2006–2010: Night Drive. Chromatics' third studio album, Night Drive, was released in 2007 on Italians Do It Better, the band's most acclaimed release. On Night Drive, the group ditched their 'hairy noise-rock troupe' aesthetic in favor of a 'neatly groomed pop-dance quartet'. Revenge of revan mod. Express rip 1.92 keygen.
Italians Do It Better are reissuing expanded and “analog remastered” editions of Chromatics Night Drive and ‘In The City’. Night Drive was originally released in 2007; the new edition.
Night Drive (alternatively known as Original Motion Picture Soundtrack IV) is the third studio album by Chromatics, released on August 28, 2007 on the Italians Do It Better record label. The label reissued an analogue remaster of the album as a “Deluxe Edition” in 2010, on both CD and double LP formats.
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Chromatics - known by many for the Drive Soundtrack & Twin Peaks (Music from the Limited Event Series) - were founded by Adam Miller in Seattle in 2001. The group gained an underground following with their 2003 debut Chrome Rats Vs. Basement Rutz, which was produced by Johnny Jewel. Jewel, one-half of iconoclastic Glass Candy, joined Chromatics as a full time member & began working closely with Miller in Portland on a new electronic sound. Ruth Radelet joined on lead vocals, as well as Nat Walker on drums. Their game-changing 2007 album Night Drive earned critical acclaim — Pitchfork called the record “effortless & impressive.” Night Drive heavily influenced Nicolas Winding Refn’s seminal 2011 film Drive. The pulsating track “Tick Of The Clock” powered the film’s iconic opening sequence. In 2012, Chromatics released the classic album Kill For Love, securing their role as a landscape-defining band & earning a place on many publications' year-end lists, including Pitchfork’s top ten albums of 2012. Gorilla Vs. Bear called Kill For Love their number one album of the year. Written & recorded while the band was living in Montreal, Kill For Love provided various songs that would be featured in television shows such as Mr. Robot, Riverdale: Season 1 (Original Television Soundtrack), Bates Motel, Gossip Girl, Parenthood, 13 Reasons Why, & more. Chromatics dropped the cinematic twelve-track follow up to Kill For Love in October 2019, on the eve of their first European tour in seven years. The group’s seventh studio album, Closer to Grey, came without warning. Written & recorded after the band’s relocation to Los Angeles, Jewel’s signature production sets the stage for the band’s ethereal sound.
Review by K. Ross Hoffman
Nearly unrecognizable as the work of the one-time punk rock outfit, Night Drive is effectively Chromatics' third debut album in a row, following a wholesale transformation in sound and style and yet another lineup change: Adam Miller is again the sole constant member; vocalist Ruth Radelet is a new addition even since the 2006 teaser Nite, replacing Lena Okazaki, while Glass Candy's Johnny Jewel, who produced that single, is now a full-fledged member. Actually, this seems to be Jewel's record more than anyone's -- in the silver-screen conceit of the liner notes he's listed as director to Miller's screenwriter, though he also has a writing credit on all the record's originals, only four of which (the vocal songs) Miller co-wrote -- indeed, Jewel is emerging as the primary musical force behind much of the Italians Do It Better label. Among that camp of synthesizer-disco revivalists, Chromatics stand out as the most lush and cinematic, drawing on the more languorous, atmospheric aspects of '80s electronica to fashion a hazy imaginary soundtrack to a stylish, decadent noir film (as the album's visual presentation suggests) or just a lonely late-night drive (as per the opening 'Telephone Call.') (One is reminded that Giorgio Moroder is almost as celebrated for his film work as his dancefloor material.) Sounding somehow stark and sensuous at the same time, the album evokes widescreen opulence with a sonic palette that extends beyond the bedrock of synths, guitars, and drum machines to include touches of organ, strings, flutes, and so on, but it's always used sparingly, rarely outstepping the group's meticulously minimal, carefully controlled arrangements. 'In the City,' a highlight of the After Dark label compilation (and centerpiece of the 'Shining Violence' 12') is unfortunately absent here, but its stark, hypnotic, after-hours vibe is echoed across the album, on beat-driven numbers like the eerie, unsettling title track and the relatively uptempo 'I Want Your Love' (whose insistent refrain, steady disco glide, and ice-pick guitar work make it the most plausibly danceable selection here, though it's hardly a party-starter), as well as moodier pieces like the gentle, resigned 'Tomorrow Is So Far Away' with its twinkling synths and mournful flutes, and the burned-out, utterly minimal, epic-length closer 'Tick of the Clock,' which rides a single, skeletal percussion-and-synth pulse for 15 minutes, letting up only for several minutes of unaccompanied organ drone in the middle. Jewel's compositions and production are certainly effective, and the arrangements, whether his or the band's, are undeniably tasteful, but Night Drive could have been a much more offputting, lonelier affair -- not that that would necessarily be a bad thing -- if it weren't for Radelet, whom liners rightly list as the album's star. She's not exactly overtly emotive, but there's enough warmth in her breathy voice to create a sense of palpable, relatable humanity, just enough to distinguish her from the glassy-eyed alienation of so many dark post-disco vocalists (Glass Candy's Ida No, for one.) That's crucial, especially, on the stirring Kate Bush cover 'Running Up That Hill' -- chalk it up to the unassailable songwriting, if you like, but it just might be the finest moment on a consistently engrossing record that, if it can't quite claim the title, is as distinctive and striking as a great debut.