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“A lot of Confess is about sacrificing part of your life to something you love to do,” says George Lewis Jr., the nom de plume of Brooklyn indie pop sensation Twin Shadow. “Love and commitment may not be part of my life at this point. So a lot of this record is about my relationships with people, and dealing with the sacrifices I’ve made.”
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Product details

  • Audio CD (9 July 2012)
  • Number of Discs: 1
  • Label: 4AD
  • ASIN: B00817PG30
  • Other Editions: Vinyl  |  MP3 Download
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: 74,879 in Music (See Top 100 in Music)

1. Golden Light
2. You Call Me On
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

Product Description

Product Description

Twin Shadow, the creative moniker of George Lewis Jr., will release his second album, Confess, on July 9th. Self-produced and with mixing duties handled by Michael H. Brauer (Bob Dylan, Paul McCartney), the follow-up to 2010 s Forget ( Impressive The Sunday Times 4 star) finds Lewis Jr. doing what he does best; remembering and reinventing, and fashioning a soundtrack which sounds refreshingly and distinctly modern.

BBC Review

On the cover of Confess, George Lewis Jr aka Twin Shadow stands aloof in dim light, his leather jacket torn and rugged. He looks like the sort of guy you wouldn't want your daughter hanging around with – and if Confess is anything to go by then that gut feeling would be a smart one.

While his 2010 debut Forget traded in gentle, slight melodies and obfuscation, there's nothing indirect at all here. Instead, Lewis' sonics are masculine and upfront, while his lyrics are strung together with sly digs and cruelties.

If the polar shift from one LP to the next wasn't clear enough, Lewis vocalises as much on Five Seconds when he shouts: “There's no way to forget it all.” He brushes aside the title, and the ethos of Forget, in a second and then backs it up all over the record.

Take Run My Heart, for instance. It’s a song that finds Lewis intent on ring fencing his heart – "You don't run my heart / So don't pretend you can" – before finally spelling it out: "Can't you see I'm not in love?"

For all the coldness, though, Confess is an easy record to listen to and love. Lewis has clearly grown as a songwriter – a song like The One feels like it might have been beyond him a couple of years ago. The light, preppy touch in the bass and guitar feels assured, while the brevity in the writing helps boost Lewis' hooks to the level they deserve.

Beg for the Night is another highlight. The track allows space to open up around another big chorus and super-sizes its masculine vibes by deploying a revving motorcycle engine for percussion.

For an artist often lumped in with chillwave it might come as a surprise to some that Confess is so bold and honest. There's no dream-pop pussyfooting from Lewis this time; instead, he leaves himself nowhere to hide as he pushes his character to the absolute limit.

This approach makes for a Twin Shadow record that might be brutal at times but also smarts with impressively high-octane pop.

--Mike Diver

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Customer Reviews

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Kenneth on 10 July 2012
Format: Audio CD
I'm not the biggest fan of modern pop music i generally find it banal, unsophisticated and soulless. The most recent obsession pop producers have with euro dance beats and extremely annoying auto tune makes me want throw my radio through the window if i should happen to accidently turn the dial the wrong way. There are some musicians who seem to be trying to restore some credibility to the genre though, the only problem is their largely unknown by mass consumers. Twin shadow is one of these artists that i think does have the ability to reach a larger audience and hopefully his stellar new album confess might help him become a star (lord knows we could do with someone to take some attention away from the irratating likes of Justin bieber).

Confess is riddled with the same retro 80's smoothness that his excellent debut Forget had, however it features a much stronger emphasis on the poppier elements of this style, with the production featuring less reverb and the instrumentation sounding louder, more melodic and direct. "Golden Light" opens the album brillaintly with George Lewis Jr delivering a staggering vocal perfomance to bombasticly smooth 80's style synths and drum machines. Lyrically it's filled with sharp, bitter declarations of apathy towards what one can only assume was a previous love interest.

If there's any justice in the world lead single "Five Seconds" will be blasting out of every speaker in nightclubs for years to come; it's bouncy, buoyant, full of energy and shamelessly catchy.
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3 of 3 people found the following review helpful By Gannon on 16 July 2012
Format: Audio CD
In today's world of aquacrunk, driftstep and gothgaze it's fairly rare that someone invokes the simple new-wave pop of The Police, but Dominican Republic-born George Lewis Junior notably does just that on "Run My Heart", running it past some classic Springsteen balladeering and mid-distance indie jangles to boot. Amid repeats of "Just a boy / Just a girl" it's clear that Lewis has nevertheless stuck to the same themes of sex and mishandling relationships that dominated his wistful, sometimes aptly indistinct debut Forget.

Confess, on the other hand, is much surer of itself now that Lewis has cast himself as some leather-clad troublemaker - there's little chance however of him going that extra step and becoming the leader of the pack because the allure of the 80s still hangs so heavily over his every move that it's like he's bathed in Paco Rabanne. Undisputed album highlight, "Five Seconds" is, for example, pure unabashed pop that showcases punchy bass tempos pilfered from David Lynch, perfect synth hooks, popping drum sequences and more guitars ripped from the Boss.

There are echoes too of that diminutive lothario Prince in the satin smoothness of "You Call Me On" and "Beg For The Night" is all about a cruising bassline and stadium-sized drum blasts over which laser effects latterly play off against soaring guitar solos. Sweeping bass synths scan the nether regions of "Patient" like a searchlight as Lewis states that "Boys will be boys", dressing the fact with harsh snares and a peppering of guitar funk.
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1 of 1 people found the following review helpful By Avg Joe on 10 Oct. 2012
Format: Audio CD Verified Purchase
Another fine offering delivered by Twin Shadow. Reminds this reviewer of AR Kane, Psychedelic Furs and The The in terms of glossy layered production, mechanised beats and synths, and lush vocals dishing out libido-led lyrics; throw in some Peter Gabriel theatricality. There's a knowing, yet unabashed cheesiness to the arrangements here. Highlights: 'golden light' and 'beg for the night.' It's not for everyone, but builds on the first LP 'Forget' and commits more to the 80s vibe and formulae experimented on there. If you liked that, this one will feel at once familiar and bolder. Probably best to check the Amazon US site, and play the samples before you buy.
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1 of 1 people found the following review helpful By Red on Black TOP 50 REVIEWERVINE VOICE on 15 July 2012
Format: Audio CD
Twin Shadow is the stage name of American musician George Lewis Jr who allegedly drew inspiration for this album from a bike accident in Boston. Music lovers everywhere should exhort Mr Lewis to be far more careful for in "Confess" he has produced an album of 80s inspired synth rock, soul and funk which does dabble in retro but comes out sounding surprisingly fresh and squeaky clean. Lewis operates in a territory on "Confess" which has been a graveyard for some other bands. Think of the horrible Killers album "Day and Age" where Brandon Flowers caught a massive musical cold. That said more recently other artists have been more successful in plundering the legacy of Human League, Heaven 17, OMD, Gary Numan and Visage. Dan Bejar's "Destroyer" produced the brilliant "Kaputt" last year (albeit with a very large tongue in their cheek) and Twin Shadow follows from that roaring success.

True there is more than a nod here to Prince who also rode that phase for the production of massive slabs of synth inspired funk that tested your audio equipment with the persistence of electronic oscillators and stinging guitar solo's . Check out the huge wall of sound that is "You call me on" and Lewis captures the essence of what made the Purple one so special. Big choruses interspersed with pounding hooks are the order of the day and this album deserves to be played across Europe in summer festivals. The glorious ballad "The One" drifts along at perfect pace and when Lewis poetically sings "dance me round the room and lie to me" in "I dont care" your tempted to dust down the old dancing pumps and skip the light fantastic. On "Five Seconds" Lewis borrows that huge backdrop which TV on the Radio employed on their brilliant song "Wolf like me" although he not quite in their class.
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