive singles to have come out of anywhere, never mind Scotland, in recent years. And a real tour-de-force when played live.

Here’s your b-side which is not without its merits, especially if you like music that is reminiscent of the Seamonsters era of The Wedding Present and a bloke singing in a Scottish accent:-

mp3 : The Twilight Sad – In The Blackout

When you think of all the crap that hits the charts nowadays, it really is criminal that so few people bought this single.




I’m not a fan of Record Store Day. It started out with the best of intentions but before long became another way for real music fans to be ripped off. Not necessarily by any small/independent record stores or the sorts of labels who supply much of the stock to such stores, but I’m more thinking about the majors who jumped on the bandwagon and issued all sorts of product for stupid prices, and in doing so tied up pressing plants at the expense of the smaller labels.

Oh and not forgetting the greedy fucks who got into the habit of going along on RSD for the sole purpose of hoovering up bundles of rare and in demand releases to then shove them on the internet within a matter of hours at vastly inflated prices. The sort of greedy fucks who ticket tout……

Anyways, this is probably the last thing I bought on the actual RSD and it was only because at the time I had everything ever released on vinyl by The Twilight Sad and I was also intrigued to hear what Bill Wells and Aidan Moffat would bring to a Twilight Sad number.

Limited edition of 500 on 7″ vinyl on Fat Cat Records.

mp3 : Bill Wells and Aidan Moffat – Alphabet
mp3 : The Twilight Sad – (If You) Keep Me In Your Heart

One thing I’ll say. Both acts make the songs sound as if they are their own rather than covers.  But both ultimately are not a patch on the originals.