Chromatics Albums (3)
'Night Drive'
Release Date 1/1/2007
Tracks 10
Label Italians Do It Better
See Album Tracklist and Review
What The Critics Say
Nearly unrecognizable as the work of the one-time punk rock outfit, Night Drive is effectively Chromatics' third debut album in a row, following a wholesale transformation in sound and style and yet another lineup change: Adam Miller is again the sole constant member; vocalist Ruth Radelet is a new addition even since the 2006 teaser Nite, replacing Lena Okazaki, while Glass Candy's Johnny Jewel, who produced that single, is now a full-fledged member. Actually, this seems to be Jewel's record more than anyone's -- in the silver-screen conceit of the liner notes he's listed as director to Miller's screenwriter, though he also has a writing credit on all the record's originals, only four of which (the vocal songs) Miller co-wrote -- indeed, Jewel is emerging as the primary musical force behind much of the Italians Do It Better label. Among that camp of synthesizer-disco revivalists, Chromatics stand out as the most lush and cinematic, drawing on the more languorous, atmospheric aspects of '80s electronica to fashion a hazy imaginary soundtrack to a stylish, decadent noir film (as the album's visual presentation suggests) or just a lonely late-night drive (as per the opening "Telephone Call.") (One is reminded that Giorgio Moroder is almost as celebrated for his film work as his dancefloor material.) Sounding somehow stark and sensuous at the same time, the album evokes widescreen opulence with a sonic palette that extends beyond the bedrock of synths, guitars, and drum machines to include touches of organ, strings, flutes, and so on, but it's always used sparingly, rarely outstepping the group's meticulously minimal, carefully controlled arrangements. "In the City," a highlight of the After Dark label compilation (and centerpiece of the "Shining Violence" 12") is unfortunately absent here, but its stark, hypnotic, after-hours vibe is echoed across the album, on beat-driven numbers like the eerie, unsettling title track and the relatively uptempo "I Want Your Love" (whose insistent refrain, steady disco glide, and ice-pick guitar work make it the most plausibly danceable selection here, though it's hardly a party-starter), as well as moodier pieces like the gentle, resigned "Tomorrow Is So Far Away" with its twinkling synths and mournful flutes, and the burned-out, utterly minimal, epic-length closer "Tick of the Clock," which rides a single, skeletal percussion-and-synth pulse for 15 minutes, letting up only for several minutes of unaccompanied organ drone in the middle. Jewel's compositions and production are certainly effective, and the arrangements, whether his or the band's, are undeniably tasteful, but Night Drive could have been a much more offputting, lonelier affair -- not that that would necessarily be a bad thing -- if it weren't for Radelet, whom liners rightly list as the album's star. She's not exactly overtly emotive, but there's enough warmth in her breathy voice to create a sense of palpable, relatable humanity, just enough to distinguish her from the glassy-eyed alienation of so many dark post-disco vocalists (Glass Candy's Ida No, for one.) That's crucial, especially, on the stirring Kate Bush cover "Running Up That Hill" -- chalk it up to the unassailable songwriting, if you like, but it just might be the finest moment on a consistently engrossing record that, if it can't quite claim the title, is as distinctive and striking as a great debut. ~ K. Ross Hoffman, All Music Guide
What The Critics Say
The latter portion of the Chromatics' 2000 debut included tracks like "Two of Every Creature" and "Fertile Future," where the combo flattened spiky, angular post-punk globules into a sludgy shag carpet stained with junkie dancer footprints. That mess has survived bandmember departure and arrival drama to inform the dull grooves of Plaster Hounds. Post membership trauma, head 'Matic Adam Miller remains, joined mostly by bassist Nat Sahlstrom and ex-Get Hustle drummer Ron Avila. The new rhythm section is at its snarling best on "Chalk Dust (Holy Water)" and "Garden," in which buzzing basslines strut over deceptively rudimentary drums, building a common front for Miller's muffled, affected yammer and snaky lead guitar lines. The references are thicker than flies on rotten fast food (Suicide, Sonic Youth), and the Chromatics even close Plaster Hounds with a Silver Apples cover. But from opener "Surrogate"'s slinky come-hither trudge to the sleazy electronic burble of "Jesus," the Chromatics' hung-over punk-dub is relentlessly unique, and pretty damn addictive. Sahlstrom and Avila effectively regulate Miller's more manic vocal tendencies, providing essential structural support to a musical style that's constantly threatening to fly off the handle. Plaster Hounds reaches the bottom of the slimy dub well with the crawling "Monarch," but even here there's an eventual payoff, the track degenerating into broken water mains of rhythm and steamy reverb madness. ~ Johnny Loftus, All Music Guide
'Chrome Rats vs. Basement Rutz'
Release Date 3/25/2003
Tracks 16
Label Gold Standard Laboratories (GSL)
See Album Tracklist and Review
What The Critics Say
With members of the Blood Brothers and Soiled Doves, the Chromatics mash through 15 cuts of lo-fi skronk, sass, and wicked guitar grinding. You could call this garage, but the Chromatics eclipse their rock revival peers with sheer originality -- think the Blood Brothers' attitude slowed down to a simmering and danceable no wave tempo. From the opening track, "NBA," it's clear that the Chromatics display the experimentation of Erase Errata, but with Devin Welch laying down thick, heavy guitars instead of sharp, picked squeaking and squawking. "Washed Up on a Beach of Infants" has singing that's like Jack White gone off the deep end, "Skill Fall" is an uncompromising piece of bass-driven rock noise, and "Two of Every Creature" is ominous and disorienting without ever risking becoming camp. "Plastic Kross" could be the one slow and quiet song off of the next Blood Brothers album, but when it comes down to it, Condor and maybe the Liars are the only peers of the Chromatics that really approach a similar post-everything sound -- one that abandons the towering architecture of post-rock for beautiful decay. ~ Charles Spano, All Music Guide
