"Although the UK’s BLiNDNESS technically formed in 2008, their debut full-length, WRAPPED iN PLASTiC, isn’t set to hit shelves until July 24th… although the album is well worth the wait… BLiNDNESS is comprised of Beth Rettig, Emma Quick, and Debbie Smith (of Curve, Echobelly, and Snowpony fame), a trio whose sonic output is reflective of many of the 1990s greatest musical movements, from straight-ahead alt rock to shoegaze and electronic rock, with notable hints of industrial and grunge, but while always maintaining an aesthetic that puts their songwriting (which seems largely indebted to post-punk) center stage." Philthy Mag
"This is an exceptional debut album that is well worth picking up when it comes out next month." A Model Of Control
"The band doesn't relent in its heavy post-punk bashing, keeping the core beat focused on heady rock grooves that pound with a static drenched street intelligence. This collection of instant erotic vertigo will make itself a mainstay on your playlist if you let yourself shoot up the uncut forbidden fruit of its dark wave death swing.
With a delicate influence of Siouxsie Sioux and My Bloody Valentine, Beth Rettig, Emma Quick, and Debbie Smith( Echobelly, Curve ) have created a feverish nine-song sleepwalk into the darkest pleasures of an endless summer night." Fear/Loathing
"We’ve been fans of Blindness since 2010′s “Confessions” EP cleaved our skull asunder and bathed our ears in glorious noise via their intoxicating blend of raw power and dark brooding melodies. This is what guitar music should sound like – dangerous, swaggering, dramatic, and of course sexy.
Blindness have also been gaining something of a reputation on the live circuit, sadly we’ve yet to experience Blindness in the flesh but many people whose taste we implicitly trust have regaled us with enthusiastic tales of their awesomeness. Their début single ‘Glamourama’ released via the much-loved and respected AC30 label demonstrates exactly what this band us all about. The driving beat, throbbing bass line and Debbie Smith’s ( formerly of Curve and Echobelly) lurching juddering guitar work all combine and swirl with a strident sense of urgency around the seductive imperious vocals of Beth Rettig. The result? A potent, hypnotic, dazzling object lesson in thrilling, throbbing shoegaze tinged indie from a quite wonderful band."
Andy Von Pip - Von Pip Musical Express
"...Opening with an incessant bass-led pulse, before the rest of the band crash in and pull the song forward, ever onward to a cracking chorus and then a bridge that pulls things to an ecstatic peak. Another step forward for a band who have promised great things with their live sets for some time, and hopefully in 2013 the immense potential here will finally be realised."
A Model Of Control
“Tonight I only have time for one band. And I choose...Blindness. Blindness layer their songs in shuddering sheets of effect-laden guitar-noise, the sweeping guitar-tides break on the rocks of the beat. Programming and real drums, working together in an unholy alliance, slap down a rhythm that doesn't mess about. The basslines go striding relentlessly through the sonic surf as if they're wearing wading boots. There's a pop sensibility at work in the songwriting, too. The band don't just do noise. Vocalist Beth Rettig strikes surrealist vogueing shapes in a dress that looks like it's had a bite taken out of it by a passing shark (what is it with me and my sea similies today?) and sings in a glassy croon that goes from soothing to scary in the space of a chorus. As the set progresses, the scariness levels increase until she reaches some sort of overload and collapses on stage, lying there unmoving as the music convulses around her.. ”
Nemesis To Go
“No messing around here, heavily Nine Inch Nails influenced electro-pop that is lean and polished. The thundering title track sounds like giant factory machinery that just happens to be creating music, howling and whistling with feedback, a constant for most of the EP that never sounds gratuitous. Confessions is a fine EP that manages to be comprehensive and varied within the confines of its three tracks... It’s hard to find fault with this.”
Euan Wallace - isthismusic.com
"There is a growing school of thought that says traditional guitar music is dead, or at least has had its day and that electronic music is now the most innovative, creative and boundary pushing genre. Indeed, we can pretty much accept that observation as being an accurate representation of the current scene, especially after having our ears regularly exposed to the incredibly dull the meat and two veg “landfill indie” brigade. London’s Blindness however have made guitars dangerous and exciting again mixing it up with throbbing electro sleaze and cool alluring vocals. The results are visceral, explosive, loud, sexy and thrilling, as it should be. Let’s hope Blindness, who have garnered rave review for their live performances can build a head of steam after the release of the excellent ‘Glamourama’ and push on to another level in 2013."
“Creatures of the night behold Blindness for they are playing your tune. Hailing from the Big Smoke, they’ve got that grindhouse electro pop feel that seems right at home after midnight. The title track of this EP - “Confessions” – strafes you with ripped up riffs and droning loops that drill their way into your daylight starved brain. Crank the volume up a bit more and it all makes sense. Well sort of. We’re talking a sort of madness here - the hormonal insanity of a “broke down girl”. Twisted and compelling and surely no stranger to the dangers of the dance floor, Beth Rettig’s vocals exude the necessary torment. “Broken” goes all robotic but manages to sound vaguely mystical with the vocals drifting high above you over the kind of distorted psyched out guitar that makes you think of a half speed drug induced trance... One more for the soundtrack of your own personal urban wasteland…”
Andy Von Pip - Von Pip Musical Express
Bluesbunny - Bluesbunny.com
“This was such an assured and powerful show that it is kind of mystifying that the band don't appear - yet - to have the push they need to reach a larger audience, but perhaps getting another single out recently has been the start of greater things. Here is hoping, as the band are far too good for these small venues. If you haven't heard them yet, you are missing out, that's for sure. ”
A Model Of Control
“Vibrant rich silky alternative darkwave pop with an electronic edge and a healthy touch of Curve/ Nine Inch Nails/Jesus & Mary Chain to gently propel it all along. Girl-voiced lushness, exquisite warmth, seductive dark wave electro pop and rising temperatures from the London based (four) piece. Beth Rettig on vocals, Debbie Smith (ex Curve/Echobelly) on guitar, Kendra Frost on bass. ”
“A monster beat, layered squalls of guitar, and a vocal at once rueful and exultant - 'It was the best I could do in the state I was in,' sings Beth Rettig on 'Confessions', as the guitar ties itself in frayed knots and the bassline strides nonchalantly past in its big boots. Blindness match dirty technology with a big rock racket, and in 'Confessions' - a song about emerging bloodied but unbowed from some unspecified trauma - they've created an anthem that grabs both regret and triumph by the scruff of their necks and sets them marching... 'Broken' is all grinding bass and eruptions of volcanic guitar - that's Debbie Smith on guitar, ex-Curve, and her sheets of noise are instantly recognisable. 'No One Counts' is a bit of a ballad, but it's no shrinking violet. It's got a stuttering machine-beat, that untrammelled six-string overdrive, and plenty of the band's dirty cool. Dirt and coolness? Yes, that's the stuff we like.”
Nemesis To Go