I have a band-crush! (Band-crush = when you love a band so much that you’re on their mailing list, you’re their Facebook friend, Twitter tweep and Youtube slut and you buy every new album no questions asked.)

My band-crush is on The Kills, perhaps, more specifically, on Alison Mosshart, or VV for short. Who can blame me? She is the archetypal rock star with oversized cowboy boots, skinny jeans, some or other skanky t-shirt, a cigarette dangling by its own accord from her lower lip, a bottle of booze not far behind, a fringe that covers most of her face and a fuck-you-attitude to boot. (I did contemplate not using such foul language, but Alison would have objected.)
To add to her rock star status, she also belongs to The Dead Weather! With Jack White! And her band name is Babe Ruthless!
There is some other oke, Jamie someone, (that is dating Kate Moss from what I’ve read) that could possibly be the brains behind the operation, plays a lot of instruments, shares the mic with the square-jawed Mosshart and probably lives the real rock star life. He’s not quite as delectable though.

On the new album, Bloodpressures, the fourth and finest attempt, they have taken their normal sparse, disjointed, but crisp guitar-and-drum-driven-rock and layered it with a bigger, fuller, epic sound that still managers to build up their signature blend of seething sexual tension and imminent danger.

Will the fans like it? Obviously some will cry and demand they return to their ‘roots’. Others will view this album as a natural and necessary evolution of the band and an exciting one at that.

I am stoked to see where they go from here.

The band describes the new album best in an interview with Jon Savage.
Dreamy and feverish, hooky and repetitive, obsessive and claustrophobic – that’s The Kills’ fourth album, “Blood Pressures”. ‘Obsessive and claustrophobic?’ repeats Jamie Hince: ‘yes, I like that. After we’d made the record, Alison and I talked about the theme: there’s a lot about gender, about relationships; it’s about sex – so, blood pressures’.
‘Right now, I would say it’s quite a dark record,’ says Alison Mosshart; ‘the lyrics are a little twisted. I think I always say that about every record I do. I think we’re just both obsessive people. Obsessive about what we love and maybe even more obsessive about what we hate. I need to perform this record live to see what it really is, and what it’s really communicating’.