There has been enough evidence out there in the past to justify not getting excited about the release of a new album from THE KILLS. Although they possess some amazing songs, they haven’t been consistent when it comes to albums. In amongst some remarkable, charged, down-right filthy songs were too many mid-tempo numbers that went on for too long and sounded a little too like each other. Having heard the first two albums on several occasions, I did believe that I had heard all there was to hear from The Kills. I thought I’d always enjoy half of their songs, but the side I didn’t like would put me off seeing them alive again, or even showing much interest in their third long player.
Album opener ‘U R A Fever’ is just what you expect – it’s a rather standard Kills song. It’s a trippy, breathy, bass-heavy number and it could have appeared on either of the previous albums. So far, so standard, and it would be easy to have just paid no further attention. But beyond the familiar territory of this song, something rather special seems to have happened to this transatlantic duo. It would seem that they have isolated the bits that made them great and run with it.
Recent single ‘Cheap & Cheerful’ was an early indication that The Kills were experimenting with their sound with interesting results. It’s a catchy song rooted in electro, which goes through several phases in a short space of time. You kind of need to catch up to the song because it doesn’t follow the structure you expect it to.
The majority of the songs are quick-paced and not overdone. ‘M.E.X.I.C.O.’ charges through a long instrumental opening, a few brisk verses and something vaguely resembling a chorus before cutting out without going on a moment longer than it feels it has to. It’s how The Kills do a summery pop song that would be perfect for any high-speed car chase.
A lot of the songs seem to be about very little, but the abstract concepts are really quite charming. ‘Alphabet Pony’ is the album highlight. I have no idea what it means, but it forms part of a funky song that would be great to run on the spot to. It’s a little bit silly and puts a smile on your face, based on two chord patterns backing the two melodies. It goes from phase to phase in an obscenely short space of time. By the time you’re ninety seconds in, it feels like three minutes, in a good way, of course.
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When it comes, the albums tender moment is made moreso by the fact that it’s really the only one. ‘Black Balloon’ a beautifully stripped down love song, with a hand-clap percussion. It evokes the feelings of a departure you didn’t want to happen, and the melody somehow makes that pain tangible. Alison Mosshart’s vocals are at their peak on this album. The chorus on ‘Tape Song’ is one of her most effective wails, and she shows how adept she is at a variety of singing styles, from the mock lamenting of ‘Sour Cherry’ to the rather sexy leering on the LCD Soundsystem-esque ‘What New York Used To Be’.
The last track on the album, ‘Goodnight Bad Morning’ surely has to be some sort of tribute to The Velvet Underground, but it’s a very worthy one as well. They have that same art-rock aura about them, and with ‘Midnight Boom,’ The Kills have demanded that they be given the chance to become this timeless. It’s punchy, focussed, fun and infectious. It’s still The Kills, just without the mediocre bits. Unexpectedly brilliant!
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