The superior tracks further refined the eloquent songwriting Malkmus had introduced on the 1996 stop-gap single “Give It a Day,” where his signature, Velvet Underground-schooled drawl starting to give way to a more byzantine, classically British melodicism. Depending on your vantage, it is either the band’s most polished, pop-friendly album or their darkest, most volatile one—laid-back in the classic West-coast Pavement style, yet atypically on edge at the same time. Here was Malkmus, at the very peak of his hype, forging a spiritual kinship with an obscure subgenre of a previous generation that had been deemed unfashionable by the shifting cultural tides. At the recommendation of the latter, Pavement hired Godrich over the phone without so much as a face-to-face meeting. As detailed in Rob Jovanovic’s 2004 Pavement bio, Perfect Sound Forever, Malkmus was growing increasingly tired of the band’s long-distance-relationship status and, once they were finally in the same room together, he’d get frustrated with the time it took to bring everyone up to speed. And where Pavement’s earlier albums spawned a hundred sloppy ’n’ sarcastic indie bands in their misfit-preppie image, by ’97, their influence was impacting the biggest rock acts in Britain. The A.V. Pavement bringen ein neues Album heraus: Was vor zwei Jahren bei "Brighten The Corners“ noch Euphorie auf dem halben Erdball auslöste, geht 1999 im Tagesgeschäft etwas unter. “Platform Blues” might have made more sense stitched into Wowee Zowee’s unwieldy sprawl, but feels too scattered to fill the role of centerpiece track—its spastic rave-ups (powered by guest harmonica-honkin’ from Radiohead’s Jonny Greenwood) come off like bar-band blooze delivered with air quotes. But Terror Twilight is the sort of counterintuitive album where the most melodically intricate songs feel so effortless, yet the slapdash irreverence that once came so naturally to Pavement feels more forced. That, along with the lack of Spiral Stairs songs, gives Terror Twilight a cohesion missing even on earlier Pavement albums, no matter how great they were. In its aesthetic tug-of-war between hi-fi futurism and contrarian weirdness, Terror Twilight portended an indie-rock landscape on the brink a dramatic sea change—a brand new era where Apple commercial syncs and selfie-sticked festival culture dictate that advertising looks and chops are indeed a must. It’s more like, ‘I don’t understand this MTV world.’ Like Brian Wilson’s ‘I Just Wasn’t Made For These Times.’”. View credits, reviews, tracks and shop for the 1999 CD release of Terror Twilight on Discogs. Today, we revisit Pavement’s divisive final album, full of clamor and clarity that presaged the end of the underground. Where the band previously used the studio as a sandbox, often emerging with a whole extra album’s worth of outtakes, Godrich had them focus on 12 songs, which were whipped into shape through a militaristic, blister-inducing regimen of repeated takes. The next year, Pavement’s infamously difficult Wowee Zowee doubled down on their refusal to conform to the modern-rock marketplace—a possibility that seemingly died for good the moment the alt-bros started hurling mud bombs onstage during one of their Lollapalooza sets that year. Complete your Pavement collection. They also frequently test-drove a new track called “And Then” that took the Slint-like mid-sections of songs like “Stop Breathin’” and “Transport Is Arranged” and invested them with a more ominous intensity. Complete your Pavement collection. And with the producer naturally conferring with Malkmus on most creative decisions, other band members started to feel disconnected from the process. Skip to main content. At a certain point, Malkmus wondered if all the frequent-flyer miles were worth it. Bewertung, Terror Twilight. By the late ’90s, all five members were living in different states spread across the country; the simple act of getting a practice together often required calling a travel agent. Produced and mixed by Nigel Godrich. "He’s the main songwriter, and the other four guys in the band are trying to make his songs as good as possible.”. Also, in their own oblique way, the album’s dark undercurrents and convulsive outbursts seemed to be subliminally preparing us for the more unsettled, chaotic world that awaited us on the other side of the new millennium. The band still sounds like Pavement -- their loping interplay is unmistakable -- and Stephen Malkmus' songs are typically dense and literate, yet they're easier to digest. Weniger Ironie, die lustigen Geräusche schön im Hintergrund lassen, und bessere Gitarrensoli spielen. Club opined that “the time and effort invested in the new Terror Twilight seems to indicate that the group has no intention of throwing in the towel.” And for a while there, that seemed to be the case. And while “Speak, See, Remember” follows the same loose-intro/motorik-rock-out template as Wowee Zowee highlight “Half a Canyon,” it’s executed with half the focus and intensity. And though they seemed to exist in a completely different aesthetic universe at the time, Radiohead were professed fans, too. Discover releases, reviews, credits, songs, and more about Pavement - Terror Twilight at Discogs. The country-rock cosplay fiction of “Range Life” was slowly becoming their reality. Pop, extra_tracks, Independants, Pop “The Hexx” made a convincing case that Pavement’s future lay in weightier guitar workouts. Skip to main content. If Malkmus had sung the line “bring on the major leagues” back in 1994, it would’ve been interpreted as a withering comment on moving up the corporate-rock ladder, but on Terror Twilight’s wistful serenade “Major Leagues,” it sounds like he’s bracing for the familial responsibilities that lay ahead in middle age. “An exquisitely focused portrait of the most consistent band of the decade” - Rolling Stone “Rich, fascinating, and consistently awesome, Pavement’s grand, twisted finale” - Stereogum Terror Twilight was conceived in Portland, Oregon, rehearsed in Lexington, Virginia, and put on tape June-Dec. 1998 in New York and London. And there’s evidence to suggest that Terror Twilight’s overtures toward pop accessibility didn’t fall completely on deaf ears—Grammy-winning bluegrass outfit Nickel Creek’s mandolin-tinged cover of “Spit on a Stranger” helped propel their 2002 album, This Side, into the Billboard Top 20. Ever since, it’s been hard to listen to Terror Twilight without sensing the 1000-point-font writing on the wall. It was the lead single from Malkmus’ self-titled 2001 solo debut, the first in a series of consistently enjoyable if far less-hyped albums with his current band, the Jicks (who he’s now fronted for nearly twice as long as Pavement—I guess there is something to be said for living in the same city as your bandmates). Terror Twilight, however, wound up pulling them in both directions at once. That's typical of Terror Twilight -- it's reflective, with the occasional flight of fancy that fits neatly into the laid-back flow. Plötzlich versteht man jedes Wort. In a 2015 interview with Pitchfork, Malkmus half-jokingly called it “the accidental child of the Pavement catalog,” and in a 2017 Talkhouse podcast interview that detoured into an extended tangent on the album’s recording process, he quipped, “No one really cares about this album that much.” That’s not entirely true, of course: Kannberg holds a much more positive opinion of the record. Despite the break-up murmurs, Terror Twilight was received by critics not as an assumed swan song, but a genuine next-level move. Elastica’s Justine Frischmann—then in the process of dismantling her own band’s pop appeal—became Malkmus’ duet partner and London crash-pad host. All the focus makes the album feel a little less like Pavement -- after all, this is a band whose imperfections were among their most endearing qualities -- and a bit more like Malkmus' first solo album, which it essentially is. Through their UK label head, Laurence Bell of Domino Records, they learned that another high-profile Brit had joined the Pavement fan club: producer Nigel Godrich, fresh off the consoles for Radiohead’s game-changing OK Computer and Beck’s celebrated space-folk detour Mutations. Though it's hard not to miss the gloriously messy sprawl of Pavement at their peak, this carefully crafted, languid recasting of their signature sound is effective and winds up as a fitting, bittersweet farewell for the best band of the '90s. Pitchfork is the most trusted voice in music.