Also check out other covers tracks on that site from other Trinity Stardust favorites She & Him, and John Legend with The Roots.
Showing posts with label The Kills. Show all posts
Showing posts with label The Kills. Show all posts
Tuesday, June 29, 2010
The Kills cover "Pale Blue Eyes"
It's good to see while Alison Mosshart has been busy making two impressive albums with Jack White, and Jamie Hince has been busy trotting about with Kate Moss, that The Kills have found time to give us some new material. Even if it is just one song for now. The duo has covered Velvet Underground's "Pale Blue Eyes" for the Levi's Pioneer Sessions. The song is up as a free download here. See the vid below for some in the studio footage from the recording.
Wednesday, July 29, 2009
SSv Debates The Dead Weather's Horehound
The latest in Stereo Subversion's Internal Debate series is up. This time it's the highly hyped, highly anticipated album from Jack White's new band The Dead Weather.
I call them "Jack White's new band" because that is pretty much how they are being billed and referred to across the interweb. But in actuality, the band is more a showcase for Alison Mosshart than it is for Jack White. Just look at the cover art. I've been a long time fan of Mosshart's full-time band The Kills since forever and have been telling folks about them for years. This project is obviously a higher profile gig for her and it's gratifying to have people see what I've been praising all this time. Incase you've been living under a rock the name of the the album is Horehound, and it has been getting consistently favorable reviews across the board.
However, there is a little dissension among us staffers at Stereo Subversion. At least one of us doesn't seem to dig it. Not me... I fucking love it. So go over there and check the article out. Also, Stereo Subversion is set to go through a major redesign any minute now. The new look may have already launched by the time you read this. So head over there. Link...
And because it just wouldn't be my blog unless I posted a picture of the hot rocker chick, here is Alison...
Sunday, December 28, 2008
Favorite Albums of 2008
So I'm officially sick of "Best Albums of 2008" lists. I think I've read one to many to care about them anymore at this point. A couple weeks ago I posted about Stereo Subversion unveiling their list. But even before that, list were rolling in from every magazine and blog site across the interweb. There's Spin, Rolling Stone, Pitchfork, StereoGum, and Prefix among many others. Even my fellow Austin bloggers got into the act with ultra8201, Austin Town Hall, and Cannibal Cheerleader all offering up their own opinions as to what were the best releases of the year. And what is to be learned by looking at all these list? Well for one, it's pretty apparent that most critics and bloggers listen to all the same music. You'll see Fleet Foxes, TV on the Radio, Deerhunter, Crystal Castles, and (for reasons that are totally lost on me) Lil Wayne. Cream of the crop or products of the great hype machine?
Either way, because it's customary to do so, I give you my favorite albums of 2008. And I'm stressing the word favorite as these are the albums that through the year found permanent places in my personal heavy rotation. Beginning with #1...
The combination of Beck and Danger Mouse is a match made in heaven. This ranks among Beck's most lyrically revenant as he touches on everything from global warming ("Gamma Ray"), to government conspiracy ("Chemtrails"), to spirituality ("Walls"). All the while we are treated to Danger Mouse's most mesmerizing production. There was nothing not great about Modern Guilt.
It took 11 years for Porishead to follow-up their self-titled masterpiece, and they did not disappoint. Filled with everything that makes Portishead who they are, it also marked a giant step toward a more progressive sound as they explored new territory with instrumentation and music making in general. Even if they never release a forth, this album solidifies the band as one of the most important groups in modern music history.
Dan Auerbach's pint-sized protégée was a huge surprise in 2008. Her first full-length album contained more heartbreak and emotion than all the other albums on this list combined. Not since Fiona Apple's debut at 19-years-old has a young songwriter created such mature songs. Read my full review on StereoSubversion.com.
No band in 2008 were as cool as The Kills. Midnight Boom was the album these two were born to make. It was hip, stylistic, fun, and most important rockin'. Even with a electronic drum machine, this album is pure punk rock. Read my full review here.
If Sean Connery’s James Bond started an indie band and recorded an album, it would probably sound a lot like this. A bit of indie rock noir, this album could be the soundtrack to a 60's spy movie. It's like nothing else I've ever heard before and a great find in 2008.
With the economy in further turmoil and hometown Philadelphia’s crime rate rocketing to record levels, The Roots pick up where 2006’s Game Theory left off. Rising Down continues with a harder street edge, almost completely abandoning the “organic hip-hop jazz” label of their earlier days. A time will come when The Roots' latest isn't the best hip-hop album of the year; but thankfully I don't see that day coming anytime soon.
Chan Marshall once again delivers a superb collection of covers. Backed by her Dirty Delta Blues Band she created an album that was a nod to yesteryear and a leap forward for her own life. The true gems are found on the Deluxe Edition where she serenades in spanish on "Angelito's Negros" and souls-out some Hot Boyz on "I Feel" (yes, Cat Power covers Lil Wayne).
Ms. Lewis finally stands alone on an album without the assistance of Rilo Kiley or The Watson Twins. The result is a very musically diverse effort where she delivers some of the strongest material of her career. Lewis is only getting stronger with each release.
Danger Mouse produces another one of my favorites from 2008. The Black Keys deliver a funky, bluesy, and soulful album choke-full of goodness that gets better with repeated listening. The closing duet with Dan Auerbach and Jessica Lea Mayfield is outstanding.
A beginning to end high-energy album that will have you singing ooohhh's, aaahhh's, and whoa's. Punk meets doo-wop as Son & Daughters give their fullest album to date. Read my full review on StereoSubversion.com.
What can be say about this album that hasn't already been said. Probably nothing. That it even was released was in itself an accomplishment. The fact that it was actually good, a better one. Read my full review on StereoSubversion.com.
Jack White’s other band unfortunately will always be labeled as only half as exciting as The White Stripes. But even half as good as The Stripes still beats a lot of music released today. The Raconteurs are now more than just a side project. The closing track "Carolina Dreams" is one of the best of White's career and gives me the chills every time I hear it.
This album shouldn't exist. Actors are not supposed to actually succeed when they try to make the jump to music. But hollywood sweetheart Zooey Deschanel became an indie-rock darling when she joined forces with M.Ward to release their debut album which garnered tons of critical praise. How can you not smile when listening to this?
While his Chi-town partner in crime was busy fiddling around with an auto-tuner, Common enlisted the services of The Neptunes to produce his ode to early 80’s era techenotronic hip-hop (à la Afrika Bambaataa). A huge departure from his last two albums, Common does one for the party crowd and what fun it is.
Trading in his undeniable lyricist skill for a venture into audio-tuned R&B, America’s most outspoken college dropout transforms into Kanye 3000 to create his The Love Below. But putting aside the precedence, 808s & Heartbreak is able to break boundaries and be an impressive departure from traditional hip-hop. Urban music needs more creative-minded artists like Kanye West who are willing to shoot the dice on an album.
The Rest of the Best (in no particular order)
Sunday, October 5, 2008
Sybris & The Kills @ ACL (AT&T Blue Room Stage), 9.28.08
It was good to see there were Sybris fans in attendance at ACL Fest, evident by the uncoerced joining in of synchronized claps during the bands performance of “Burnout Babies.” The grunge quartet from Chicago released their sophomore album Into the Trees earlier this year to critical acclaim in the indie world and has further established their self as the band that sounds most like Sonic Youth since…well Sonic Youth. Lead by the fiery Angela Mullenhour on vocals, Sybris (pronounced ‘sib-ris’) gave a haunting rendition of the standout track “Something About a Dark Horse or Whatever,” and reached back to their debut to close out with “The Best Day Ever in History.”
Next up on the Blue Room Stage were The Kills, who are having a career-changing year. Their latest album Midnight Boom gained praise in every major music publication and helped them score a high profile position opening for The Raconteurs on tour. This performance was however very odd. After beginning with “U.R.A. Fever,” Allison “VV” Mosshart took a minute to scuttle to the side of the stage where she appeared to vomit. Returning, she blamed the heat for her lackluster energy but it was very evident that she was nursing what looked like the hangover from hell. Mosshart, who normally lights up the stage live, toned it down staying toward the shaded rear of the stage a majority of the time and left her partner Jamie “Hotel” Hince in front to carry most of the weight.
Doing the best they could in the situation, the duo hit great songs like “Sour Cherry,” “Now Wow,” and “Cheap and Cheerful.” But it proved to be too much for Mosshart who at one point had to sit down and have a stagehand attend to her between songs. She pushed through their closing number “Fried My Little Brains” and rushed off as Hince again blamed the 95-degree weather and commented, “This is bullshit. Come see us when it’s dark out.”
In hindsight, the strange performance was not just a result of the heat or a hangover. Later in the week it was announced that The Kills arrived in Austin that weekend and faced the mysterious disappearance of their tour bus and bus driver. It’s an unlucky snag on the road of an incredible year for The Kills, but they will undoubtedly snap back and push on much like they dealt with the Texas sun.
Tuesday, May 6, 2008
The Kills - Midnight Boom
By the time the second track “Cheap and Cheerful” hits you, you’ve just realized that this ain’t your daddy’s punk rock. This ain’t even the punk rock you’re used to. For their third album The Kills have evolved the blend of garage/indie/blues they are know for by turning up their danceable rhythm and created a sound that perfectly embodies their cool-like-dat ‘70s rock star swagger. Even the album title Midnight Boom implies that they’re more interested in getting the pits bouncing to the beat, than moshing into each other.
Just looking at Alison "VV" Mosshart and Jamie "Hotel" Hince, you get the feeling that the good ‘ol days of rock have returned. Hotel stands with his guitar in hand like a young Keith Richards, and VV approaches the microphone like a female version of Mick Jagger (a much more attractive version I must clarify). As shown on their previous albums Keep on Your Mean Side and No Wow, their minimalist lineup produces a big sound. The drum machine behind them may deter some, but listening to tracks like “Hook and Line” should solidify in anyone’s head that this is pure rock.
There is no breakthrough on the album lyrically. VV’s words come off like those heard in any typical playground rhyme. Perhaps that’s why “Black Balloon” manages to stand out. Strategically placed in the middle of Midnight Boom, it’s a down-tempo track in which VV sheds some of the most heartfelt lyrics of her career. “I swear our jet is crashing in my mind/ You can hold on but I wouldn’t waste your time,” she sings as patty-cake like hand clapping sets the mood.
With that The Kills seem to go from 0 to 100 mph without a break; what follows is the most in-your-face track on the album, “M.E.X.I.C.O.” At a mere minute and a half long, it seems to punch you in the gut just to remind you that VV and Hotel can thrash with the best of them. But soon your head starts nodding again like it’s a night at the Roxbury when you hear songs like “Sour Cherry” and “Alphabet Pony.”
At the end of the year, most critics will likely overlook Midnight Boom when they compile their best of 2008 list. That’s what happens when you’re lesser known in this country and signed to an independent label based in London. However in my opinion, this is the best rock album released so far this year. Twelve tracks measuring in at just over a half hour, it shows a young band fulfilling their potential and settling into their niche, all the while having fun. Yes imagine that; it’s 25 years after The Clash rocked the kasbah and punk can still be fun.
-William Trinity
This review was first published online in the May 2008 edition of Feel The Word Magazine.
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