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Buy:Amazon Summer has drawn to a close, but my ears have been treated to one of the loudest yet intimate, most fervent sounding records to kick start autumn. Forget The Night Ahead is The Twilight Sad's second studio album, and very much long-awaited since Fourteen Autumns and Fifteen Winters in 2007, and (The Twilight Sad) Killed My Parents and Hit the Road – an album of live recordings in 2008 including covers of Joy Division, Daniel Johnston and The Yeah Yeah Yeahs. In June fans were given a taste of what was to come, after the ominous Reflection of The Television was made available to download. Opening with stripped down guitar drones, a repetitive drumbeat and bass line, and with vocalist James Graham calmly claiming “there's people downstairs...” the song sounds unsettling and sparse before later climaxing in a wall of noise, before fading out and making way for the first single – I Became a Prostitute. It's faster, louder and sounds like it would always have been a single. The new record carries forth some of the qualities that made Fourteen Autumns... so admirable; the vast and open soundscapes, soaring and stratospheric, reverb-drenched and wholehearted. It was a record that was somber yet rich and at times quite warm, despite the despondency of Graham's lyrics and MacFarlane's de-tuned and twisting guitar. With Forget The Night Ahead the song titles are shorter, the accordion has been abandoned, and the overall sound is somewhat rawer, diverse and a little more stripped down in places – most notably on Floorboards Under The Bed, which intimately opens in acapella and unfurls into a slow burning treat of guitar drones and solemn piano. The Room, which appeared as an acoustic track under the name of Untitled #27 on Killed My Parents..., offers a subtle addition of violin courtesy of Laura from fellow Scots My Latest Novel, which gradually withers under the slow building crescendo of whirring guitar and minimal thumping drums. The following track, That Birthday Present, builds up with a rapid drumbeat, proving to be one of the fastest tracks on the album. It's surprisingly accessible due to its melodic song structure, but its disturbingly cryptic lyrics and an aggressive surge of noise at 4:10 makes sure no vigor is lost. The Neighbours Can't Breathe keeps up this momentum and in my opinion is one of the strongest tracks on the album. Graham's voice is at it's most perfect, and musically it is relentless. The album closes with At The Burnside. It's desolate echoes remind me of the more fragile moments on Fourteen Autumns..., before exploding into crashing drums, and thick layers of wailing guitar soaked in reverb. Some could argue that it is common knowledge that second albums usually mean some experimenting ground for many bands, and Forget The Night Ahead lives up to this theory. After their astounding debut, some existing fans may feel that this one's a bit more of a grower, while some may revel in the direction the band have taken. It is a dark, moody, noisy yet accessible beast of a record, and should be played loud. This band have a potential that can only keep pushing them further, and I among many look forward to following it. Rating: 8/10