If the last Kills album, 2005’s No Wow, was akin to licking the floor of a dive bar in Camden while balancing a shot of whiskey on your head, Midnight Boom is Technicolor, candy-coated sex and grime; Day-Glo playground glee with a weathered copy of The Raven nearby. At once hectic and noisy, slinky and funky, purple hazed and sullen dazed, Jamie Hince and Alison Mosshart are beautiful weirdos who love their MPC-60s as much as Edie Sedgwick and misbehaving in a soiled photo booth. Calling it “electro-sleaze artrock” feels like a cop-out when facing the industrial-strength bang clang of “U.R.A Fever,” the relished insanity of “Cheap and Cheerful,” and the exquisite aural writhing of “Tape Song” which finds Mosshart purring, “Tape ain’t gonna fix it, honey, it ain’t gonna stick…to you.” This is the album of their career; the one that took the duo to Mexico during hurricane season, and to nowhere Michigan where a “Black Balloon” floated away, and Hince faced his personal demons while “Getting Down.” That slurping sound? That’s me eating out of the palms of their spastic, clapping, nicotine-blackened hands. (Domino) –Carrie Alison

  1. [...] to the next with each passing studio release. Their previous effort, 2008′s breakthrough Midnight Boom, found the London-based duo of Alison Mosshart and Jamie Hince in a maelstrom of creative [...]