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You probably know about Turin Brakes, or think you do. Two lads from South London. Shortlisted for the Mercury Music Prize with their first album, ‘The Optimist LP’. Lovely, sweet and sour songs, neat harmonies, acoustic guitars. Well, the story has moved on. Olly Knights and Gale Paridjanian are now on to their fourth album for Virgin Records, ‘Dark on Fire’, and it is a revelation. Recording for the first time with their on-the-road band, the duo has captured the tensile beauty that has always run like a thread of steel through their songs, and set it off like a firework in the sky. The album has still got the duo's trademark lilt, but the deft melodies and dark, pin-sharp lyrics now come spliced to electric guitars, bare wires and a hefty swagger. "It's epic," says the album's producer Ethan Johns, the man responsible for putting the production fire into albums by acts ranging from Kings Of Leon to Ray LaMontagne. "It's a beautiful record with a lot of intent. They're writing about stuff that's important to them - really honest material - and it comes through. I think we have captured some extraordinarily truthful performances." The first single, ‘Stalker’, is typical of the revitalised Turin Brakes approach. A tough, clanging guitar riff underpins a strangely sinister lyric which takes you inside the mind of a person nursing a creepy obsession. "Every single thing you say/I'll record, I'll replay", the pair sing in the chorus, a reminder that we live in an era when surveillance techniques are such that it has never been more tempting to play the role of a stalker. "Being in a band puts you on the fringes of that world," Paridjanian says. "You're seeking attention for your music. But to do that you're almost saying 'Please stalk us - but only so far, and then you must stop'." "It's a simple idea, but with a hidden twist," Knights says. "I've always liked doing that. ‘Pain Killer’, which was a pretty big hit for us, sounded like a love song, but it was all about Catholic guilt and fellatio and stuff. It's great fun to hear that kind of thing blasting out of mainstream radio." The title track is perhaps the strongest statement on *Dark on Fire*. The image of setting the dark on fire popped into Knights's head as a visual metaphor for the process of creating music. "It's when you're alone in the dark and there is a point where you can either give up or you can make something spectacular happen. It was a real soul-searching moment. The phrase became a mantra for what this album is about. It's a leap of faith; the idea of truly believing that you have a special purpose in making this music." If ever there was a pair of musicians bestowed with a special sense of purpose it is Knights (lead vocals/lyrics/rhythm guitar) and Paridjanian (harmony vocals/lead and slide guitar). Their creative partnership has its roots in a friendship that goes back to when they were at primary school in Balham. Turin Brakes was born with the release of ‘The Door’ EP in 1999 and the duo played their first gigs with a full band at the Reading/Leeds Festival in 2000. Since the release of ‘The Optimist LP’ in 2001, they have toured with the same musicians - Phil Marten (keyboards), Eddy Myer (bass) and Rob Allum (drums) - but had never recorded with them, until now. "Our second album, ‘Ether Song’ (2003), was recorded with a session band in LA," Knights says. "But every time we tried to do it with our regular band, it would end in almost comical disaster. It seemed as if we were jinxed." This time however, Knights and Paridjanian worked up the new material with the band, then went out and played it live before they started recording. Thus, when they finally went into Olympic Studios in West London with Ethan Johns, not only had the songs been road-tested, but the whole band was primed as a unit, and many of the initial performances proved to be the definitive takes. "Ethan was really firm about keeping the live essence of the performances," Knights says. "We're perfectionists by nature, and sometimes we'd be in the corner of the room, quietly seething, because we wanted to fix something. But we knew that he was probably right. And when we heard it all back at the end it was a wonderful moment. It really does sound like a band clawing away to get at the truth of the songs." "I think perfection is really boring," Johns says. "Human beings are not perfect. When the hairs on the back of your neck go up, you don't ask why. You just trust it. It's magic. That's what magic is. You can't put it in a bottle." Bands often produce their best work during times of struggle and change, and when a certain level of creative tension is successfully channelled into the recording process. For Turin Brakes, as for all acts caught up in the current record industry meltdown, the business of making and selling music has changed dramatically in recent years. While touring their last album, ‘JackInABox’, in America they lost their manager, and their A&R man quit their record label. "We realised that the way the industry has changed, you have to make things happen for yourself, and any continued success was going to come directly from our own fingers and voice boxes," Knights says. "And that was liberating. It gave us the confidence to work with the band and to make a musical statement that is strong and passionate in a whole different way." Not many bands make it to their fourth album in better creative shape than when they started out. Most are either dropped from their labels, or give up as their moment in the spotlight passes and pop fashions move on. "We are not fashionable," Paridjanian says. "And even when we were fashionable there'd obviously been a big mistake. But we've always been good. You can't predict the Zeitgeist, but you can capture the moment, and I think that's what we've done here." "I'm really proud of this album," Johns says. "Let's hope people enjoy it."

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