The Kills have triumphantly returned from a seven-year hiatus with their sixth studio album, ‘God Games‘, a sonic journey that reasserts the duo’s effortlessly cool sound. This release, marking the longest gap between albums in their storied career, feels like not just a return, but rather a bold assertion of creative vitality and enduring prowess.
In the interim, the duo navigated separate creative waters, with Alison Mosshart lending her voice to her longstanding The Dead Weather project while Jamie Hince contributed his musical dexterity to Iggy Pop‘s ensemble. The natural question was whether The Kills had exhausted their creative reservoirs as a duo. The answer, delivered through ‘God Games‘, is a resounding no.
Guiding this resurgence was the seasoned hand of producer Paul Epworth, a shrewd choice considering his history as the band’s inaugural sound engineer all the way back in 2002. His dual expertise in mainstream pop hit-making and an intimate understanding of The Kills‘ early dynamics proved instrumental in crafting an album that stands out as one of their most ambitious and aesthetically striking releases.
‘God Games‘ kicks off with the sonic boom of “New York,” a track that not only sets the album’s tone but serves as a declaration of intentions. While the scuzzy bluesiness of their earlier works takes a slight backseat, the chemistry between Jamie‘s always-in-control playing and Alison‘s enchanting vocals remains an unnervingly impressive constant. “LA Hex” injects a playful vibe, showcasing more weapons from the band’s arsenal. Underneath the guitars intertwine with vocal melodies with precision, creating a synergy that remains the beating heart of ‘God Games.’ Mosshart‘s voice, undoubtedly one of the finest in rock ‘n’ roll in my opinion, walks a fine line between strutting confidence and vulnerable introspection. The results are captivating.
What sets ‘God Games‘ apart from previous releases is an openmindendess to venture into fresh sonic territories. That is not to say that the duo have ditched everything that made them so distinctive, but the decision to incorporate keyboards into many of these tracks represents a brazen move that pays off brilliantly. “103” exemplifies their mastery of minimalist foundations, demonstrating that their hooks and melodies are not confined to a specific set of ideas and instruments. Sure, the guitar is ever present but the track is built around the sparse moments rather than the reverse. Elsewhere , recent single “Wastepiece” introduces slinky synths and syncopated beats, modernizing the band’s mystique and reaffirming the duo’s ability to seamlessly craft infectious songs.
Despite the diverse approach from one track to the next, ‘God Games‘ maintains a cohesive identiy, epitomized by Hince‘s description of the album as a set of “godless spirituals.” The album reflects a quest for strength and perhaps even salvation, evident in “My Girls, My Girls,” where the Compton Kidz Club Choir‘s soaring harmonies elevate the self-deprecating chorus into a glorious anthem.
At a time where many “veteran” acts have, consciously or subconsciously, consolidated their sound into a safe and reliable formula over the years, The Kills remain too cool to be complacent. ‘God Games‘ is not just a return; it’s a bold assertion that two decades since their debut, Mosshart and Hince continue to push boundaries, redefining their identity while staying true to themselves.
‘God Games‘ is out now on Domino.
TRACKS:
