REVIEW: Twin Forks – ‘Twin Forks’

Artist: Twin Forks
Album: Twin Forks
Genre: Folk / Pop
Label: Dine Alone Records

Like many, Dashboard Confessional played an instrumental role in my musical upbringing. As a teen, Chris Carrabba’s shrill cry became the soundtrack to my ever-changing worldviews, offering me guidance amidst a myriad of adolescent missteps. Though those days seem distant now, the Florida native’s honest discourse has remained relevant to me over the years, and while other artists have affected me similarly since then, few albums possess the ability to transport me back to a specific place and time quite like A Mark, a Mission, a Brand, a Scar.

So, naturally, when Twin Forks’ self-titled LP blipped across UTG’s radar back in January, I nabbed it without hesitation. I had discovered the group this past summer through a handful of singles, and was curious to see how Carrabba’s newest undertaking would fare alongside his previous releases. Rounded off by Suzie Zeldin (The Narrative), Ben Homola (Bad Books), and producer Jonathan Clark, the outfit’s Dine Alone Records debut, though not particularly groundbreaking, is an enduring arrangement, laden with radio-ready hooks, coy lyricism, and driving accompaniment. And while many will inevitably view Twin Forks as an extension of Dashboard Confessional, after countless listens, I can assure you they’re anything but.

That being said, there are points throughout Twin Forks where comparisons are unavoidable. Playful tracks like “Cross My Mind” bound forward with the same resolve as early Dashboard tunes, supported by gripping melodies and lively hooks. “Can’t Be Broken” expertly struts the line between cool and calculated, ambling seamlessly from verse to chorus to bridge, while the modest make-up of “Kiss Me Darling” proves similarly effective. “Plans” and “Come On” are also fluid, and, genre innuendos aside, could have been right at home on 2007’s A Shade of Poison Trees.

Although Carrabba’s songwriting has maintained its straightforward appeal, this latest effort still feels fresh. Susie Zeldin is electric, her glassy swoon the perfect complement to the 38-year-old songwriter’s crisp bite. Skillfully placed folk trappings, made mainstream by The Lumineers, Mumford & Sons, and like-minded acts, flutter about but never overstay their welcome, especially on tracks like “Back To You” and “Scraping Up The Pieces.” Commanding their listeners through wrapping percussion and giddy handclaps, songs such as these make up the backbone of the album. Whereas Dashboard Confessional was perpetually contemplative and downtrodden, Twin Forks is a wholly feel-good experience. The four-piece’s heading is clear from the start, and with each toe-tapping refrain, the group radiates a sense of pride that is sure to leave you beaming; without a doubt, they are happy and comfortable in their new niche.

However, this impressive consistency sometimes proves to be a double-edged sword. This collection of work has its feet firmly planted, yes, but structurally, each song differs little from one another. Despite providing an engaging experience, the album’s latter tracks have a habit of blurring together, and at times, I found myself lost in a haze of clichés. This is not to say that I didn’t enjoy all of the songs on this album, but simply put, some just didn’t stand out; I imagine that most will opt to jump around, reserving their personal favorites for repeat listens and mix tapes.

Nevertheless, as a whole, Twin Forks is an achievement. Chris Carrabba refuses to relinquish his role as a stellar frontman by shattering the stereotypes he had written himself into over the course of a decade, and as a unit, the band is a well-oiled machine with top 10 potential. Their bubbly debut, which hits shelves today (February 25), will make a more than fitting soundtrack to the warmer weather that is (supposedly) right around the corner.

SCORE: 8.5/10

Review written by Kyle Florence (Twitter)

Kyle Florence
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