13 Songs, 37 Minutes

EDITORS’ NOTES

Surprisingly, you have to dig to find a distorted guitar on Midnight Boom, the new album by duo The Kills who have built their career on fuzzy guitars and bluesy, brash, and sexy song constructs. Influenced by early electronic-punk artists such as Suicide and Cabaret Voltaire, as well as "playground songs" from a 1960s documentary about inner city American kids, vocalist Alison Mosshart and guitarist Jamie Hince set about creating a sleeker, more sophisticated sound on their third album, without losing their famous patina of sexual menace. “Cheap and Cheerful,” the first single, does a superb job of melding this new, shiny, electro-clash sound with The Kill’s trademark naughty attitude. Fans reluctant to follow the duo down their new path might warm up to the idea with “URA Fever,” or bonus track “Night Train,” both of which come close to the original Kills sound, with slow grinds and gritty guitars; then, try “Hook and Line” or “M.E.X.I.C.O” for an aggressive guitar-rock fix. Progressing to the bubbly “Getting Down” or the frisky “Alphabet Pony” will be easy and natural, and the Velvet Underground coloring of  “Goodnight Bad Morning” brings it all full circle ... you will see the light.

EDITORS’ NOTES

Surprisingly, you have to dig to find a distorted guitar on Midnight Boom, the new album by duo The Kills who have built their career on fuzzy guitars and bluesy, brash, and sexy song constructs. Influenced by early electronic-punk artists such as Suicide and Cabaret Voltaire, as well as "playground songs" from a 1960s documentary about inner city American kids, vocalist Alison Mosshart and guitarist Jamie Hince set about creating a sleeker, more sophisticated sound on their third album, without losing their famous patina of sexual menace. “Cheap and Cheerful,” the first single, does a superb job of melding this new, shiny, electro-clash sound with The Kill’s trademark naughty attitude. Fans reluctant to follow the duo down their new path might warm up to the idea with “URA Fever,” or bonus track “Night Train,” both of which come close to the original Kills sound, with slow grinds and gritty guitars; then, try “Hook and Line” or “M.E.X.I.C.O” for an aggressive guitar-rock fix. Progressing to the bubbly “Getting Down” or the frisky “Alphabet Pony” will be easy and natural, and the Velvet Underground coloring of  “Goodnight Bad Morning” brings it all full circle ... you will see the light.

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Ratings and Reviews

4.5 out of 5
359 Ratings

359 Ratings

ieboy ,

Finally.

This CD is fantastic. I've had it for about a week on advance copy and its been playing on my iPod constantly ever since. Midnight Boom is a bit different from The Kills' past albums but I think that the change is for the good. It has a more stripped-down electronic sound, on songs "U.R.A. Fever" and "Cheap and Cheerful."
If you enjoyed the Kills' other CDs you're sure to enjoy this one as well.

If you're new to the Kills, I suggest you buy "No Wow" before getting this.

all the salty margaritas ,

A Great Display of Musical Evolution

Evolving as one proceeds through one's musical career is often looked down upon, as musical greats such as Warren Zevon, Bob Dylan, The Beatles and Queen learned. However, as The Beatles showed, by evolving from "I Want to Hold Your Hand" to "Within You Without You" and "The Long and Winding Road," they left behind bands such as Herman's Hermits who were stuck on "Mrs. Brown You've Got A Lovely Daughter." In much this same way, the Kills abandoned the sound of Keep On Your Mean Side for a sleaker, more electronic, much more original sound. A great listen, and a gutsy move that is sure to pay off.

aj spaceman ,

A SLLIK KILLS RECORD FOR THE KIDS!

The Kills have long been one of my favorites, making gritty, heroin-black garage rock’n’roll...but they never quite made a great record until this one. Midnight Boom is startlingly brilliant from beginning to end. This is a PSA to whomsoever shall read it: Go. Buy it. Now. Or steal it. Do as you so please, according to what side of the law on which you like being found. I bought it, of course, and so should you. If I were Pitchfork I’d probably give it a fair 6.2 or so, with points off for listenability. Since I’m me, and I still think music should be enjoyable, I’ll give it about a 93/100. Yeah, it’s really, really good. Not to be confused with The Killers, who are, no matter what your girlfriend tells you, unspeakably awful.

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