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Midnight Boom

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Midnight Boom album cover
01
U.R.A Fever
2:16
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02
Cheap And Cheerful
2:26
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03
Tape Song
3:35
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04
Getting Down
2:55
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05
Last Day Of Magic
3:21
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06
Hook And Line
2:03
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07
Black Balloon
3:46
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08
M.E.X.I.C.O.
1:37
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09
Sour Cherry
3:06
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10
Alphabet Pony
1:45
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11
What New York Used To Be
3:15
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12
Goodnight Bad Morning
3:51
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Album Information
EDITOR'S PICK

Total Tracks: 12   Total Length: 33:56

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Wondering Sound

Review 0

Elisabeth Vincentelli has written for publications as diverse as Entertainment Weekly and the Wire. She is the author of the books Abba Gold and Abba Treasures,...more »

04.22.11
The Kills, Midnight Boom
Label: Domino Recording Co

Like most contemporary duos, the Kills are both constrained and liberated by their format: They need to draw their energy from within a small unit, but also channel it out into something bigger than the sum of their limited parts. Some duos choose to evolve by super-sizing with guests, but on their third full-length, Alison “VV” Mosshart and Jamie “Hotel” Hince have chosen to make minimal adjustments that resonate maximally. The most stunning of them… read more »

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Modern Rock and Roll

Vassilis

Raw beat with just enough quirks. Raw soul with just enough pretension. Raw love with just enough hurt. Raw beauty with just enough danger. I think this is modern rock and roll.

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Love this band!

min.aoki

Saw them sing "Goodnight Bad Morning" on LIVE FM ABBEY ROAD. What a great song. Also like Sour Cherry. I love their raw sound.

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Some great tracks

SombreReptile

My favorites are Black Balloon, Tape Song, and Last Day of Magic.

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Awesome!

DetroitDoll

Can't play this one enough. Defintely going for other albums from this group!

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Extraordinary

EMUSIC-020B0DA5

Alison Mosshart has one of the best voices in rock, period. These tracks are catchy, but not overly poppy. The Kills are my new favorite band.

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Intense chemistry

beddbugzz

One of the 1st things you notice when listening to The Kills is the intense chemistry they share. This is highly evident on Midnight Boom. My favorite tracks are where Alison and Jamie share the vocals and their voices weave in, out, and around each other. They play off each other so well. This is one sexy duo. Musically they are inventive, original, and fun! Absolutely one of my favorite c.d.s of 2008. Be sure to check out their earlier work too.

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iLikey Likey!

LotusHead

Some great post punk, simply lovely stuff!

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Converted

.vek

I was slow to accept The Kills "new" sound after being such a fan of ...Mean Side and No Wow. I'm a sucker for lo-fi minimalist blues especially sung by a snarly seductress. Now I have to say that Midnight Boom is my favorite of the three albums. It took me a little bit to get there but I'm glad I did!

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BOOM

fidelisdeo

The best Kills album yet. Sexy, catchy, ruckus, and just about right. It is amazing how polished the composition of these altogether raw tunes comes across... Buy and enjoy over and over and over...

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refreshing

RK3

this is the best of them all. Refreshingly creative, raw and fun. Distilled brilliants simple, real.

eMusic Features

0

Who Are…My Gold Mask

By Marissa G. Muller, Contributor

At this point, the breakup album has been bent into countless shapes. So rather than try to re-shape it, on their debut album My Gold Mask's Gretta Rochelle and Jack Armondo simply amplified its effects. They didn't skimp on dramatics, with Rochelle's pleading vocals, Armondo's spiraling guitar riffs and lyrics that grapple with psychosis and reference Gothic literature and Italo horror flicks. The result achieves a spellbinding emotional intensity that's easy to inhabit. Marissa G. Muller… more »

They Say All Music Guide

In the three years between No Wow and Midnight Boom, it sounds like the Kills discovered that having fun is actually much cooler than searching for haughty minimalist rock perfection. While Keep on Your Mean Side and No Wow’s sinuous snarls were about as savagely spare and sexy as it’s possible to get, their minimalism bordered on monochromatic. Midnight Boom bleeds color, excitement, and emotion into VV and Hotel’s music, transforming it into daring, dirty pop that is unrepentantly glamorous and tender, high-end and trashy, and it glitters like diamonds mixed with broken glass. It’s even structured like a classic pop album, opening with two bold salvos: “U.R.A. Fever” fashions dial tones, cryptically sexy banter, a foot-stomping, hand-clapping beat, and sneering shards of guitar into a fiercely catchy single. It struts with the best of the Kills’ previous work, but opens their sound to many more possibilities. “Cheap and Cheerful” gets even wilder, combining VV’s high-maintenance sass with a rhythm forged out of slamming doors and coughing, approximating a collaboration between Joan Jett and Matmos. These songs, and the rest of Midnight Boom, are nearly as minimalist as the Kills’ other albums, but the duo plays with sounds much more: spring-loaded guitars and fanciful, detailed beats pop up when least expected, but everything falls into place effortlessly. This may be the Kills’ most processed, produced music, but it’s some of their roughest and rawest-sounding, too, with “Alphabet Pony” and “Hook and Line” rocking just as hard, and with more conviction, than their earlier work. The Kills also bring more feeling to Midnight Boom, which is just as crucial — and arguably, more daring — to the album’s brilliance as is the band’s newfound sonic adventurousness. “Getting Down”‘s cheeky, hip-shaking, babbling nonsense brings the fun of the Kills’ best singles to the fore, as does “Sour Cherry,” which makes the hand-jive rhythm sound hip for the first time in half a century (the nasty, buzzing, three-note guitar solo riding it probably helps). VV and Hotel don’t save their soft and melodic sides for just a token ballad, as they’ve done before — although Midnight Boom’s big ballad, “Goodnight Bad Morning,” comes on like the Velvets’ “Sunday Morning” with the force of 40 more years of hangovers and comedowns fuelling it. “Black Balloon” is as epic as it is vulnerable, its slow-building majesty making it a standout. Even the semi-sweet electro rockabilly of “Last Day of Magic” has a yearning that resonates with a surprising depth. Best of all is “What New York Used to Be,” a last hurrah that sounds urgent, not nostalgic, although its wall of staticky guitars come into focus like a memory. A list of everything that once was great, it’s a song about not being too cool to care, even if it’s delivered with a wink. Midnight Boom is the Kills’ most consistent, varied, and inventive album yet, and proof that passion and creativity trump cool any day. – Heather Phares

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