Don’t watch the second half in a public space…
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[4.83]
Patrick St. Michel: So I guess enough time has passed where Bloc Party can be a band’s go-to inspiration? Though, I guess not when it comes to singing, because those vocals sound rough as heck.
[2]
Alfred Soto: It sounds okay on first listen, but the prissy, almost patrician quality of the vocals distracted me, and the distortion obfuscated the generic chords and lyrics.
[4]
Edward Okulicz: “Midnight Missing” is as brash and predatory as befits a band who worship at the altar of Deborah Harry, but is so without the benefit/detriment (delete as appropriate) of being buffed until it shines. The buzzsaw guitars and bass illustrate, rather than hint at, the dissolute — apt for a half-glam, half-scuzz song about high-class prostitutes. SJ Wai’s voice is rough and raw too, lashing at the words with force and commitment.
[7]
Brad Shoup: I dig SJ Wai’s androgynous New Wave declarations, and the drums/guitar melody are recorded wicked dry. But the topline is a sleepwalker, a She Wants Revenge type thing. Would fit well towards the middle of the Stiff Records box.
[4]
Daniel Montesinos-Donaghy: Vocally engrossed with the ephemeral and fading, musically tetchy as though it’s fighting the possibility of fading to black (hence the thrilling blast of riff worship at the song’s close). I’ve returned to this song for the level of control Dirty Epics show over their material as it twists and turns, hope to return to another song for addictive songwriting. They’re not there quite yet.
[6]
Jonathan Bogart: A Gossip with smaller vocals and more grind than funk isn’t a bad thing, but I kept waiting for a moment to grab me more than any reference-collating would do.
[6]