Product Description

This duo subtly and organically fuses pop, glam, blues, art-punk, and hip-hop in a manner that flits between light and dark, funny and morbid, experimental and cute. The result is a short, sharp twelve track album of sensual, fresh, and atmospheric songs. A reminder that no one on earth makes rock 'n' roll quite like The Kills. Previous albums "No Wow" and "Keep On Your Mean Side" have sold over 70,000.

Track Listing

1. U.R.A. Fever
2. Cheap And Chearful
3. Tape Song
4. Getting Down
5. Last Day Of Magic
6. Hook And Line
7. Black Balloon
8. M.E.X.I.C.O.C.U
9. Sour Cherry
10. Alphabet Pony
11. What New York Used To Be
12. Goodnight Bad Morning

Product Details

• Amazon Sales Rank: #6064 in Music
• Released on: 2008-03-18
• Number of discs: 1

Amazon.co.uk
Jamie "Hotel" Hince might have become tabloid fodder thanks to his relationship with Kate Moss, but the third album by The Kills, his band with American vocalist Alison "VV" Mosshart, does relatively little to tidy itself up for mainstream consumption. Midnight Boom is a typically lean set of makeshift punk-blues characterised by Hince's raw, Nick Zinner-style guitar, and Alison's bad-attitude drawl: see the opening "U.R.A Fever", a beat-up call-and-response number reminiscent of Royal Trux than sees Hince and Mosshart swapping sour quips over loping bass and drum machine thud, while "Cheap and Cheerful" sees Mosshart declaring "I want you to be crazy/'Cos you're boring baby when you're straight". The presence of producer Armani XXXchange of Baltimore hip-hop outfit Spank Rock means there's a greater emphasis here on rhythm, often of a synthetic nature: "Alphabet Pony" bumps along on robust, lo-fi drum kicks and bursts of primitive electronics, while "Black Balloon" is a slow-burner that toys with layered percussion built from hand claps, scrapers, and tapped snare. The Kills still have problems with a big, memorable chorus–-assuming, indeed, that was ever their intention--but Midnight Boom is all about grit and grooves, and it does that just fine. –Louis Pattison

Customer Reviews

There's Hope for Modern Music Yet!
The Kills have really honed and perfected their sound in 'Midnight Boom'. Dark, with Hotel's (Jamie Hince's) machine-like guitar riffs, the automatic drum beats, VV's (Alison Mosshart's) cool and cocky vocals, all sounding just as good, if not better, then Keep on Your Mean Side, and certainly double the impact of No Wow.

As the name suggests, this Kills album conjures a late-night, rough rock/blues vibe. Instead of sounding like music from the past (not that that's a bad thing, but The White Stripes would be an example), however, it sounds not only modern and young, but hip! The lyrics are just as witty and full of cool-casualness as ever, and there are frequent groovy, danceable moments in songs like "Sour Cherry" and the wise choice of a single, "Cheap and Cheerful". My favorite track on the album is "Getting Down"; with Mellow Gold-era Beck-ish lyrics; "I'm getting down with your new vocation / I'm getting down with the young drunk lovers", etc., accompanied by the Kills-trademark drum loops and heavy guitar. VV even lets her vocals sound surprisingly clear and pretty, despite the dark overtone, on "What New York Used to Be". There's not a dull song in the batch.

This album is very promising, especially for a time where stand-out releases are few and far between. The Kills are one of the greatest bands to emerge post-2000, and definitely one to watch for the future, as well. If you're into bands such as The Black Keys, Yeah Yeah Yeahs, and Black Rebel Motorcycle Club, or simply looking for an indication that fantastic music isn't dead, you'll dig The Kills!

The Kills album I've been waiting for
I've been fan of the Kills since Keep on Your Mean Side. I listened to that album and heard a great foundation that could be built upon. They took a slightly different direction with No Wow, but they were steadily crafting their sound.

And then I heard news of Midnight Boom. I was excited, but many questions ran through my mind. Would they take what they've done so well and improve upon it some more? Would they go in a total different direction? Would they repeat what they've done on their first two albums? Would they completely flop?

Well, I can say without a doubt that this is their most accomplished album to date and it's the quintessential Kill's record people should own. It's fun, dark, and rockin' all at the same time. For people who've been listening to the Kills since their first two albums, this is that "home run" album that we've been waiting for. And for people who haven't heard of the Kills previous music, this is definitely the best place to start. I can't wait to see them in concert in May.

Cheerful and not cheap!
If you're in a rock band and you're going to date a super model, your music had better be good or you're simply giving more fodder to the press. Just ask Pete Doherty.

Actually, Mr. Doherty does have a link, albeit a wobbly one with Brit/American duo The Kills. Guitarist Jamie Hince is dating Doherty's ex, Kate Moss, assuring them ample space in the British tabloids.

"Midnight boom" is their third album (I was introduced to their sound when I got their sophomore "No wow") and it features more of their edgy, electro rock sound. They get compared to The White Stripes simply because they comprise a boy/girl duo.

Opening is the droning throbbing ""U.R.A. fever (you're a fever, with the pair trading lines) followed by the hand-clap adorned groovy "Cheap and cheerful". It reminds me a wee bit of the groovy "Born to hand jive" from "Grease".

"Tape song" is a gently pulsing ballad that wouldn't sound of place on a Garbage CD as does the beautiful "Black balloon" (with Alison Mosshart turning in a crystal clear, yearning performance).

More upbeat are the jangly "Last day of magic", "Hook and line", the drum kit-demolishing "M.E.X.I.C.O.U." (nice girl group sound), the hand-clap (this seems to be a new trend, what with The Ting tings doing it too) adorned "Sour cherry" (with syncopated beats), the eerie but bouncy "Alphabet pony", and the distorted sounds of "What New york used to be".

Closing is the tender acoustic "Goodnight bad morning" with Hince providing subtle harmonies for Mosshart's vocals. Lovely piano tinkling also.

A strong CD that should keep them in the public eye long after the tabloids tire of the Moss liaison.