Artist
The Twang
Why we feature this artist Birmingham voices over a bass line with room to move The Twang made a local voice and a supple rhythm feel like the centre of a large guitar-pop record. Phil Etheridge and Martin Saunders could give the singing a conversational, shar…
- From
- United Kingdom
- Sound
- Indie rock
- Active
- 2004–present
Start with the music
Tracks to explore
The artist, in context
The story of The Twang
Why we feature this artist
Birmingham voices over a bass line with room to move
The Twang made a local voice and a supple rhythm feel like the centre of a large guitar-pop record. Phil Etheridge and Martin Saunders could give the singing a conversational, shared character, while the instrumental parts kept the music moving with more ease than a straightforward wall of guitars would allow. The first album caught that balance particularly clearly.
Love It When I Feel Like This
The Birmingham band released Love It When I Feel Like This in 2007, with Wide Awake and Either Way providing its best-known introductions. The arrangements connected a broad melodic chorus to a strong rhythmic foundation, leaving room for the vocal phrasing to sound casually spoken even when the hook was being pushed toward a much larger scale.
Either Way is especially revealing in the way it turns uncertainty into something a room can sing. The voice does not have to resolve every complication in the situation for the chorus to work. Bass movement, guitar colour and the presence of another singer give the performance a social character, making it feel less like one isolated narrator over a neutral backing.
Jewellery Quarter and the independent records
Jewellery Quarter followed in 2009, with Youth producing and Barney Rubble among its central singles. The album's title made the Birmingham connection explicit, while the recording setting gave the songs another degree of instrumental and rhythmic detail. The change did not require the band to abandon the directness of its original presentation.
10:20 appeared in 2012 through the group's own Jump the Cut label, followed by further records in an independent setting. The sequence is useful because it separates the music from the brief rush of early attention. The Twang's lasting character lies in the relationship between recognisable voices and a groove that leaves them room to breathe, with a melodic refrain able to turn an unresolved conversation into a shared moment.
Essential releases
Love It When I Feel Like This
Wide Awake and Either Way introduce the first album's direct vocals and supple rhythmic setting.
Jewellery Quarter
Youth's production gives the Birmingham band another instrumental frame around songs including Barney Rubble.
10:20
The third album begins a more explicitly independent chapter through Jump the Cut.