Here is our October preview of the best music releases and events in the coming month. Items marked with an * are currently scheduled for review on the site.

Albums

Album of the month: The Greatest Hits Of Boston Spaceships – Out Of The Universe By Sundown*

We wouldn’t normally pick a best-of collection as our album of the month but as this is the first Boston Spaceships album to get a UK release we’ll make an exception. Collecting 15 tracks from the bands five albums it represents some of the best music of Robert Pollard’s career. (Out on Fire Records on the 8th October)

The Greatest Hits Of Boston Spaceships

1st October

Dark Dark Dark – Who Needs Who

Bob Mould – Silver Age*

Tim Burgess – Oh No I Love You

The Soft Pack – Strapped

Field Music…Play (read our review)

8th October

Tame Impala – Lonerism*

Why? – Mumps etc.

Mountain Goats – Transcendental Youth (read our review)

Tall Ships – Everything Touching

15th October

AC Newman – Shut Down The Streets*

Bat For Lashes – The Haunted Man

Jim Jones Revue – The Savage Heart

Jason Lytle – Department Of Disappearance

22nd October

…And You Will Know Us By The Trail Of Dead – Lost Songs

Of Montreal – Daughter Of Cloud*

Peter Broderick – These Walls Of Mine

29th October

Neil Young – Psychedelic Pill

Madness – Oui Oui, Si Si, Ja Ja, Da Da

Gigs and tours

Tour of the month: Field Music

Field Music have been nominated for the Mercury Music Prize and you have the opportunity to see them on what may be their last tour for some time.

• Oct 03 2012, Aberdeen, The Lemon Tree
• Oct 04 2012, Glasgow, Oran Mor
• Oct 05 2012, Leeds, The Cockpit
• Oct 06 2012, Liverpool, Kazimier
• Oct 10 2012, Southampton, Cellars
• Oct 11 2012, Cardiff, clwb Ifor Bach
• Oct 12 2012, Wolverhampton, Slade Rooms
• Oct 17 2012, London, Electric Ballroom
• Oct 18 2012, Brighton, The Haunt*
• Oct 19 2012, Bath, Komedia
• Oct 20 2012, Coventry, Warwick Arts Centre

Field Music

The Twilight Sad tour the UK in October:

• 18 Thur NEWCASTLE Cluny
• 19 Fri WAKEFIELD The Hop
• 20 Sat MANCHESTER Sound Control
• 22 Mon BIRMINGHAM Hare & Hounds
• 23 Tue LONDON Dingwalls
• 24 Wed BRISTOL Louisiana
• 25 Thur CAMBRIDGE Portland Arms
• 26 Fri LEEDS Brudenell Social Club
• 27 Sat PRESTON Mad Ferret

The Tallest Man On Earth – Dates across the UK and Ireland through October

• HMV Forum Kentish Town, London, Oct 23
• Colston Hall Bristol, Oct 24*
• Vicar Street Dublin, Oct 25
• Mandela Hall Belfast, Oct 27
• HMV Picture House Edinburgh, Oct 28
• HMV Ritz Manchester, Manchester, Oct 29
• St Bartholomews Church Brighton, Oct 31

Festivals

The festival season is over in the traditional sense, but there are still interesting festival events happening through the Autumn.

Oxjam

Oxjam is a nationwide music event throughout October with events nationwide raising money for Oxfam. Our event featuring Rotifer, Tigercats and Danny Kendall is sure to be on of the best but you can look for events throughout the month in your area on the Oxjam wegottickets portal. You can find out more about the event, and about the good work that Oxfam does with the money raised, by visiting www.oxfam.org.uk/oxjam.

Oxjam

A Carefully Planned Festival

A Carefully Planned Festival is a multi-venue festival featuring 100 acts in Manchester on the 20th and 21st October. Amongst the bands playing is Neon Filler favourite Free Swim who will be playing track from their brilliant new EP She Dreams In Lights. More details can be found at www.acarefullyplannedfestival.wordpress.com.

Other stuff

Magical Mystery Tour on DVD

On the 8th October you will have the opportunity to purchase a the much maligned 1967 Beatles film on DVD and Blu-Ray. The soundtrack has considerable high points, including ‘I Am The Walrus’, but the jury is out on the film that was considered one of the band’s bigger follies.

The Magical Mystery Tour

To get your album/gig/tour/film/book/festival/t-shirt included in our monthly preview please send details to dorian@neonfiller.com.

By Dorian Rogers

During last year’s early promotion for The Twilight Sad’s latest album No One Can Ever Know the Scottish Band selected final track Kill It In The Morning to unveil their new sound. With  Andy Wetherall producing, No One Can Ever Know brought vintage synths and Kraut rock bass  to the fore and left the band’s trademark guitar feedback low in the mix. It was no surprise to see this same track open their mesmerizing hour long set at Bristol’s The Fleece. They are clearly proud of the album and on the night its driving bass, synths and above all lead singer James Graham’s almighty vocals were spot on.

The Twilight Sad

The bulk of No One Can Ever Know got an airing tonight but there was still enough time to squeeze in two or three tracks from their 2009 My Bloody Valentine-esque album Forget The Night Ahead, including the album’s lead single I Became a Prostitute and opener Reflection of the Television. Thankfully they didn’t ditch the guitar feedback and squeals for this and this wall of sound was turned back up for these rare tracks from Forget The Night Ahead in the set.

While the music and their new direction is enticing enough it is Graham’s vocals and stage presence that is the band’s real draw. At times he appears Ian Curtis like, as if in a trance as his haunting, and quite frankly beautiful voice, soars above the synths, bass, precision drumming and feedback. Each ambiguous lyric hinting at the dark nature of society and relationships appears to be torn from him as he shows a genuine passion for performing and the subject matter.

The Twilight Sad

Of course it is an act, but an act he performs remarkably, complete with mimed silent screams when the guitar and synths take centre stage. In between songs there was time for some banter showing that beneath the serious way they take music there is also a likeability with no trace of arrogance. “I love you,” shouted one of the 150-200 crowd at this legendary pub venue that over the years has played host to Radiohead, Pulp, Coldplay and pretty much every major rock act of the last 20 years. With a smile Graham looked at her and said in the broadest Scottish accent, “ah, no you don’t really. I’m a total knobhead.”

While refusing to play an encore and leaving the stage as  the squeals of feedback continue may appear aloof for some bands this is not the case for The Twilight Sad. Before leaving the stage Graham said: “Thanks so much for coming to our gig on this cold Monday night. We are a small band from Scotland and we don’t expect people to come. Thank you.” This was a masterclass in how to give an impassioned performance  without the trappings or rock arrogance.

Evacuees

Support came from Somerset’s Evacuees, an indie guitar rock band of the type the NME believe are dead or  should be killed off in a funeral pyre with Kaiser Chiefs at the top. While the lead singer was guilty of a low slung guitar cliché or two they showed that indie guitar music is far from dead. This regular support band at Bristol venues are good at the genre, put in a more than solid set and when the NME remembers guitars are cool again their hacks may perhaps come knocking on their door, that is if they know where Bristol is.

Let's Wrestle

Second support Let’s Wrestle, led by singer and chief song writer Wesley Patrick Gonzalez, lived up to their Pitchfork billing from last year as a ”band of early twentysomethings that comprehensively captures the mindset of young men kicking and screaming against their inevitable transition into adulthood.”

Their brand of jangly indie pop has a real edge and they put in a headliner style set for an appreciative crowd that was mainly hearing them for the first time. Among the highlights was In Dreams Part II with its Wedding Present-style, driving guitar and Opium Den, which Gonzalaz dryly dedicates to their friend Ben, “because his name rhymes with the name of the song.”

by Joe Lepper

The My Bloody Valentine-esque guitars may have been discarded on this their third abum but Scottish band The Twilight Sad have lost none of their intensity.

On their previous album Forget The Night Ahead (see our Top 10 Albums of 2009 list) singer James Graham’s stunning and heavily Scottish accented vocals soared out of a wall of squealing guitars. This time around with Andrew Weatherall as producer and a bunch of vntage synths from Ben Hillier the sound is more controlled. Now Graham’s voice is complimented  by deep, burring 1980s synths, reminiscent of Depeche Mode at their most sombre or early New Order.

Opener Alphabet and end track Kill It In The Morning, which the band selected to release late last year as an early preview of the album, are a definite statement of intent regarding the use of keyboards. It tells their fans, ‘we’ve changed the instruments, but we are still the same band you love deep down.’

With guitar taking backseat the bass also comes to the fore, giving the band a new krautrock sound.  It’s this driving bass that makes tracks such as Dead City, with its enormous chorus, among the best on the album.

Granted the change in instrumentation is startling,  but it is a move that will only gain them new admirers. If anything it helps the listener focus on Graham’s vocals and  his ambiguous lyrics, which  as with their previous albums hint at the horrors that lurk in society and relationships.

The controlled passion here reminds me instantly of The National, while the use of vintage instruments reminds  me of The Walkmen. This album could be a turning point for the band that propels them to similar success.

There’s even a good single on the album, Another Bed, which in an interview with Thisisfakediy Graham admits “is probably the closest thing we’ve ever had to a proper single.” He adds though that this is an album that “is meant to be listened to as a whole.” We’d go even further saying that due to his vocals and use of familiar vintage keyboards this is an album that demands to be listened to as a whole. Album of the year? Well, early days, but its certainly in the running.

9/10

by Joe Lepper

Enjoying this latest single from The Twilight Sad’s third album No One Can Ever Know, released in February 2012.

Here’s Neon Filler’s five key album releases to look out for during those first few cold months of 2012. Looks like it’s going to be a good year for independent and alternative music releases with some contenders for our end of year best of 2012 list already beginning to emerge.

Guided by Voices –  Let’s Go Eat the Factory

Release date: January 1, 2012 (global outside US). Label: Fire Records

In 2010 the classic Guided By Voices line up of Robert Pollard, Tobin Sprout, Mitch Mitchell, Greg Demos and Kevin Fennell reunited for a series of shows in the US. But this was no mere trip down memory lane. The band has also been working on new material and plan to release two albums in early 2012. The first of these is Let’s Go Eat the Factory, which includes the single The Unsinkable Fats Domino. We’ve been given an exclusive  listen and according to our reviewer it’s a “21 song set of vintage Guided By Voices lo-fi pop brilliance.” Read our full review here.

First Aid Kit – The Lion’s Roar

Release date: January 24, 2012. Label:  Wichita Recordings

This Swedish duo, who are still only young and were made moderately famous on YouTube a couple of years ago for their cover of Fleet Foxes’ Tiger Mountain Peasant Song,  have already released two impressive albums. This, their third album, which has been produced by Mike Mogis from Bright Eyes, is set to  take them to the big time. The title track video has already been released and shows a new depth to their music. What’s more their vocals sound better than ever.

The Twilight Sad – No One Can Ever Know

Release date: February 6, 2012. Label: Fat Cat Records

Forget the Night Ahead, the last album by this powerful, moody Scottish band made our Top Ten Albums of 2009 list. It quite simply blew us away.

We’ve had a listen to their next album. They’ve upped the production quality and clearly listened to a few later Depeche Mode albums but  have lost none of their power. The full track list is: ‘Alphabet’/ ‘Dead City’/ ‘Sick’/ ‘Don’t Move’/ ‘Nil’/ ‘Don’t Look At Me’/ ‘Not Sleeping’/ ‘Another Bed’/ ‘Kill It In The Morning’.

Shearwater – Animal Joy

Release date: February 13, 2012. Label: Sub Pop

Shearwater, the band formed by members of Okkervil River and now a full time project for its singer and chief songwriter Jonathan Meiburg, have moved label to the mighty Sub Pop but look set to lose none of their trademark beauty. It’s all about nature with Shearwater, with their last three albums focusing on environmental splendour and tragedy. Animal Joy was recorded in their native Texas, includes the track Breaking the Yearlings and was produced by Danny Reisch. Their previous two albums have both been listed in our 2008 and 2010 end of year lists. We are already predicting a placing in our 2012 list for Animal Joy from what we’ve heard.

The Magnetic Fields – Love at the Bottom of the Sea

Release Date: March 5 (UK) March 6 (US). Label: Domino (UK), Merge Records (US)

The Magnetic Fields 1999 classic album 69 Love Songs reached the top 10 in our Top 100 Indie and Alternative Music Albums list. Love at the Bottom of the Sea marks a return to Merge, the US label that released 69 Love Songs.

This move bodes well for another stellar release from Stephin Merritt and his band. Contributors include Claudia Gonson, Sam Davol, John Woo, Shirley Simms, Johny Blood, and Daniel Handler. Merritt has promised a mixture of synth and acoustic instruments this time round.

Compiled by Joe Lepper

See Also: Top 10 bands to watch out for in 2012.

Scottish  band The  Twilight Sad have announced plans to release their third album in February 2012.

Called No One Can Ever Know, their PR people tell us that its set to “mark a sonic shift” from their trademark haunting squealing guitar rock. Think “Depeche Mode, The Cure or even Nine Inch Nails” they tell us.

To promote the release they are offering a free download of Kill It In the Morning, a track from the Fat Cat released album. Click here for details.

The Twilight Sad – Kill It In The Morning by Fat Cat Records

The first single from the album will be ‘Sick’ and is due for a 7” and digital release on November 15.

No One Can Ever Know is the follow up to Forget The Night Ahead, which made our Top Ten Albums of 2009 list. Full review here.

by Joe Lepper

In an era of where jolly synth pop seemingly rules, it is refreshing to occasionally hear some loud, squealing, introspective guitar music for a change, especially when it is so expertly delivered by the likes of The Twilight Sad.

The Scottish band’s debut 2007 Fourteen Autumns and Fifteen Winters was a critical success and led to support slots with among others Snow Patrol, Smashing Pumpkins and Mogwai. For their second album Forget the Night Ahead they’ve upped the ante. The My Bloody Valentine-esque wall of sound created by guitarist Andy MacFarlane is larger and singer James Graham’s vocals are even more passionate.

What is perhaps most striking is the vocals by Graham, whose thick Scottish accent is clear across the album. This gives The Twilight Sad a real point of difference and is perhaps clearly shown across second track ‘I Became A Prostitute’, which was the first single off the album.

The album really gets into its stride with third track ‘Seven Years of Letters’, which is being released as the second single this month (Oct). It is among the more restrained tracks and works well, allowing the melody to really shine through the wall of sound.

Like much of the album the lyrics on ‘Seven Years of Letters’ are deliberately cryptic, hinting at regret, guilt and arguments, but never telling the full story. Its central lyric of, “we’re on a hiding to nowhere,” is a case in point. It could relate to a range of situations, without ever spelling out the reason for Graham’s despair. While this ambiguity can be frustrating on other albums it somehow fits with the power and scale of Forget the Night Ahead.

On the less restrained side is another stand out track, ‘That Birthday Present’. There’s no let up as it presents a relentless barrage of squealing guitars backed with pounding drums and bass, all delivered at breakneck pace, barely giving the listener a chance to grab breath.  It’s remarkable stuff.

Not all the album is about creating a brooding guitar-scaped wall of sound. The pace slows down markedly in places, such as on the largely vocals and piano track, ‘Floorboards under the bed.’ But with this dip in speed, there is also a dip in passion and this track is among the less effective. Overall though Forget The Night Ahead is a breathtaking listen that successfully takes The Twilight Sad’s late 1980s influenced music to another level.

8/10

by Joe Lepper