Date at Midnight formed in Rome in 2007, the current line - up features Daniele De Angelis (voice), Pasquale Vico (bass), Francesco Barone (guitar) and Francesco Mignogna (drums).
They released a debut, self - titled EP (2008), and then the album “No Love” (2011) for Manic Depression Records. After five years of touring and composing new materials, the band released a new album, “Songs to fall and Forget”, again for Manic Depression, bringing some additional wave melancholia to their dark and impacting goth/postpunk sound, widely appraised during the band’s live appearances made all across Europe.
W/ Chameleons Vox (Mark Burgess) + Winter Severity Index
Via Prenestina 738
9:00 - 16€
2012-04-03 : Date at Midnight reviewed in Obsküre magazine
2012-02-22 : Date at Midnight reviewed by Mick Mercer
Rollicking, majestic Goth adventures! A feast of nocturnal, billowing sounds with well oiled, lustful rhythms, scalding guitar decisiveness, and passionate, urgent vocals. An Italian band, singing in English, they’re old and wise enough to have waited a few years for their debut and it shows.
It’s all there in opener ‘No Love’ as Danilo Staniscia’s stomping drums are joined by the stolid menace of Pasquale Vico’s bass, Francesco Barone’s juicy thickened guitar slabs falling into place, then viscous notes ringing out, as Daniele De Angelis’ neurotic vocals burrow out from under it all. That’s good enough but unlike most bands they don’t just limber up and then lumber on, oh no! Having established a rousing, explorative forward momentum like Xmal meets Play Dead, the vocals howl as the guitar prowls and fractures. Then fade…
‘Spirit Dance’ has both a polished, precise patination, but also a gruff, ragged feel developing which accentuates a glorious rush of energy when needed, the rawness brightened by the guitar but streaming along beautifully. ‘Panic Public Show’ starts with some ghostly guitar memories, delicately strummed, but then doubled in intensity right in front of us as the vocals warn of and welcome depravity, setting up a scampering finish. ‘Idillio E Tenebra’ is a meandering, mellow affair, with a false end, the feeling all trapped inside the lugubrious affair.
‘Vicious And Liar’ is scrappier, and scrapping, with enchanting guitar facets, while brusquer drums and hunky bass drives on ‘By The Wall’ as the vocals try to flee. More stylish guitar pulls it back into focus, as gritty wildness and melodramatic woe intermingle. ‘Dead Motions’ is a slow burn emoter, low bass misery, lightly etched guitar gloom, ghastly vocal traces gently evening out into a picturesque haze.
‘Vanità’ is sterner and upright, a bright bass leer, circumspect drums underpinning raging vocals and unflinching linear guitar as it goes along it simply gets bigger and self-assured. ‘Inside 29’ is angrier but uplifting with its simple, repetitive thrust and ‘Solo...’ idles wonderfully with an essential bass presence growing steadily until it segues into ‘Alone’ with timid vocals intruding to share some torment as emboldened guitar bursts out, and it all fills out with a weird lament (“Crying here, alone…drying the scene of crime before I’m gone”), the constricts with dignity.
And there you have it, a fantastic album.