Blindness - Confessions
By Edward Upham
Featuring Debbie Smith (formerly of Curve & Echobelly) in their line-up London-based band Blindness, despite being new, boast a level of experience and understanding which is present throughout their latest EP, â€˜Confessionsâ€™. Each song subliminally tells a tale of a group of people who know exactly what they want to achieve through their music but, more importantly, they know how to achieve it.
The EP begins and gradually develops through the song â€˜Brokenâ€™ that kicks off with electronic and echoed drums (this effect carries on into the next song of the record). Said beat is the only feature, musically, that persists through the entirety of the song with the edited guitars proving that they are susceptible to suddenly coming to life after what feels like days of hibernation upon the three-minute mark with squeals in an impressive display of ability â€“ ability that should have been nothing less than predictable.
My attention was immediately brought, once again, to the drums on the EPâ€™s title track â€˜Confessionsâ€™. They are dominating, echoed (like the trackâ€™s predecessor), effective and accompanied by sharp guitar outbursts that seem to boast of their contribution to the song in a manner that is spontaneous and almost attention-seeking. Lyrically the song suggests that the performer has recently fallen into a poor emotional state or, if thatâ€™s not the case, it could be possible that theyâ€™re reflecting on a mistake theyâ€™d made at a time when theyâ€™d let their guard down and thus become more vulnerable. These lyrics are boosted superbly by the moody tone of the vocalistâ€™s voice which is perfect in helping the listener to understand and sympathise whilst maintaining a certain uncertainty as to what exactly couldâ€™ve caused the problems in the first place. The moody vocals, might I add, arenâ€™t restricted solely to â€˜Confessionsâ€™ as they are also used to great effect on the much more grim-sounding song â€˜Brokenâ€™.
Upon the introduction of the final song â€˜No One Countsâ€™ the sounds of drums that had previously been so dominant have evolved into a noticeably more electronic, echoless and sharper sound that seem, at least to me, to resemble the sounds emitted by a gun. What I consider to be the best feature of this change is that nothing is over-done and, despite the change, everything is comfortably familiar. Accompanying the change in drums is a charming guitar riff through the verses with a sound that is guiding and induces memories of long-forgotten songs that leave you scratching your head for days simply trying to figure out who or what the riff reminds you of.
Overall the Blindnessâ€™ EP clocks in at 13 minutes distributed unevenly over the course of three songs. This adds a â€˜slow and steadyâ€™ air to the EP and it should go without saying that this isnâ€™t something for those who are impatient or looking for a record that explodes in a seemingly never-ending stream of energy. Rather the EP offers a soothing and relaxing listen whilst still incorporating many of the better features from the indie-rock genre and a dulling realism rather than some of the other recent indie-rock bands whose sole aim seems to be to churn out a constant stream of clichÃ©d party anthems and love songs.