Blood Pressures, the Kills’ fourth studio album, could be described as the culmination of lead singer Alison Mosshart’s musical endeavors from the past few years. 2008’s Midnight Boom, the pop-leaning, playful third LP from the Kills, combined dance-punk influences with Mosshart’s sexually charged persona, creating a more fully-formed brand of the garage-rock minimalism of their first two releases. After releasing Boom, Mosshart supplied the vocals for supergroup the Dead Weather on two albums before reuniting with Kills guitarist Jamie Hince.
The resulting album marks something of a return to earlier form, but the influence of the Dead Weather’s superstar Jack White is keenly felt. Mosshart has developed a more nuanced presence reminiscent of White’s dynamic, multifaceted run as frontman of the now-defunct White Stripes. Instead of the feisty ferocity of 2005’s No Wow, she projects both confident seduction and vulnerability with aplomb. The production throughout the record is cleaner than before, allowing her sultry vocals to drive the songs without distracting discord.
The flawless album opener, “Future Starts Slow,” showcases the best of the duo’s gritty vocal harmonies backed by Hince’s blaring guitar line. “Damned If She Do” exemplifies the more measured pace of these tracks, as well as Mosshart’s penchant for haunting lyrics: “She damned if she do, she damned if she don’t/If history hangs her well, her memory won’t.” On “The Last Goodbye,” Mosshart even unveils a seductive, cabaret-lounge croon.
The Kills yet again manage to coax a complete sound out of only two members (remind you of anyone?). And while the White Stripes may not be their closest sonic predecessor, the Kills’ newfound ability to transcend minimalist guitar rock and explore diverse sounds make the Stripes an appropriate reference point.
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