Kill for Love by Chromatics

Kill For Love shows that synth/dream/chill/call-it-what-you will pop can be as visceral as rock; the synth as driven and nuanced as the guitar, perhaps more so. 

With Kill For Love, it almost feels like the man’s true thesis, as if he’s strung together all his ideas, feelings, and sounds into one colossal being that acts less like an album and more like a highly organized archive.

The album is such an entirely immersive experience from the beginning to the end that it seems somehow inappropriate to assert the superiority of one track over another.

These opening six songs are as good as it gets, and if there were four or five more, this would be the album of the year, for sure.

It's not just a collection of hits; it's an album, one that gives the project's familiar nocturnal foreboding a new sense of grandeur. 

Kill for Love‘s pop numbers are leaps and bounds better than almost anything else released this year, and when the album pulls away from them, it can’t help but lose quite a bit of its strength.

Kill for Love is a heavy-hearted but eternally romantic midnight road movie for the mind that’ll haunt you long after those taillights fade.

With a clear opening and finale, upbeat moments and downbeat ones, romance, tragedy, and plot twists, Kill for Love feels less like an album and more like a feature film. 

Kill For Love matures with each listen, and there’s enough craftsmanship at work to more than compensate for the more listless moments.

On Kill, the tracks blend together into a flat, echo-drenched concoction of Radelet’s blank Nico croon and guitars borrowed from The Cure’s Disintegration

A fantastic aesthetic almost taken too far. The amount of space and time between actual songs is to almost pretentious levels, revealing potential lack of dynamic as well.