Fresh Meat Monday - Eugene Twist

Would you care to introduce yourself? 

Eugene Twist, presently based in Glasgow, operating exclusively as night porter in the tower of song. At this moment finding myself in the region of nine thousand days old and extending a powerball of good will through the ether like an uber buddha with a tuba, to you.  


How would you describe the music you make?  

Like the music I listen to - varied and hopefully coming from an organic place. Big fan and believer in the pop song in the broadest sense of the form. On a journey encompassing romanticism, lyricism, ballad, rhythm and rock and roll - the infinity bus.    



How did you start out making music?  

As a drummer very young about 7 years old, with a badass Mickey Mouse kit. Then messing around on piano through my teens, started composing and recording. Eventually got to guitar, writing songs came last and now it's my default setting.  


What process goes into the way you write songs?  

I try to keep the antennae on and receptive to varying approaches whether subconscious train of lyric that dances off the page or a melody that naturally comes first. I'm never short of the skeletons of songs so I find the challenge is in the less immediate aspects of writing like arranging, instrumentation and rhythm. Computers are great for that - for writing more consciously in general. The recurring component for me to get anywhere creatively has to be experimentation. It can be agonising trying to carve your own musical landscape, to keep it fresh for yourself and unique to you without becoming too obscure etc but if you work hard enough the craft strengthens, the shortcuts emerge and that hopefully sets you on the path to prolificacy and long lasting music.   

Surrounding yourself with other creative minds helps massively too. Recently had the chance to work with a majorly seasoned and searching couple of musicians in bassist Steph Greer (formerly of K.M.O and now with the Silencers) and drummer Ross McFarlane (Texas / Proclaimers) and actually work through some new material with them. A treat for me because the calibre of their musicianship and sense of serving the song let me look more towards my own performance and brought a synergy to the material that didn't exist before. Big shout out to Nicholas Blythe and Graham McCusker too, who I've been working with loads and are undeniably the future of songwriting instrumentalists in Scotland.  


What can people expect from your live shows?  

Sweat. Tears. Euphoria. Enlightenment. Dancing encouraged. Nudity advised. Live is where it's at for me at the moment, it's a joy to take the songs from the record on to the stage, especially with the band behind it - I can sit back on electric guitar so aesthetically it's different to the record in a lot of places, more of a definitive collective sound if anything. It's translated really well.  



What are you all listening to at the moment?  

Owed myself a classical music binge for a while so Vaughn Williams has been on rotation. If I feel I'm eating too much horseradish I go and put the Stones on. Boots Electric from Eagles of Death Metal had a solo album out last year 'Honkey Kong', which is genius, started listening to that again. Robert Wyatt. Rufus Wainwright.   


What can we expect to see/hear from you in the future?  

A few videos before the year is out and more band shows and supports on the path to festivals next year. Many more songs, records, music!




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Eugene Twist - The Boy Who Had Everything

Eugene Twist - The Boy Who Had Everyting (Tough Act Records)

A debut album by a singer/songwriter might not be something that gets the blood flowing these days. Music seems to be awash with many such people hoping a Radio 1 playlist or an Olympic ceremony might be a boon to record sales. What the Olly Murs and Ed Sheeran's of this world can do though is hide artists who are self-releasing or who have deals with smaller independent labels. It's harder to be heard amongst the big boys. One such artist that deserves to be heard is 25-year old Glaswegian Eugene Twist. A multi-instrumentalist, he also self produced his debut album and in all honesty, it's rather good.

Opening track 'If There's Love Where I'm Going' opens with brass before settling into a nice rhythm. The bass guitar sounds really good, but the most striking thing is Eugene Twist's voice. It's not your run of the mill singer/songwriter's voice. This reminded me more of something pitched between Joe Jackson and Elvis Costello. There's a maturity to his voice and also the music that immediately elevates it above the aforementioned pop behemoths. 'It's Down To You' slows the tempo down a little and hints at a little Americana influence perhaps. The rhythm section is again excellent and at times if feels like you're hearing something Wilco would be proud of. The vocal has a hint of fragility to it. A keyboard adds another dimension as it shimmers away and occasionally the music draws back a little allowing the vocal to shine.

The title track of the album has some interesting production on it. Beginning with the crackle of a record and a haunting piano, the vocal sounds like it's coming from afar. The tempo is slow and the dominating sound is the lead guitar. The vocal comes to the fore as the song progresses and the keyboard and rhythm section are again key elements. 'Tough Act To Follow' soudns a bit more stripped back that the previous tracks. A bass note drones underneath while above there are more subtle keys and guitar. Vocally there seems to be more room to breathe before the rhythm section kicks in and the song takes on a fuller sound. The tempo is good and throughout there are some great guitar moments, while the flashes of keyboard provide some bright moments.

If there was a hint of Americana before, it's the turn of Folk to be referenced on 'Talk of Roses'. Notes are picked out on the guitar during the intro, accompanied by keyboard, which builds slowly. An electric guitar adds some teeth to the track, before the addition of percussion gives the song more texture. They way different layers are added slowly, building the song up in really enjoyable and towards the end that electric guitar is baring it's teeth. 'Gauguin'kicks off with a distant vocal and realy nice guitar line. With the addition of the bass, drums and keyboard the vocal becomes sharper and the song settles into a good tempo. It's a cracking song with special mention for the beautifully chiming guitar throughout. 

'Three Dear Words' has a good, upbeat feel to it. Keys are agan prominent and the bass guitar has a really nice hum to it. The guitar adds some colour and the song takes on an almost summery feel, which isn't too shabby given the way those nights are getting darker and darker. It's all builds to a crescendo before drifting off into the haze. Closing track 'Actress on a Matress' starts with a slow and deliberate guitar. There's a more contemplative, sad feeling to this song. There's a hint of strings which adds to the sombre mood. It's a mellow, thoughtful end to the album, with the vocal sounding almost resigned. It's just fantastic and is a wonderful end to a very good album. You'll keep reminding yourself that this is a debut album. Throughout the vocal is fantastic and displays a range and confidence that you may expect from someone on album number two or three. If this is what he can do on number one, then I cannot wait to hear more. This is eight beautifully crafted songs from a special talent we'll all hear a lot more from in the future.

Check it out for yourself below. You can also order the album from Eugene Twist's Bandcamp page or via his official website, which has an iTunes link.