Milk at Midnight’s third release, “Less Love More Acid,” is the sound of the American Dream as seen through a bad trip, an argument to end the world, like apple pie and riot gear. Danny Doom (vocals, guitar), Rick Nitz (guitar, bass, vocals), and Eric Anderson (drums, vocals) provide the soundtrack for the end of the Bush years and have fun while doing it. Known for their explosive live shows and an ever-expanding roster of lights and projections, Milk at Midnight are proud to release “Less Love More Acid” on vinyl for your enhanced home listening pleasure (also available digitally) on Stars/No Stars Records.

"Milk At Midnight’s third release, Less Love More Acid (Stars/No Stars) finds the trio alternating between heart-stirring indie pop (”Sticks In My Stomach”), Killers danceability (”Kristol Ball”), and bombast worthy of Muse (the title track). “The Leaning Tower Of Astigmatism” opens with a riff that’s a little bit country and a little bit “Big Bird In Japan,” while “Lost Highway” drowns in a cacophony of psychedelia. Rarely does an album’s full track listing consist of must-hear ditties, but here’s a perfect dozen."

—Janine Schaults, Illinois Entertainer

"Sometimes trolling the internet for shows leads me to discover some pretty lovely local music that has somehow escaped my ears. Such is the case with Chicago’s Milk At Midnight. This stuff is right up my alley (Yes, I have other alleys than just metal ones). Sure, there’s a little old Flaming Lips – You know, when they were a rock band – but more than anything it’s just good old, driving indie rock. Welcome to my ears, Milk At Midnight."

—Ross Meyerson, Loud Loop Press

"Locals’ Less Love More Acid offers bad advice but plenty of plaintive, impressive indie rock tunes."

—Chicago Tribune/Red Eye/Metromix

"The charming and sonically affable local outfit Milk at Midnight celebrates the release of “Less Love More Acid” (Stars/No Stars Records) tonight, the trio’s second full-length. The classic-rock-inspired indie pop bounces along in an even more psychedelic way this time around, but not at the expense of the band’s endearing youthfulness and tendency to lean towards the dramatic. But the ability to pull off both a dark-edged indie-rock song like “Kristol Ball” and an acoustic-guitar-led song like “Sticks in My Stomach” is impressive; the album’s title track, probably the best song of the collection, has a driving intensity that could for sure inspire a room."

—Tom Lynch, New City Chicago

"Milk At Midnight's sound is chimeric, with the primary sonic tether between tunes being the group's ability to graft memorable melodies onto craggy surfaces. The other connecting point is angry lyrics that both condemn and soar. The sunshine is there if you really squint and search it out, but eventually your eyes are going to tire and the light will temporarily slip from your vision again. It's the hope that keeps us going even as we stare wide-eyed at the horrors around us."

—Tankboy, Chicagoist.com

"Despite their name, locals Milk at Midnight don’t aim to be particularly soothing and sleep inducing. These guys sound a little pushy, like somebody at a bar who’s oblivious to your personal space, but if you can forgive that you’re in for some fun: their third album, Less Love More Acid (Stars/No Stars), fully embraces both stiff-legged Napoleon Dynamite geekery and blitzing hard-rock riffs."

—Monica Kendrick, Chicago Reader

"Milk At Midnight experimented with mixing Appalachian mountain-man touches to thundering rock rhythms on their last EP, and the new album sees them taking that aesthetic and expanding it over a number of new songs. One of the most interesting things about the band is the inner conflict they seem to be constantly fighting when it comes to what the band's sounds should be. Singer-guitarist Danny Doom wants to write classic rock epic protest songs, but the interplay between his and Rick Nitz's guitars creates tapestries that suck you in just as Eric Anderson's thundering drums threaten to bounce you right back out again. The band's sound shifts, darts, and defies pigeonholing. This is a band that would sound right in place touring econo in 1984 as they would opening for Pearl Jam in 1994 or putting on a psychedelic lightshow at Metro in 2009."

—Chicagoist.com