As he always has, Ken Fury has lots to say about the state of love, his approach to it and the good, the bad and the ugly of what it might produce. On his new release, Midnight Bloom, we once again get the sexy voice, the low rumbling loops and sometimes Bowie-like, sometimes Nine Inch Nails-like (although there would be no NIN without Bowie) moments from this talented NYC singer/songwriter/performer, who is a unique artist all his own, influences or not.
The low, synth bass loop of “Beneath The Sea” keeps us dangerously submerged. I dig the dinosaur metallic stomp and spikes of “Crack Of Times.” “Majestic Hotel” is cool with its loops of back-and-forth percussion (Fury employs this, dare I say, “tribal” approach on many of the songs here), a perfect marriage of Fury’s mastery of loops and a very good control of his vocal. “Pierce” sees Fury struggling in and out of himself, swooping in and around with some weird vocal turns over the beats and effects.
“Silence” features floating keys and another back and forth back beat, this time very splashy. This might be the best tune on Moonlight Bloom for me – it’s a deceptive mover with a good lyric highlighted by Fury’s sexy voice. “Stone To Stone” features cool percussion and some neat guitar noises and undulant dangers and a minimalist vibe to “Slave In Flight,” the single I’d choose from this album.