The Horrorpops “Kiss Kiss Kill Kill”
“Kiss Kiss Kill Kill”
The Horrorpops always made it clear that they were not a psychobilly band. Don’t let the upright bass and thumping, swinging music fool you. With their third record, “Kiss Kiss Kill Kill,” The ‘Pops seal the deal with a dozen tracks that run the gamut of styles, from ska to new wave.
Frontwoman Patricia Day has grown into her voice over the last half decade. Through out the record, she bellows her voluminous vocals, punctuating her lines with the occasional scream. But mostly, she croons with a slight hint of snotty punk rock attitude amidst her rock & roll swagger.
The record kicks off with the traditional rockabilly twangfest on “Thelma & Louise,” an obvious homage to the classic movie. Guitarist/psychobilly legend Kim Nekroman cranks up a feast of surf riffs, soaked in reverb, while Day slaps her bass into oblivion.
Day takes hair metal to task on “Disco,” calling out a twit that is trapped in the ’80s. It’s a trip listening to Day call out the suckiness of bands like Poison, but it’s ironic that a track trashing metal is followed by a tune that is dripping with ’80s synth pop (“Kiss Kiss Kill Kill). Don’t get me wrong, this is a great song with “Killing Moon” style backing riffs and a tune that perfectly compliments Day’s Pat Benetar’s “We Will Be Invincible” era vocals. It just takes some getting use to.
The Horrorpops don’t stop with new wave. The band dust of some ska riffs on “Missfit” and take the twang up a level on the Misfits meets Dick Dale monster surf track “Horrorbeach Part 2.”
However, none of the more experimental tunes can compare to classic Horrorpop throw backs like “Refugee” and “Private Hall of Shame,” which prove that no matter how hard the band tries to stray from its psychobilly roots—the music is in their blood.
“I haven’t changed/ I’m still the same/ I’m just a Copenhagen refugee/ You found love, but I found hope/ I’m just a Copenhagen refugee,” Day sings reminiscently.
“Kiss Kiss Kill Kill” finds The Horrorpops in their finest form. Rather than a ramshackle mix of different styles, it is a cohesive a document of an aging band that has settled into maturity–Even if they do feel the need to trash Bret Michaels.
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