Cheap and Pretentious Records: Recent Episodes
Cheap and Pretentious Records
Virtual record label for The Kiss That Took A Trip and Victorian Bug:
www.thekissthattookatrip.com www.victorianbug.com
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
After almost two years of relative silence ('Punk cathedral' spawned no less than four singles), The Kiss That Took A Trip makes a quiet return with "Garlands", a brief, sweet and eclectic digital-only EP that will bridge the wait between "Punk Cathedral" and the next proper album.
"Garlands" solidifies the slow transition into shorter songs with vocals that The Kiss has been making in the last few years. The best example of this is opener "Copernicus", a melancholic indie rock tune based on layers of guitars, pounding drums and floaty vocals. The most rocking track on the EP is possibly "Comedian mum", where you can find The Kiss in its sludgier and jazzier form, building an instrumental that sets itself apart from the rest of the songs on here. "3 year flu" is a short ballad where simple guitar and unrefined vocal displays blossom confidently.
Post-rock always finds its way onto The Kiss' releases, sometimes in an innovative way, merging quiet guitar passages with groovy brass sections ("Whoever hurt you has my sympathy") and sometimes going by the book of quiet-loud-quiet-loud dynamics, such as in "The Hays code". "Grimoire" serves as a precious and narcotic coda to the former, closing the EP like waning incense.
VICTORIAN BUG · Crawl back to chemo once you're done with that holistic bullshit by Cheap and Pretentious Records
VICTORIAN BUG · Summoning a winged demon (ain't what it used to be) by Cheap and Pretentious Records
VICTORIAN BUG · The never-ending death toll rise & the news site refreshing fever by Cheap and Pretentious Records
VICTORIAN BUG · My middle finger is a picklock, my dick is a crowbar by Cheap and Pretentious Records
VICTORIAN BUG · Dead bitch in a ditch (still life, throbbing death) by Cheap and Pretentious Records
VICTORIAN BUG · 72 virgins at your feet and now you can't even get a stiffy (requiem For Barcelona) by Cheap and Pretentious Records
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
Leaving a long tradition of semi-concept albums behind (or, at least, albums with a big sense of consistency and self-awareness), The Kiss That Took A Trip takes a deep breath and releases what is just a collection of songs. Fresher and more to the point than past LPs, "Punk Cathedral" is the best possible snapshot of what The Kiss is about in 2017. A musical project that is equally comfortable with standard alternative rock songs, epic instrumentals, acoustic dark ballads and numerous flirtations with diverse genres in touch with experimental music. A polyhedric sound always in search of the best atmosphere.
The carefree nature of the album manifests itself in many ways, but especially in the way this album feels like a tribute to imperfection, randomness and the beauty of a mess, including the artwork. A sketchy spirit that doesn't get in the way of solid songs.
The first few tracks of the album are more effective versions of the classic sound of The Kiss. From the epic post-rock of "Ambient punk", the opening track, to the electronic balladry of "Dry swallowed pill", chiming guitars, pianos, synths and pounding drums steal the show, even in those places where things get weird and experimental ("Stabbing porcelain").
After the unusually brief and sunny "Crapola", detours start to jump on the listener. "Guitar pick chew" toys with lots of uncommon patterns and repetition, "Grounded" couples fast-tempo catchiness with a dark industrial coda, "Love + algebra" is a guilty dance floor pleasure and "Cook, Landis & Griffin" takes the cake as the most uncharacteristic tune by The Kiss ever.
The final third of "Punk Cathedral" blossoms with lots of melody and vocal work. "Faulty logic can cost lives" would make for a good college radio anthem and "Queen of the night shift" closes the album using slide guitars, strings, melancholy, and talking about regret and the uncertainty of the future.
The Kiss That Took A Trip releases "Electroforest (By Night)", a quite straightforward EP that works as an appendix to "Electroforest". It features five outtakes from those recording sessions, although the songs on this release must not be listened to as subpar tunes, but just as a bunch of songs that didn't fit in the smooth flow of the album.
Opener "Bad heavens" is a short but effective post-rock study on the flexibility of simple arrangements, while the acoustic sounds and rhythmic approach of "Cotton barricade" make it too cheery for "Electroforest". "Us in the torch-wielding mob" is the obscure mirror image of "Snowstorm", and it evolves epically from electronic ambiences to martial drums and catchy vocals. "Beautiful bruises" is a creepy interlude based on synths and it's permeated with an analog feel. Closer "The last artisan" is a standard unplugged song, equal parts melancholy and serenity.
"Electroforest (By Night)" is a simple continuation of the sounds on "Electroforest", and it should please the listeners of that album.
The Kiss That Took A Trip releases "Electroforest (By Night)", a quite straightforward EP that works as an appendix to "Electroforest". It features five outtakes from those recording sessions, although the songs on this release must not be listened to as subpar tunes, but just as a bunch of songs that didn't fit in the smooth flow of the album.
Opener "Bad heavens" is a short but effective post-rock study on the flexibility of simple arrangements, while the acoustic sounds and rhythmic approach of "Cotton barricade" make it too cheery for "Electroforest". "Us in the torch-wielding mob" is the obscure mirror image of "Snowstorm", and it evolves epically from electronic ambiences to martial drums and catchy vocals. "Beautiful bruises" is a creepy interlude based on synths and it's permeated with an analog feel. Closer "The last artisan" is a standard unplugged song, equal parts melancholy and serenity.
"Electroforest (By Night)" is a simple continuation of the sounds on "Electroforest", and it should please the listeners of that album.
The Kiss That Took A Trip releases "Electroforest (By Night)", a quite straightforward EP that works as an appendix to "Electroforest". It features five outtakes from those recording sessions, although the songs on this release must not be listened to as subpar tunes, but just as a bunch of songs that didn't fit in the smooth flow of the album.
Opener "Bad heavens" is a short but effective post-rock study on the flexibility of simple arrangements, while the acoustic sounds and rhythmic approach of "Cotton barricade" make it too cheery for "Electroforest". "Us in the torch-wielding mob" is the obscure mirror image of "Snowstorm", and it evolves epically from electronic ambiences to martial drums and catchy vocals. "Beautiful bruises" is a creepy interlude based on synths and it's permeated with an analog feel. Closer "The last artisan" is a standard unplugged song, equal parts melancholy and serenity.
"Electroforest (By Night)" is a simple continuation of the sounds on "Electroforest", and it should please the listeners of that album.
The Kiss That Took A Trip releases "Electroforest (By Night)", a quite straightforward EP that works as an appendix to "Electroforest". It features five outtakes from those recording sessions, although the songs on this release must not be listened to as subpar tunes, but just as a bunch of songs that didn't fit in the smooth flow of the album.
Opener "Bad heavens" is a short but effective post-rock study on the flexibility of simple arrangements, while the acoustic sounds and rhythmic approach of "Cotton barricade" make it too cheery for "Electroforest". "Us in the torch-wielding mob" is the obscure mirror image of "Snowstorm", and it evolves epically from electronic ambiences to martial drums and catchy vocals. "Beautiful bruises" is a creepy interlude based on synths and it's permeated with an analog feel. Closer "The last artisan" is a standard unplugged song, equal parts melancholy and serenity.
"Electroforest (By Night)" is a simple continuation of the sounds on "Electroforest", and it should please the listeners of that album.
The Kiss That Took A Trip releases "Electroforest (By Night)", a quite straightforward EP that works as an appendix to "Electroforest". It features five outtakes from those recording sessions, although the songs on this release must not be listened to as subpar tunes, but just as a bunch of songs that didn't fit in the smooth flow of the album.
Opener "Bad heavens" is a short but effective post-rock study on the flexibility of simple arrangements, while the acoustic sounds and rhythmic approach of "Cotton barricade" make it too cheery for "Electroforest". "Us in the torch-wielding mob" is the obscure mirror image of "Snowstorm", and it evolves epically from electronic ambiences to martial drums and catchy vocals. "Beautiful bruises" is a creepy interlude based on synths and it's permeated with an analog feel. Closer "The last artisan" is a standard unplugged song, equal parts melancholy and serenity.
"Electroforest (By Night)" is a simple continuation of the sounds on "Electroforest", and it should please the listeners of that album.