The second in their range of very limited edition CDs helping to get UK coverage for bands from around the world, STP Records are releasing the excellent These Days album from New York City rockers Midnight Mob. Consisting of ten rousing tracks of punk and incendiary rock, the release is a feisty and thrilling showcase for an equally compelling band.
Midnight Mob formed in 2009 and took little time in firing up audiences and passions with their seduction of passionate and bruising rock ‘n’ roll. A year later the band’s line-up became a stable confrontation, its frontline provided by the rich and feisty tones of Blackey Deathproof, sweetness and venom wrapped up in every unleashed syllable. Alongside her the guitars of Mickey Squeeze and Spydyr cast equally riveting and persuasive sounds whilst dangerous rhythms are bred from bassist Carly Quinn and drummer Catastrophe. A self-titled EP was uncaged in 2011 alongside a video for the track Overdrive. Both drew healthy attention to complement the band’s live reputation which has seen them play sizeable chunks of the US. Last year a second EP, Black Moon Rising, pushed the band further into the spotlight with the singles These Days and All For Nothing stand out opportunities, both subsequently receiving video releases filmed by Jarret Bellucci and Adam Bailey respectively. 2013 also saw the departure of Catastrophe but also interest from STP in bringing the band to the attention of a European appetite, which the new CD achieves with ease and quality. Bringing all the EPs and singles into one concentration of fevered rock music, it is hard to imagine that These Days will not make Midnight Mob a heavily talked about and sought after import for British passions.
Overdrive starts things off and instantly has appetite and feet launching their support. From a distant vocal cry within an intriguing sonic breath, the song collects its sinews and fire in a brewing intimidation before unleashing a torrent of sonic bait, thumping rhythms, and rebellious riffs. Into full stride the track, ridden by the instantly provocative and enthralling delivery of Blackey, seduces and rages with hooks and grooves aplenty, all enslaving the imagination whilst frisking the passions. It is potent punk ‘n’ roll, a fire of enterprise and passion which nags and taunts for the fullest satisfaction.
From the scintillating start, the album moves from a brawl to a wanton rock dance with All Or Nothing. More reserved in its gait and intensity though certainly not potency, the song romps with melodic majesty and a delicious vocal harmony which just caresses all the naughty places. Like a mix of eighties band The Photos and the early days of Blondie but with the snarl of The Objex included, the track is a contagious temptation instantly matched by Hit Or Miss and Perfect Crime. The first has a chorus which stands before you eye to eye, daring you not to join in with its ridiculously tempting chorus like calls from the first few seconds. Almost preying on the senses with its energetic stomp and virulently masterful persuasion, the song merges pop punk and hard rock for a quite magnetic encounter which may not fire up the emotions as the first pair but certainly leaves them grinning as broadly, especially that deviously addictive vocal enslavement. The second of the two takes a more straight on rock route to thoughts, its body as with so many of the songs familiar, though it might just be to the fact that we have listened to the album much more than anything else these past couple of weeks, and engagingly welcoming. Again infectiousness works its way into ears and passions for another persistently fun time.
Through the belligerent rhythmic and riff driven stomp of Be Mine, a track which lays shadows on vocals and thoughts like a warm glaze, the band continues to light the fuse of rapturous hunger. At times the song, especially through its ratchet of guitar strikes, reminds of Penetration but also with its blaze of melodic rock enticement presses other thoughts of artists like Lita Ford into the blend, as does the following Walking Dead, it a masterful menacing seduction from Blackey matched by the melodic weave of Squeeze and Spydyr and the bass prowl offered by Quinn. Listening to the album is like indulging in an expanse of greatest hits tracks with this one of the biggest pinnacles.
The twin musical growls of Black Moon Rising and My Undead Darling “You Still Haunt Me” push the listener into a darker diverse corner of the album, the first a sultry embrace with a bordering on psychobilly swagger and Danzig like drama. It is a riveting adventure abrasing and seducing the emotions in skilled and tempting style whilst its successor rolls in on a wash of rhythmic incitement soon aided by sonic and bass teasing, again a rockabilly essence seeding the magnificent stroll of rock ‘n’ roll. The band states as one of their influences Cheap Trick, and certainly this joy has that epidemic pop rock essence and passion stealing potency, to which you can adds tasty moments of The Creepshow.
The title track leaves little time to compose your clothing and temptations, whisking the listener to their feet for a waltz through heat climates and smouldering emotions. It is an elegantly absorbing invitation with the charm to calm wild stallions and rioting crowds. Something the closing So Hard would achieve the opposite of, its sinews and boisterous intensity a punk rock provocation with melodic rock armoury. Though the track does not reach the same levels as the rest of the album it makes a powerful finale and only adds to the reasons why this side of the pond should join the Midnight Mob.
These Days is not an album to push boundaries it is fair to say but for honest and give it all rock ‘n’ roll there are few better. Jump on board and grab a copy of Midnight Mob’s UK debut is the recommendation, before it is too late.
These Days is available from http://www.stprecords.co.uk/page5.htm
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