Let the good times rollâ€¦
Now this was a pleasant surprise.
Not being overly familiar with the band’s previous work, I was expecting
a cliché pyschobilly record when I opened the package and saw a press
kit for the Horrorpops. What I got instead was twelve tracks
Don't miss a beat with our FREE daily newsletter
of female fronted rock and roll with a healthy dose of pop. Kiss
Kiss Kill Kill is enjoyable, it’s easy to listen to and could
very well be the record that bumps the Horrorpops up a few places
in the musical food chain.
Opening number “Thelma And Louise”
is the perfect mix of old and new, blending the band’s pyschobilly
roots with their love of pop. The musical backbone of the song provides
the perfect backdrop for Patricia’s sultry vocal performance,
one which has no doubt left many a man weak at the knees at a Horrorpops
“Missfit” shows just how strong Patricia’s voice really is, as the minimal instrumentation in
the verses puts the spotlight well and truly on her vocal chords. The
guitars - courtesy of Nekromantix mastermind Nekroman
– are at their most dominant during the song’s chorus but even the
more gentle flourishes add to the band’s overall sound.
Having recently interviewed the
band and being told the story behind “Boot To Boot”, I found the
song to be one of the most powerful on the record. The story of Copenhagen’s troubled youths being relegated to the streets combined with the drive
and strength of the music makes for one hell of a tune.
A good friend of mine recently
made the comment that “the eighties sucked the first time round, why
would anyone want to do it again”?! With that in mind, “Heading
To The Disco” is one of the more light hearted moments on a record
which is thematically geared towards love and murder. Lyrics like “I
don’t get why anyone would want to repeat this more than once” are
destined to become fan favourites!
The album’s title track has
a far more prominent new wave influence than we’ve heard before, but
it doesn’t sound nostalgic or tacky in any way. If anything, it serves
as evidence that the band’s song writing has evolved to such a high
level that they’re able to successfully incorporate a myriad of styles
into their sound without it sounding forced.
and “Hitchcock Starlet” are both great songs once they get moving,
but I found both their introductions a tad boring, whereas “Highway
55” doesn’t waste any time in getting the ball rolling. Similar
to the album’s first track in its simplicity, it’s an upbeat number
which features some of the record’s most impressive guitar work, whilst
“Copenhagen Refugee” is another punk influenced tune that shows
the Horrorpops aren’t going to abandon their roots in a hurry.
An impressive release from a talented
band, one whole should have a long and fruitful career ahead of them
if they keep putting out records of this caliber.