EP Review: Blindness – The Confessions EP

By on 1 November 2010

‘The Confessions’ EP
Self Release 2010

Anyone that hasn’t spent the last few years sitting facing the wall in a cave will probably have noticed that London has recently been seeing a lot of musical activity on the dark alternative front. Times of increased musical activity like this inevitably produce a lot of dross, but this is worth it for the occasional gems they throw up.

London based four piece, Blindness, might well turn out to be one such gem. The Confessions EP is their début offering, a neat little 3 track package and a worthy introduction to their sound.

The title track, Confessions, is a real joy. It has all the elements of a pretentiously unlistenable noise-rock or shoegaze record, but somehow they’ve managed to fit the pieces together in such a way that it becomes a genuinely infectious piece of music. The wall of feedback and guitar noise washes over an unrelenting industrial beat surprisingly comfortably; the net result being naturally both abrasive and danceable.  Vocalist Beth Rettig’s initially delicate sounding vocals set the pace nicely, seeming to build in confidence as the song progresses. “It was the best I could in the state I was in” is the opening line of the chorus, which neatly conjures up images of black coffee, cold mornings and even colder comedowns. In other words, this is the kind of music you listen to the night before you wake up still in your jacket and boots, if you ever actually got to sleep at all.

The next track is distinctly less dancefloor orientated. Broken makes more use of electronics, the feedback and guitar noise seeming somehow more distant than on the previous track. If Confessions was the night before, this is certainly set sometime after the event. This sharp change of tone is something that groups like Nine Inch Nails often employ on their records, which will appeal to some, although I’d personally prefer it if they kept the pace up.

No One Counts, the final track on the EP, attempts to bring things back up to speed. Unfortunately they’ve taken the edge off all the noise and the rhythms sound less like an advancing armoured division and more like they were created using actual organic instruments. The melody itself is less confrontational as Beth uses her voice a little more soulfully, which is nice but not quite as exciting.

It sometimes feels that today’s musical landscape is littered with either uninteresting pop or unlistenable noise. Blindness already seem to have found a very comfortable balance and, at times, bring it all together to make something very exciting indeed. It’ll be interesting to see what the future holds for them, especially if they manage to kick up a storm in their native London and break out to ply their trade across the country.



About Miranda Yardley

I'm Miranda. Bite me.

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