I’m not sure if there’s a current band that does songs about sex and the dangerous side of love better than The Kills (Jamie Hince and Alison Mosshart). Ash & Ice is certainly about both, and it’s also a hip journey into electro-rock that I didn’t expect.
The album begins with electro beeps on “Doing It to Death,” but Hince’s squawking guitar is close behind. The mix of Hince’s as-always fine guitar work with the electro touches is interesting, as is the reverb on Mosshart’s vocals during the bridge. Synth-percussion then mixes with a traditional drum kit on “Heart of a Dog,” which is a sexy showcase for Mosshart’s bad ass-ness as she sings about coming back yet again to a lover she knows is bad for her. It also has a sultry bass groove throughout it that gets into your bones.
“Hard Habit to Break” isn’t a cover of the sappy Chicago song, but instead a near drum and bass track with Mosshart dressing down her lover as he tries to control her. Ash & Ice is firmly into electro-rock territory by the time we get to “Bitter Fruit” and its programmed beats and synth bass. It’s a wicked groove, and Hince and Mosshart’s co-vocals are outstanding. “Days of Why and How” is minimalist guitar, a drum machine, some bass, and Mosshart singing into what sounds like an old microphone. Don’t worry, it all sounds good.
The opening of “Let It Drop” is so quirky that it almost sounds like the track wandered in from another record until Hince’s guitar walks into the room. “You give me the shakes. You give me the cold sweats,” Mosshart sings, making us swoon. The song could be a pop-dance track with a bit of remixing. “Hum for Your Buzz” has an interesting title and an even more interesting sound. Mosshart’s vocals are clear as Hince’s guitar sounds like he’s playing in the back of a forgotten highway bar. It reminds you that the Kills could (and I wish they would) make a great blues record.
“Siberian Nights” has Mosshart singing, “I could make you come in threes. I’m halfway to my knees. Am I too close for comfort?” No, Ms. Mosshart. The answer to that is a definite “No.” Beware the Psycho shower scene soundtrack-like synths on this, however, for I feel they reveal wickedness behind Ms. Mosshart’s seductive lyrics. She’s just as good on “That Love,” which is a pure torch song.
“Impossible Tracks” sounds like “classic Kills.” The programmed beats are minimized in favor of Hince’s panther-prowl guitar work. “You get what you give. I don’t regret what I did,” Mosshart sings. I don’t know if she’s singing about leaving someone or shagging him (and not feeling guilty about either). “Black Tar” keeps up the guitar-driven sultry rock the Kills do so well. Hince’s guitar on “Echo Home” sounds like it’s from a warped record of a spaghetti western soundtrack, and his vocals mesh well with Mosshart’s. The electro-rock comes back to finish the record with “Whirling Eye,” and it’s a sharp track that sounds like they teamed up with Metric or listened to a lot of krautrock before they recorded it (and how about that psychedelic guitar solo from Hince?).
As I mentioned at the beginning of this review, I didn’t expect so many electro touches from the Kills, but it all works. I suppose the “ash” in the album’s title could refer to the gritty guitar work and tough lyrics, while the “ice” could refer to the cool synth touches and loops featured throughout the record. It could also refer to Mosshart’s love of cigarettes and how both she and Hince like to kick back a few cocktails now and then. Kick this album back with them. It’s smoky and cool.
Keep your mind open.
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