[Album Revew] Slim Twig- Thank You For Stickin' With Twig
Reader Rating: (1 Vote)


Release Date: August 7th, 2015
Label: DFA Records


Slim Twig’s latest is another exercise in glam, and in the true tradition of glam/glitter rock it embraces a disparate mix of musical styles. The results are not so much an enjoyable variety, however, as an uncomfortable, uneven experience. Although there are at least a couple of tracks that are satisfying when taken on their own, ‘Thank You For Stickin’ With Twig’ is an example of the whole being less than the sum of its parts. 

You do have to admire Twig’s verve and the fact that he unabashedly takes on the pomposity and trashiness of the pre-disco ‘70s without any regard or attempt to be trendy. This serves him well on songs such as “Roll Red Roll (Song for Steubenville)”, which slowly comes to boil with a great boogie rhythm. Twig’s voice is playfully distant, and the synth highlights and guitar smatterings make for a fun listen. There is also a sense of fun in the song “Fadeout Killer”, regardless of its slow groove and dark vocal, as there is a genuine joy in the chorus 

Unfortunately, all too often the two descriptors that come to mind when listening to the record in its entirety are ‘faux’ and ‘pastiche’. “Textiles on Mainstreet”, despite its Stones’ reference, sounds like Sergeant Pepper-era McCartney, and “Stone Rollin’ (Musical Emotion)” is a ‘60s ditty, much in the style of the Kinks. “A Woman’s Touch (It’s No Coincidence)” is certainly glam, but it feels forced, like a poor attempt to replicate early Roxy Music. “Fog of Sex (N.S.I.S.)” does a much better job of capturing the British glitter style, but even here it sounds too much of a Queen/Slade/Mott the Hoople amalgam to be truly original.

The album is also marred by the inclusion of several instrumentals that are ultimately pointless (irritating even, in the case of “Cannabis”). They are simply collections of notes and chords that go nowhere, so instead of providing mood or even a respite between songs, they merely serve to disrupt the flow of an already uneven record.

To give credit where it’s due, Twig displays a lot of imagination and inventiveness here, especially in the production and his choice of instrumentation. But glam has always involved synthesized emotions feeding a plastic soul, and when you further distill it by resorting to pastiche then it is damned difficult to get emotionally attached to the music. Furthermore, despite some shining moments, ‘Thank You For Stickin’ With Twig’ is too much of an erratic jumble for the listener to get a good grasp on.