Creepin’ with MINKS

STRAP UP YOUR combat boots, bust out those black threads and step into the smoggy barroom world where MINKS is celebrating the 1.11.11 release of their debut album, By The Hedge. It’s New Wave throwback night, so watch out for those papier mâché gothic gargoyles and reverberating synth waves flying through the air as you’re traversing through the sardonic melancholy of the crowd to get that half off Jameson drank.

MINKS is the playfully dark pair of Sean Kilfoyle and Amalie Bruun, who have been stewing up in anticipation of their first full length, ringing in 2011 with a druggy shoegaze kick that will get your black bile bubblin.

By The Hedge starts off with the dark garage twang and whining synth shriek of “Kusmi,” enveloping the listener in a luscious and colorful creek of creakiness that pushes upstream with bright timbres that echo Yo La Tengo. Aptly titled “Out of Tune”‘s heroin hangover melody plods like a hunchback with drunk goggles on, balancing the forward motion of “Kusmi” with its scattered harmonies and gurgling vocals.

The rest of the album is a muffled, lo-fi underwater adventure, with an outer sheen as smooth and rich as black velvet. The overlapping guitars on tracks like “Indian Ocean” and “Cemetary Rain” jangle with the upward optimism of forlorn hope.  Others, like “Funeral Song” and the single, “Ophelia,” flashback to the post-punk styles of The Cure and New Order, revisited in a 21st century indie/experimental context.  The stinging synths round out the By The Hedges with a dastardly touch, toning down the hopeful melodies with lighthearted gloom.

Like an Oreo, MINKS seems dark and rough on the outside, only to be filled with silky soft love in the middle. Give the debut a listen to and see what you think.


Cemetary Rain


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