While the British band the Psychedelic Furs, had a few albums before 1988's "Midnight to Midnight," the band's exact lineup had seen many changes, with musicians coming and going. The album brought singer Richard Butler, guitarist John Ashton, keyboardist Jon Carin and drummer Paul Garisto together and along with the band's other members, the group wrote and recorded solid, consistent new wave-influenced rock.
Keyboards and saxophone dominate the first song, "Heartbeat Break," which has a huskiness. The keyboards fill the song out with a bounteous quality. On the next track, the guitars are jittery, melding well with the horns. "I don't call it love" is repeated, in an effectively disconnected affectation. At about the four-minute mark, the band changes up the tone for a more portentous digression.
The third song, "Shadow in my Heart," leads in with horns in full regalia, deeply resonating. The guitars grind and clash away. The drumbeat is smart, and moves the song forward well. The track has a workmanlike consistency, even in the swaggering, vamping guitar bridge about two and half minutes in.
The Psycheldelic Furs released “Midnight to Midnight”?in 1988. The albums consists of new wave-influenced rock. For more information about the group, visit http://www.thepsychedelicfurs.com.
The fourth song, "Angels Don't Cry," is moping in a way that fits its slow wonder. The guitars and dizzying keyboards that introduce the following track are promising, though the guitars soon fade into a peripheral role while still keeping up a quick tempo. Garisto's drumming is agile, and the singing has an effective ache, a craving.
The sixth song starts with more of a weary drone, giving way to a backdrop of meandering post-punk guitar riffs from Ashton. The chorus soars on longer-held notes, and the saxophone mixes with the song's other elements unobtrusively. The lead guitar, though still kept in check, jams out for spells.
The seventh track, "All of the Law," is slower, with more of an effort and is fairly effective at being more heartfelt. The drums boom, and the guitar crumbles and snaps. The eighth track keeps the slower tempo, here for a more introspective sound. There is an anxiety in the masterful irregularity of the percussion. The saxophone, as it frequently does throughout the album, adds texture and augments the song's other elements. The track bubbles along on the saxophone and drumming, at a generally even tempo. Butler mopes, his vocals mixed low, subtle and subdued, lyrics like a refrain from the chorus, "there's nothing in between the lines."
On the final song, Garisto's drumming is scaled back, helping take an astral pop-rock into soulful pop. The percussion has a lustrous quality as it slows at about a minute and 40 seconds in, intensifying before charging back into a comparatively quicker beat.
And on the final two songs, the Psychedelic Furs retain the consistency in song-crafting heard through nearly all "Midnight to Midnight" that marks an album that could've been doomed by the departures and arrivals of band members as a respectable contribution to the band's catalog.