Night Time founds the band at their most ambitious mood yet. Fully aware of their intent, yet never really relaxing into it, constantly aware of trimming away excess and keeping the whole record streamlined and weightless, atmospheric keyboards dart through Coleman's wonderful and quintessentially 'new-wave' vocals, Earth-crushingly heavy riffs shrink-wrap around robotic drumbeats, all of which is rounded off by a constant dull thud of bass throughout, which serves to ground every track. The album works on a very fine line between arty pop noise, and absolute mayhem, yet manages to reign in the latter at the perfect point throughout.
The album opener the title track "Night Time" is a
rushed, up tempo grinding track, which rushes to finish itself, but in
no way does it sound as forced or bad as it may appear from this
description, it races itself. Next comes "Darkness Before Dawn" and "Love Like Blood" are two of the albums most
typically new-wave tracks, they sound so in time with 1985, "Love Like Blood" was consequently released as a single, and did
surprisingly well, for a world craving more British New-Wave in the
style of XTC. It gave many people a taste of the band they didn't soon
forget, and as such defined the band's sound for about 10 years. A sound
that went on to clearly influence their 90's contemporaries, Faith No
More for instance, as heard in the atmospheric lingering
keyboards and rolling rhythms of Angel Dust.
The other single "Kings and Queens", was a militant
and dark contrast to the fairly upbeat sound of "Love Like Blood".
Regardless, the band were on a roll and this single sold similarly well
as the previous one, though it may not be as strong or as identifiable a
track, it still packs a fairly guttural punch. The remaining tracks on the album finish it off in a similarly abrasive
but no less spectacularly listenable fashion, "Tabazan", "Multitudes" and
the standout "Europe" provided more ecstatically paranoid, dark and foreboding
new-wave from this unlikely hit band. It is on these three tracks that
the band seemed most animated, still
sounding as edgy, confrontational and powerful today as they did 15
years ago.
But definitely the key-piece of this record was and still is "Eighties" it is on the last track that this album will perhaps be remembered for. This track kicks off straight away and it is an recognizable and undeniable affront on the band, the riff is identical to "Come as You Are" by Nirvana.
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