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As if it suddenly clicked and the green-and-black circuitry
connected, the Drab Four, not-so-much One, release this sprawling, 70+ minute, smothering
ooze of music. All positives extracted from Negative, Bloody Kisses is the collective of Peter’s ideas subdued, focused,
and carried by his confident peers in equal, although keyboardist Josh Silver’s
orchestration is more prominent than ever, giving names to tracks that become
songs, rather than nests of aggressive fledglings. More goth, less thrash, but
very metal, with a bass/guitar fuzz commonplace in a distant doom land, yet
distanced so far away from concepts out in the coldest NYC alleyway. Two
emotions: bare-fanged hatred for all, and drowning desperation for female
companionship, which Peter, in his skulking, quasi-vampiric stature, is their
mouthpiece with great bass and pathos. Christian
Woman and Black No 1 were obvious
radio hits, though neatly sliced in half for length, both wallowing in
atmosphere and female sexuality, while equals Blood and Fire and excellent Seals and Croft cover Summer Breeze waved a finger through
cellophane and stickers in shops. A commercial success for both band and label,
going Platinum and gathering many disenchanted and depressed into a fulcrum. Not
the greatest album, but one of my favorites, and a constant mainstay throughout
the adolescence I didn’t understand, into the adulthood I believe I do, as a
soundtrack for the simplest of concepts, love and hate, and the undiscovered
morality in between. Spot all the Beatles references and you win a cyanide
lollipop. Note: drummer Sal Abruscato left after the album's release to join Life of Agony, another excellent Brooklyn quartet.
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