There is something wonderfully laid back, almost to the point of willfully lazy, about the way Twisted Dreaming loops and lopes along to begin with. A lilting and spacious groove as if finding its feet before fully committing and sonically upping the musical ante and even then it remains full of space to breathe. And it is this space which adds wonderful new dimensions to the song.
It is in these spaces that atmospheres are allowed to percolate, that anticipation pools, in the gaps left as an instrument fades out or as the words of one line drift off before the next is ushered in. And such gaps are more than just breathing space, they are breeding spaces, creating musical cross-pollination of the heard and the half-imagined, which is more than just the sound of the instruments, something that happens between the words, that form below, beyond and above the song. These are the sounds that are more than the sum of their parts. Much more.
If Twisted Dreaming is a chilled out, alt-pop song, it is like few that you have heard before. Its spacious ways mark confidence in the writing that most people wouldn’t be brave enough to create, those often preferring to fill the void with too much music and bending the song to whatever fads and fashions happen to be in vogue, whatever fickle zeitgeist happens to be passing. Instead, this is not only the sound of someone writing music for themselves, it is the sound of someone doing it with the bare minimum of sound. In short, what you are listening to is the real essence of the song, all that is needed to convey the message, the feeling, the emotion and no more.
If more people wrote songs for such reasons perhaps the mainstream music scene would be in much better shape. Some music is made by following others. Some music is all about leading the way to new, braver, brighter pastures. This is definitely an example of the latter.