The Twilight Sad arrived on the scene in 2007 wielding their debut album Fourteen Autumns and Fifteen Winters, and one of the most appropriate names in the music business. The interminable purveyors of misery have kept up their reputation ever since, and drowned the world in a perpetually sad twilight.

Through two further albums they plunged through variations on dark, melodic, expansive, deep, and intimate alternative rock mixed with hints of shoegaze and post-rock, without ever straying too close to pop to become accessible to the less-musically inclined masses.

Here they emerge again in 2014 with a sound that clutches at their origins and makes no apologies for falling very much under The Twilight Sad’s modus operandi.

Nobody Wants To Be Here And Nobody Wants To Leave is the groups fourth studio album, and very much sounds like it. That isn’t a point to the negative though, instead it is a nod towards the development that this band have made. Their third album No One Can Ever Know opened up the door to a darker sound; it felt mysterious and untameable. Nobody Wants To Leave… rekindles that atmosphere but stacks it on top of the previous two albums to give us a rounded and possibly the most complete sound that The Twilight Sad have so far achieved.

‘There’s A Girl In The Corner’ is filled with a spacious atmosphere, with ominous tones and lingering lyrics that pull at your thoughts. ‘I Could Give You All That You Don’t Want’ is a sparse piece, with echoed vocals and light melodic touches from the guitar. It is all pulled together by a monotonous, chugging bass line that works relentlessly through the song.

The strangely titled ‘In Nowheres’ carries a slower pace but fronts it with a wall of distortion. It is sometimes hard to pick out any specific distinction that stands a song apart on this album, and ‘In Nowheres’ falls under that category – contributing to the album as a whole rather than pushing to be a ‘hit single’.

The title track is filled with the mystery that the name suggests, offering a fairly minimalist song for James Graham to fill up with his thick accent. The closer ‘Sometimes I Wished I Could Fall Asleep’ leaves the album on a melancholic note. It is less dark, and more straight up emotive, filled with eerie background noise and a slow and deliberate piano line. It again stretches the range of this album and shows a different side to what is a hugely detailed and intricate collection of ten songs.

This album doesn’t make for easy listening. It captures a mood perfectly, and if you delve into that mood you will be amazed at the depth and beauty of the music here. But it is a big ask to find that mood, and to find the right level of intensity that is required to make the best out of this album. It is worth it though, because the more you listen to this album, the more you will be affected by its dark and stirring sound.