We won't call it lazy; we'll call it complacent. We won't call it predictable; we'll just call it. We'll call it The Kills minus the raunchy sex. Because there is no time for decadence and romance when a brawl is going on. With husband and wife, mommy and daddy, philosophy student and philosophy student working interchangeably with mauling bass and buttons galore, this duo pummels and apparently doesn't endorse mercy. The synth lines are too unrelenting for that. To the listener's dismay, the barrage doesn't maintain longer than the album's length. You're left asking, "Where have I heard this before?" Refrains are howled with desperation, but there is really nothing to be desperate about. Mommy and Daddy are comfy on the loft sofa that is Duel At Dawn. The duo remains a step behind. They've done nothing to distinguish or distract themselves from the pack. For all its punch and vigor, the album can only capture and pander to the air in your gut for the time being. There is nothing to come back to. Bruises vanish upon ejection from the stereo. As the fury in the songs increases and becomes more reminiscent of bands in the near-past and even present, it causes you to ask yourself, "Why are Mommy and Daddy acting so childishly?"
1. Pretty Loser
2. A Good Deal
3. Cops
4. Way West Way
5. Lost the Plot
6. Top Down
7. The Streets Have Come Alive
8. Franconia Road
9. Already Warm
10. Full
11. So Far, So Good
More about: Mommy and Daddy
