The Kills, Blood Pressures

By Paul Casey

In a rock band, the lead singer is perhaps the most important element in lending identity and credibility. A distinctive, forceful voice can knock people down quicker than even the most distorted guitar. The Kills‘ new album Blood Pressures, while enjoyable, suffers from Alison Mosshart’s inability to adequately fill her role as front person.

Her voice, while perfectly acceptable on the slower songs, fails in both power and character when attempting to stand up as a blistering rock fiend. Compare her to say Karen O, or Peaches when in rock mode, and it is apparent that Mosshart is lacking something vital: presence.

A similar issue plagued both Dead Weather albums, most severely. It must be said however, that the combination of Mosshart and the other member of The Kills, Jamie Hince, is far more pleasing than her pairing with Jack White. There it was immediately apparent, when placed side by side with one of the defining blues and rock voices of the last decade, how ultimately empty her voice is in a rock context. Yet alongside Hince, she seems a far more acceptable lead singer. Hince gets just over a minute to display his own vocals on the sweet “Wild Charms,” and when both share vocal duties, as on “Satellite,” the best qualities of the album begin to surface.

It is when things are left to the energy and persuasion of Alison’s voice alone that things take a steady descent, as on the anemic showing of “Nail In My Coffin” and “DNA.” The slower, sweeter songs—like the quite lovely “Baby Says”—show that it is not a lack of talent stopping this album from reaching its potential, but a poor choice of material. There is an emptiness to the more guitar heavy tracks, where there should be rage and passion, something seen more clearly on The Kills’ debut, Keep On Your Mean Side.

The second half of the album is much better, due to the slower pace and judicious use of filters on the one successful rocker, “You Don’t Own the Road,” which also gives a much needed edge to Mosshart’s vocals.

The ease with which she steers the string and piano ballad, “The Last Goodbye,” as well as the excellent closing, “Pots and Pans,” shows the quality and potential of Blood Pressures. For as much as I was distracted by Alison Mosshart’s lack of presence and personality, there are more good songs than bad, here. When things shift down a gear, and deal in hypnotic percussion, with Hince and Mosshart complementing each other, this album is very good indeed.

Blood Pressures was released on April 5 via Domino Records. Please visit The Kills’ website for more information, including a free download of the track “DNA.”