x

You are using an outdated browser. Please upgrade your browser to improve your ReverbNation experience.

Blindness / Press

“I first encountered London Blindness about 12 months ago and was blown away by their music... Their sound takes a walk on the darker side of chillwave with an electro-pop sheen. They recycle Garbage (sorry current resist) with more than a hint of one of guitarist Debbie Smith's former bands Curve. The awesome 'Broken' is a slab of dirty, sleazy, dark robotic pop. 'Confessions' is more Curvey with a beat so big it could cause an earthquake. There are none so blind than those that will not see the brilliance of Blindness.”

“...The music is spacious, urgent and dark with the last track reminiscent of how Joy Division would have sounded had PJ Harvey been at the Helm..”

“Thanks to a friend for the headsup on this lot - a seemingly London-based band who, by their own admission, channel Kate Bush, My Bloody Valentine, Curve and Nine Inch Nails, and remarkably really do end up sounding like a mashup of the four. It has a shoegazey vibe to it, particularly in the barely intelligible vocals, the buzzing guitars, and the dense production. But crucially they haven't forgotten the tunes, particularly in the fantastic title track. They are playing live in London twice this month, and I perhaps ought to make a beeline for at least one of the gigs - I suspect we are going to be hearing a lot more about this lot in the coming months.”

A Model Of Control

“...Fans of Curve MBV, Lush, NIN and the JAMC will no doubt be impressed by the throbbing beast of a song that is “Confessions” fusing loops, beats with searing guitar to devastating effect.”

“Tonight I only have time for one band. And I choose...Blindness. Blindness layer their songs in shuddering sheets of effect-laden guitar-noise, the sweeping guitar-tides break on the rocks of the beat. Programming and real drums, working together in an unholy alliance, slap down a rhythm that doesn't mess about. The basslines go striding relentlessly through the sonic surf as if they're wearing wading boots. There's a pop sensibility at work in the songwriting, too. The band don't just do noise. Vocalist Beth Rettig strikes surrealist vogueing shapes in a dress that looks like it's had a bite taken out of it by a passing shark (what is it with me and my sea similies today?) and sings in a glassy croon that goes from soothing to scary in the space of a chorus. As the set progresses, the scariness levels increase until she reaches some sort of overload and collapses on stage, lying there unmoving as the music convulses around her... ”

“No messing around here, heavily Nine Inch Nails influenced electro-pop that is lean and polished. The thundering title track sounds like giant factory machinery that just happens to be creating music, howling and whistling with feedback, a constant for most of the EP that never sounds gratuitous. Confessions is a fine EP that manages to be comprehensive and varied within the confines of its three tracks... It’s hard to find fault with this.”

“Creatures of the night behold Blindness for they are playing your tune. Hailing from the Big Smoke, they’ve got that grindhouse electro pop feel that seems right at home after midnight. The title track of this EP - “Confessions” – strafes you with ripped up riffs and droning loops that drill their way into your daylight starved brain.  Crank the volume up a bit more and it all makes sense. Well sort of.  We’re talking a sort of madness here - the hormonal insanity of a “broke down girl”. Twisted and compelling and surely no stranger to the dangers of the dance floor, Beth Rettig’s vocals exude the necessary torment. “Broken”  goes all robotic but manages to sound vaguely mystical with the vocals drifting high above you over the kind of distorted psyched out guitar that makes you think of a half speed drug induced trance... One more for the soundtrack of your own personal urban wasteland…”

“I love this… Do you remember Curve? Well Blindness will certainly help you remember them and also have their own dark wave, brooding, ominous female vocal. Very urgent, very strong and powerful and it’s one of those ones that creeps up on you and pops a hood over your head and wrestles you to the ground and forces you to keep listening to it, which makes it sound like some sort of musical stalker... Another great track…”

“Vibrant rich silky alternative darkwave pop with an electronic edge and a healthy touch of Curve/ Nine Inch Nails/Jesus & Mary Chain to gently propel it all along. Girl-voiced lushness, exquisite warmth, seductive dark wave electro pop and rising temperatures from the London based (four) piece. Beth Rettig on vocals, Debbie Smith (ex Curve/Echobelly) on guitar, Kendra Frost on bass. ”

“A monster beat, layered squalls of guitar, and a vocal at once rueful and exultant - 'It was the best I could do in the state I was in,' sings Beth Rettig on 'Confessions', as the guitar ties itself in frayed knots and the bassline strides nonchalantly past in its big boots. Blindness match dirty technology with a big rock racket, and in 'Confessions' - a song about emerging bloodied but unbowed from some unspecified trauma - they've created an anthem that grabs both regret and triumph by the scruff of their necks and sets them marching... 'Broken' is all grinding bass and eruptions of volcanic guitar - that's Debbie Smith on guitar, ex-Curve, and her sheets of noise are instantly recognisable. 'No One Counts' is a bit of a ballad, but it's no shrinking violet. It's got a stuttering machine-beat, that untrammelled six-string overdrive, and plenty of the band's dirty cool. Dirt and coolness? Yes, that's the stuff we like.”