Vast assignments of bright sound
The Kills have done it again, with their sixth studio album God Games further continuing the English-American rock duo’s success. It’s no wonder big name labels including RCA Records, Third Man Records and Rough Trade Records have cooperated with the group over the years, with The Kills’ most recent project released under Domino Recording Company.
God Games is an impressively modern project for a band who has already put out so much music. It sounds like rock, but there are far more layers within the mix, straying it from other projects in this present-day genre. These layers aren’t necessarily genre-based, the whole album sounds like a rock record. However, subtle sound selection, mixing characteristics and arrangement decisions really separate God Games from the mass rock and roll stereotype that exists today.
This breath of fresh air is emphasized from the start. “New York” is an electrifying wake up call to those who wish to rock. However, instead of being carelessly greeted with typical guitar, drum and bass grooves, the listener is welcomed with an entirely new sound. A wholesome, unified wall of noise is presented throughout this piece. It cuts deep with a brassy timbre and instruments are glued together in a peculiar way. The drums are oddly electronic, while the bass could pass off as a distorted synth. However, lead guitar lines are apparent and clarified. This and the vocals are the most rock and roll elements on “New York.” The rest is up to the listener to interpret.
“Wasterpiece” is a really cool track, more typical in its instrumental arrangement but vastly unique in its sonic capabilities. The entire track feels washed with a nostalgic haze, a “Sweater Weather”-esque feel as fans of The Neighbourhood might understand. While “Wasterpiece” itself is melancholy, lead singer Alison Nicole Mosshart manages to sing with a certain confidence that allows the piece to remain uplifting. In fact this whole album is uplifting, even at its deepest, lowest points – a true reflection of life as considered and portrayed by two artists. It’s also worth mentioning the introduction of “Going To Heaven.” The sound design in this section of the album is so interesting that it sounds like something a dubstep artist like Subtronics would sample, a fleeting section of sound that could be utilized in a million different ways.
Overall, God Games is a rewarding project worth checking out. Listeners should brace themselves for an unknown experience, a rollercoaster ride into the minds of The Kills.
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