IT'S THE LONG GOODBYE

It’s an album whose memory is firmly planted in this world forever, and one that will haunt you long after it’s done.

It's the Long Goodbye is a fiercely beautiful tribute to a life and the love left behind. Like Mount Eerie’s A Crow Looked at Me, it tells the entire story of loss with exceptional honesty.

It might be facile to attribute the highs of IT’S THE LONG GOODBYE to Graham’s backstory, but he and his bandmates tap into something special, earnest, and powerful.

A powerful and truly wonderful return from The Twilight Sad.

IT’S THE LONG GOODBYE is an astonishing body of work that firmly emphasizes what an important band The Twilight Sad are. This might just be the band’s masterpiece.

Their music sounds invigorated, matching their typical brooding energy, swirling guitars, and soaring vocals. It’s the Long Goodbye asks a lot from listeners, especially in terms of the emotional energy they are meant to expend. At times, it may feel as if we are made to witness Graham’s process of spiritual cleansing.

There are moments of relative sonic reserve here (the understated The Ceiling Underground; the lithe indie-pop of Inhospitable/Hospital; the bending shoegaze riff of Chestwound To The Chest), but – as with the tumultuous finale of TV People Still Throwing TVs At People – it’s an album which is largely turned up to 11, emotionally and sonically. [Mar 2026, p.104]

The Twilight Sad’s first album since reducing to founding duo James Graham and Andy MacFarlane yields the most powerful version of the band’s cathartic soundworld. [May 2026, p.92]

What’s remarkable about It’s the Long Goodbye is that even in these moments of consuming anguish, the album doesn’t feel oppressive. The musicians’ interplay and MacFarlane’s exquisitely sculpted production balance Graham’s grief with consolation.