Twin Shadow, then: George Lewis, Jr’s second follows the 80s New Wave inspiration board of his first, critically acclaimed record Forget; and likewise repeats its seemingly imploring, single verb as title. In a similar manner to the progress of Beach House records, Lewis doesn’t really change his palette or set-up; but focuses on exceptional songwriting and depth.
There’s something much more interesting lying behind Confess than that bland scene-setting, however. While not A Great Record, it shares the quality of being vastly improved by knowing the circumstances behind its formulation. Lewis Jr crashed his motorbike one winter, with a friend on the back, of which he says: “As the bike slipped from under us my head filled with words. The slow motion moments of calm just after surprise and just before regret are bliss. I remember in that moment I wanted to say everything to him. How could I say everything in a split second?”
And with that background, suddenly, the album comes into clear focus: it seems imbued with that urgency to confess everything in that moment; lyrics are filled with regret, self-realisation, and honesty, all dialogues between lovers in crisis moments. If anything, Confess is more predictable and heavy-handed in its plundering of the past: ‘The One’ seems to wholesale steal the rhythm section of ‘Close To Me’, for example. With its backstory, though, and its sense of unity and completeness – the pace of a motorbike ride to a moment of emotional confrontation – it feels as though he has made an important discovery about life delivered through beautiful, accomplished songwriting, elevating the record beyond mere revivalism and lending it the quality of a soundtrack to something loved, yet half-forgotten.
-Michael C Lewin
Taken from Notion Magazine Issue 58