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"Parlor" Song by Song -
Anyone - Here and gone in a brisk 2:21, “Anyone” is a raucous, full-throttle garage rocker reminiscent of Joe Strummer and the Clash. Furious drums and bass anchor intense call-and-response vocals, stop-and-start choruses and blistering lead guitar lines.
 
If Only - A hypnotic, steadily evolving folk-rocker that begins as a heartfelt acoustic lament before throwing open the doors on a southern gospel revival and eventually climaxing in a crescendo of dissonant guitar riffs and soaring three-part harmonies. Or, simply put, the Carter Family does Zeppelin. 
 
Helicopter - A stripped-down, no-frills, roadhouse rocker with bravado and swagger reminiscent of the Stones and Faces. The loose playfulness, strutting bass line and sing-along chorus make “Helicopter” a perfect radio showcase and provides a shiny glimpse of the energy and intensity that are the staples of a Twilight Revival live show. 
 
Devil’s Crutch - A rowdy bar room stomper reminiscent of the heyday of the Midwestern AltCountry scene. A chimey, spirited rocker full of angst, regret and accusation.
 
Madison - When the British were preparing to attack Washington D.C. in what would be known as the War of 1812, President James Madison fled the capital while his wife stayed behind to rescue artifacts and national heirlooms from the White House before they went up in flames. 200 years later, Twilight Revival’s “Madison" is a stream of consciousness imagining of the president’s final days and a tribute to the first lady who stayed behind.
 
Taquito - Inappropriately titled, booze-soaked pop gem in the vein of Paul Westerberg. Subtle interplay between acoustic guitar and dueling vocals gives way to a fierce, violent chorus . . . giving the sense that these guys are probably right at home in that "dirty corner of the bar" they're serenading. 
 
Dealing in Integers - Shifts gears constantly but never loses its focus, from dirty power chord garage rock, to sparse vocal lament, to dissonant “dark and light” chorus, to dueling guitar interlude and eventual wailing, all-out rock n’ roll catharsis. “Dealing In Integers” is an example of just how many good ideas this band has, that they can afford to pack a half-dozen of them into a 3-minute song.
 
Singalong - A somber, understated tribute to the “pretty songs” and those who survive them. Once again, the band is found shape-shifting but always with a sense of purpose – gentle acoustic strums frame fragile vocal harmonies while hypnotic, rolling drum beats and a wall of guitars pierce through the silences. A sense of disquiet and unease contradicts the affirmation that is the core of the song’s lyrical message --  as though even the band questions it. But in the end, the pieces fit and, appropriately, the music is the saving grace that pulls the pretty song out of the darkness. 
 
Fields - Revealing a slightly sinister side to Twilight Revival in its exploration of shadows and secrets, the quiet foreboding beneath the surface of "Fields" may carry some hint as to the lyrical ambiguity of the entire album . . .  "I never told the story and I ain't gonna start now." The vocals snarl with desperation and urgency while a menacing lead guitar stirs chaos amid the minor-key guitar riff and fluid 3/4 march before the whole thing ignites in a thundering, fiery climax.
 
May Tomorrow Be Better - Vibrato guitars and three-part harmonies lend beauty to the sparse opening, recalling vintage AM radio. Soon, the bottom drops and a tribal vocal melody emerges beneath all-hell-breaks-loose dissonance in the form of spastic drum crashes and caterwauling guitar hum, eventually revealed to be a transition to the song (and album’s) gorgeous and graceful final blessing -- a Beggar’s Banquet-style folk farewell. Better, indeed.