By Twin Atlantic
There are so many positives on Twin Atlantic's latest release that it's hard to know where to begin. I could start off by detailing the band's knack for writing songs that express emotion in an exceptionally honest way, or else have choruses so massive that they positively burst from your speakers. I could detail the wonderful production, courtesy of John Feldmann, or the consistency of the record, which makes this an all-killer-no-filler release in the strongest sense of the phrase. Or else I could just state that this is, simply put, one of the finest rock releases of the year, one which should see Twin Atlantic climb the rungs of the rock and roll ladder ten at a time, and put the band well and truly on the road for mainstream success.
Twin Atlantic hit the ground running with 'Edit Me', a song which underlines practically all of their credentials as a band. Accessible enough for the mainstream (the song has received airtime from DJs such as Zane Lowe) but with enough grit that fans of older material can also get their teeth into the song, this is the kind of track which could help propel Twin Atlantic onto bigger and better things. That this is by no means a sole highlight to the record should give an audience a suitable idea of the shape of things to come.
Not settling for just one anthem-in-the-making, Twin Atlantic have made an album full to the brim with soaring choruses and hummable hooks, and may well have created the perfect album for the summer ahead. No doubt John Feldmann's production will have helped the band achieve such a sound, but there's enough brilliance already present o the record that his involvement feels deserved, and not just tacked on. This is a work both band and producer should be proud of, and considering that this is the man who was at the helm of 'The Colour And The Shape', this is no mean feat.
Despite the fact that the album is jam-packed with huge sounding tracks with bags of mainstream potential ('We Want Better, Man', 'Free' or 'The Ghost Of Eddie' being fine examples of such), Twin Atlantic leave themselves time to empty their soul into track number 7, the stunningly beautiful 'Crash Land'. Guitarist Barry McKenna adds an extra dimension to the song with his delicate playing of the cello, and coupled with a beautiful acoustic backdrop, this is the kind of song that most bands only ever dream about writing.
Already a fan favourite live, the song simply bleeds emotion, and is undoubtedly one of the finest songs they've ever written, shining brightly even amongst their glittering back catalogue. Their take on emotion is refreshing, and in an age of pitifully poor post-hardcore bands (try saying that 10 times...) is a welcome change to the typical whining which we've come to associate with the dreaded acoustic song.
If you're still not convinced of Twin Atlantic's potential, even by 'Free', then you're a lost cause. 'Free' is one of the finest releases of the year, and features a sound which every rock fan in the country should fall in love with instantly- it is fresh, exciting and innovative, but above all, brilliant. Twin Atlantic have fought their ground time and time again, and have never stopped proving their worth- this album should not only secure their position as one of the finest British rock bands to emerge in the last decade, but give them the thrust they need to climb higher and higher until they reach the top. Twin Atlantic have thrown down the gauntlet to any upcoming band out there, and it'll take a truly spectacular effort to unsettle this one. Utterly fantastic.