New York – Twin Shadow’s work sits on the periphery of R&B, and concurrently houses a decidedly indie-pop essence. Never before has this coupling of genres been so pronounced than on this act’s third studio album, Eclipse, out this week via Warner Bros. Records.
Twin Shadow is a NYC-bred, LA-based solo musician born George Lewis Jr. On his latest effort, Lewis pushes the boundaries in both his chosen genres. At times on Eclipse, the artist hones his R&B edge with slow thumping bass beats and swirling lyricism that just simmers with sensuality (think: The Weeknd). But in an instant, the album pivots towards its lofty indie-pop chart-topper goals. Here, we see Lewis achieve orchestral-level grandeur through unapologetically bold compositions that feel for all the world like anthems for greatness.
Eclipse follows 2010’s Forget, produced by Chris Taylor (Grizzly Bear) and 2012’s self-produced Confess, via Terrible Records and 4AD respectively.
While both those works raked in high praise, Eclipse is clearly Twin Shadow’s pinnacle release. On this album, we see Lewis at a turning point in his career where, bolstered by a sterling cannon, he embraces his artistic angle with greater fervor than ever before. Eclipse puts Twin Shadow’s brand on a boilerplate, turns the heat to high and combusts with the audible force of Lewis reaching at full extension for mainstream audiences.
Perhaps it was the jump to a major label that informed a shakeout of this caliber. But the prettier thought to believe is that Lewis had the drive to produce explosive cuts like this all along, and that his most recent years of writing and producing caused a watershed through which he came to fully realize his craft. Eclipse is the product of an organic artistic progression that resulted in an elevated state of expression, and it’s on that plane that we witness the artist asserting himself with inborn abandon.
The record opens with a bang on “Flatliners,” a hard-hitting ballad with a heightened pace that exits quietly in transit to “When The Lights Turn Out.” Though the record’s second cut lacks the resplendence of “Flatliners,” it successfully navigates the album’s flight path into pop-laced territory.
“Eclipse” is an evident standout, and a solid pick to hold the record’s title-track position. This cut is like a potion, potent and stewed with complexly nuanced experimentalism. Though it treads slowly, it is both heartfelt and impactful, and leaves listeners unexpectedly awakened. “Turn Me Up,” another triumph, leans most heavily on Lewis’ vocalizing and is decorated by sparse percussive play.
For all it achieves as a whole, the album does lose steam in its second half. If Lewis misses the mark here, it’s because certain cuts try a touch too hard to seduce the mainstream. Seduction is an art that cannot be forced, and though Lewis masters that art multiple times with Eclipse, the cuts that fall short have listeners questioning their faith like the unraveling of a confused attraction.
Regardless, this is an album that is both formative for Lewis and triumphant in the strides it marks. Hit play on Eclipse if you’re seeking something to pair with resolutions, or if you require a compilation to soundtrack a trying transition. Herein lies the ideal complement to a transitory time in life.
Twin Shadow is about to kickoff a tireless nationwide tour that will see him Ping-Pong to any number of cities in the U.S. in March and April, before he jettisons to the UK on May 19 for a similarly packed European escapade. Lewis will return to NYC on June 7 to perform at Governors Ball Music Festival.
In the meantime, grab your headphones, utter some life-altering affirmations and let Twin Shadow boost your faith in positive change.
Liz Rowley
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