Single Review – The Kills -Heart Of A Dog

The Kills will release their fifth studio album Ash & Ice on June 3rd and in their time together, Alision Mosshart and Jamie Hince have been able to mould a distinctive, yet  consistent sound and it is a sound they are currently showcasing to us in 2016. With a greater use of production effects and alterations as well as a keener sense of space within a track, the duo look to churn out yet another solid album. Their new single ‘Heart Of A Dog’ follows this mantra and sees the noisy duo being just as loud, bold and effective as they have ever been and long may that continue.

Owen Riddle

Single Review – The Kills – Doing It To Death

In the line of noisy rock duo’s, the duo of Alison Mosshart and Jamie Hince are up there with the best. Their combined project, “The Kills” are among the most well-established of a genre that they as well as bands like The Black Keys and Jack White have popularised. In comparison to the other two the Kills have developed a more distinctive electronic tinge best shown on tracks like “Sour Cherry” and “Cheap and Cheerful”. With it being an astonishing five years since their last album the anticipation that this single and their album comes with is inextricably high (Ash & Ice will be released on June 3rd).

“Doing It to Death” is an almost ridiculously cool track. In that sense the funeral themed video with its minimalist choreography is perfectly fitting. The track starts in with electronic sampled beats and though it continues throughout the whole song it’s soon dominated by their heavy groovy guitars. Mosshart, as usual, sounds perfect and the echo of Hince voice over hers offers that little bit more. “Listen up, It’s picking up” the Mosshart says self-consciously before transitioning to the bridge of the song where the music spaces out and Mosshart sings “we’re double sixing it night after night after night”. Quite what “double sixing” is never explained and I wouldn’t have it any another way. There aren’t any wholesale changes in the song but there isn’t anything to be upset about either as the duo confirm they’ve not lost their collective creativity during their hiatus.

Callum Christie

This Weeks Music Video with Royal Blood, Gang of Four feat. Alison Mosshart, Natalie Prass and The Twerps

Single Review – The Dead Weather – Buzzkill(er)

The Dead Weather have released two previously unheard tracks from their free downtime between the bands various commitments with the Kills, QOTSA and of course Jack White and his solo career. The tracks ‘Buzzkill(er)’ and ‘It’s Just Too Bad’ are being released as part of Third Man Records’ Vault Package Number 21 that has the track on a gold coloured seven inch. The first track features the dual riffs of the echoed and space creating outer riff and the more closely recorded and isolated grind of the nearer guitar, which also leads the main rhythm section and consequently most of the track’s instrumentals with only basic, yet sharp percussion behind it. Alison Mosshart and her strong, yet deliberately shaky vocal on the verses turn into shouts and bellows in the chorus. A low slung and neatly delivered track.

‘It’s Just Too Bad’ is a track that delivered in an even slicker, but also raw fashion with all the struggling guitars and feedback left and laid bare. This is in conjunction with a closer vocal from Alison, but one that has a less cleat focus upon it.

Sunday Suggestion – The Kills – Sour Cherry

The Kills are Alison Mosshart from Florida and Jaime Hince from Buckinghamshire and the duo released their debut album eleven years ago with Keep On Your Mean Side. Back in 2008 they released their third and most acclaimed album with Midnight Boom. It’s a album with a lot of heavy, fuzzy and scathing guitars that the song is formed around but these riffs are fluid and traversing. Not blocky and monotonous like may of todays pliers of such a trade. A fine example of this is the single ‘Sour Cherry’. Everything about this track has a constant buzz and tremble to it and this reflects on the fabric of the song. The distorted percussion is broken by fuzz enthused strikes of the guitar while Alison’s vocal; effortless in it’s delivery and close in it’s recording, rolls each line off with ease as she’s backed up by Hince’s equally laid back boasts. If the bold beat doesn’t hit you the brief blasts of the guitar will. The instrumental see’s Hince wrestle a sonically charged roar from his guitar before settling back into the thumping percussion section as it ends all too abruptly. An unconventional yet simple song in it’s drive and rhythm but a highly creative one at that. They make Royal Blood, Drenge or Darlia look like complete amateurs in every way. All this long before these groups set about their drab, droning sound. About six years in fact.