Product details

Artists The Kills
Genre Independent, Punk
Content CD
Publication date 21.02.2005


No Now (Telephone Radio Germany)
Love Is A Deserter
Dead Road 7
Good Ones
I Hate The Way You Love
I Hate The Way You Love Pt.2
At The Back Of The Shell
Sweet Cloud
Rodeo Town
Ticket Man


Customer reviews

  • brutal gut

    Written on 16. November 2007 by Hippi.

    wirklich der oberhammer....

  • No Wow

    Written on 14. February 2007 by die Pelle.

    Ich find gerade dieses aufbauen ohne höhepunkt (obwohl es die höhepunkte gibt, einfach nicht lautstärke- oder verzerrungstechnisch) sehr gut/lustig. Die spannung wird aufgebaut und man meint jedesmal, nun sollte der Krach so richtig losbrechen. Natürlich ist dies nach mehrmaligem hören nicht mehr der fall, dafür sind die songs besser geworden. I Hate The Way You Love oder The Good Ones sind ja wohl unglaublich. Dieses reduzieren auf ein paar (gedämpfte) gitarren, einem pc-schlagzeug, ein paar electrofrikeleien und ihren (vor allem ihrer[unglaublich bluesigen]) stimmen erhöhr nur den ganzen spass am album. Am anfang hatte ich demnach auch mühe aber irgendwann hats dann geklappt und ich bin hingerissen. übrigens, ist dieses aufbauen ohne höhepunkt nicht auch ein symbol für den sex ohne höhepunkt oder für die enttäuschende liebe?

  • schade

    Written on 22. January 2006 by Whatever.

    Leider Schlechter als "keep on your mean side"! Diese CD hat ein paar gute Stellen, so ist zum Beispiel der Titeltrack einfach nur geil (Diese Stimme ist einfach göttlich!), aber was mir fehlt sind Höhepunkte. Die Lieder bauen sich allesamt langam auf, ohne jedoch irgendwann einen Höhepunkt zu erreichen, und fallen dann wieder in sich zusammen. Wenn ich diese CD höre, kommt es mir vor wie Sex ohne Höhepunkt... Einziger Pluspunkt gegenüber dem Vorgänger ist die deutlich besser zu Geltung kommende Stimme von Allison Mosshart, deshalb gleichwohl ein Sehr Gut...

  • wow

    Written on 21. June 2005 by aleph alpha.

    i met a beautiful girl at abart zurich. i tried to keep in touch but i wasnt sucesful. unfortunalty.

  • elektro-lo-fi-gefrickel

    Written on 17. May 2005 by Ctulhu.


  • yes now

    Written on 07. April 2005 by Tacheles.

  • i love the way they play pt. 2

    Written on 12. March 2005 by walt whitman.

  • i love the way they play

    Written on 12. March 2005 by walt whitman.

  • they put a spell on me

    Written on 08. March 2005 by soledad brother.

  • wow

    Written on 07. March 2005 by bebe rebozo.

  • GEIL

    Written on 07. March 2005 by nicht von interesse.

    die cd esch de hammer

  • rrrrr..........ockt!

    Written on 03. March 2005 by Babazhoff.

    roh,kurz und einfach cool!

  • Vorfreude!!

    Written on 31. January 2005 by ich, wer sonst?.


  • blurek...

    Written on 28. February 2007 by o.
    This customer review refers to a alternative version.

    heisst mit richtigem namen "copy/paste"...

  • Czesc

    Written on 01. April 2006 by ____blurek...--_.
    This customer review refers to a alternative version.

    I am a chain-smoking vegan. That is it. Do not forget to keep on your mean side.

  • blurek whats up?

    Written on 30. March 2006 by ramon.
    This customer review refers to a alternative version.

    hey blurek.... what kind of freak are you?? tsss

  • the mean side

    Written on 17. March 2006 by ____blurek...--_.
    This customer review refers to a alternative version.

    Happily colliding with the new craze for a back to basics aesthetic, the Kills rough-edged, blues-rooted sound got an abnormally unanimous thumbs-up from the UK’s press in particular. Said NME: “Anyone with a love of The Velvet Underground, Patti Smith and ill-rock in general will find plenty to gorge on here. In a world over-run with careerists, The Kills’ desire to be outsiders means there’s a glow to their dischord that you’d do well to bathe in.” Mojo hailed it as “a testament to the unstoppability and violence of human desire,” while quality nationals like The Times and The Observer heaped further praises thereon.

    Always into updating The Velvet Underground’s idea of a rock band encompassing all areas of Art and Life – the total experience – they toured incessantly, including a memorable support slot with Primal Scream, for 18 months making the most of the freedom that their micro-operation afforded.

    In early 2004, the hangover wore off, and they soon set themselves a target of completing their second album by the end of June. To that end, they withdrew from the distractions of London, repairing for a month to sleepy Benton Harbour, Michigan.

    “It’s a total ghost town,” says Alison, “about an hour and a half from Chicago. There’s nothing there at all. These kids there have bought a huge abandoned building on Main Street, and done it out with an amazing recording studio.”

    Jamie: “We took all this stuff with us – mini-discs of us talking, guitar riffs, thousands of little tiny bits of paper, typewriters, paint and art books and journals from the past year. To start with, we weren’t thinking about songs, we were just talking about all the things that inspired us over the last months. We spent the first few days just looking at those, talking, getting into the right psyche with it. It was the perfect place to get away from it all. You’d walk and not see any glass for ten minutes. Everything was boarded up, like a dead world, then we’d go back into our HQ of art and music and ideas.”

    Alison: “We wrote the whole record in two and a half weeks, then we took a train to Chicago, then got a plane the same day to New York. Two days later, we started recording at Sear Sound in Midtown, two weeks, day and night. It’s this brilliant, weird place run by an old couple, who started out in the ’50s making soundtracks for p3rn movies. We gave ourselves no time to sit back and think what we were doing.” As Jamie elaborates, “People have got so obsessed with the whistles and the bells that they’ve forgotten what they’re calling for. It’s about setting mics up and getting a good natural sound and that’s what we tried to work with”.

    “The day after we finished recording, we mixed it for a few days. Then we had a two-day break, then we mastered. Then we didn’t listen to it at all for two weeks, went out and became more human again, spoke to people, saw New York, and then we came home. In all we had three months away. We went from no songs to a finished record in 47 days.”

    Called ‘No Wow’, it is if anything a more minimal record even than their debut. “Last time,” recalls Jamie, “everyone said about the album that it was just skin and bone, that there was no fat on it. With this one, we wanted to get rid of the skin and bone and get right to the heart. Every song is just a little pumping heart.” The title itself is derived from a “heart racing, goose flesh, tears in our eyes conversation about what we were going to do with this band”, the duo had on the day Alison relocated to London four years ago. Discussing New York in the late 60’s, Pop Art, the Beat poets, the emergence of both punk and disco, in contrast to today’s desperate concerns about “being down to earth”, they reached the same conclusion. There was just “no wow” anymore….

    Early on, he’d intended to make the record radically different by writing and playing all his parts on a Moog keyboard, which didn’t get repaired in time for Benton Harbour. He did, however, buy a cheap old pre-programmable drum machine, which you can hear ticking and thumping away on forthcoming single, ‘The Good Ones’ and several others, aiming as he was “for the low end of Giorgio Moroder”.

    Where the ’60s pop art explosion fired them last time out, ‘No Wow’ is, for its creators, a tracing of the lineage between CBGB’s and Studio 54, exploring the turbulent years in New York when punk turned into disco. Hence, the drum machine. Sound-wise, guitar reverb was kept to a minimum. Jamie: “We wanted everything right there in the speakers, dry and bare.” A lot of time was spent experimenting with guitar sounds and tunings. The axe weirdness of ‘Sweet Cloud’ comes not from a common-or-garden FX pedal, but a Capo clip, with cigarettes wedged under the strings to tune them down.

    Lyrical inspiration came from all over the place. ‘The Good Ones’, the first single from the album, tells a familiar tale. Adapted from a Kills diary entry, the song catalogues the craving for and consequent desperate pursuit of that elusive good time. One song is about a day they spent on HMS Intrepid. Others were put together almost like collages of words that they’d cut out from magazines and letters – part of the whole Benton Harbour blitz. ‘Back Of The Shell’ was inspired by a visit to Myers Supermarket out there.

    Jamie: “It’s like the midwest Wallmart, really trashy. We went there on a break from the studio to buy food and wine. Nothing happens there at the weekend, so Myers is the only place the young people can go. They all turn up dressed to nines, hair done up, wearing jewelry and incredible clothes, and most of them really overweight. It was so screwed up. So we just wrote a story about that, like a couple coming in, f333ing in the back of the gas station, and 15 years later, they’re looking at each other, like, ‘Jesus, that was one teenage f333 in a gas station and I’ve been living in a world of TV dinners ever since’!”

    Single contender Love Is A Deserter was a late inclusion on the album. “We finished the record in New York but I didn’t feel we were finished”, says Jamie. “It came out of a thing I’d written in my journal about love and passion. People talking about love being the most important thing in the world but it’s kind of overrated. I was looking at these homeless guys and I wondered what keeps them from throwing themselves off a bridge. It’s not love, because love’s just deserted them. Love is this coward that runs away but passion will stay with you”.

    Once the album was done, the duo moved to a house in North London which will act as their HQ, with a recording/rehearsal studio, space to do art and ample room to throw parties. Their vibe is ultra-positive, their relationship as complicated and mysterious as ever, their shared vision undimmed.

    Jamie: “We still feel exactly the same. There’s no way of saying it that makes what we’re doing sound as important as it is for us. We want to create our own scene. – maybe not to be immediately appreciated and blown up, but to accumulate, so that people can look back and see we did a lot, and made a difference.”

  • keep on your mean side

    Written on 27. February 2006 by Bebe Rebozo.
    This customer review refers to a alternative version.

    The girl, VV, stares out the guy, Hotel. He fires an intense volley of noize into her stomach. She spits back at him, an inch or two from his face, and collapses to the floor. He places the body of his guitar, now rampaging into feedback, on the ground between her knees, and angles the neck over her. She arches her back, hair flailing. The sound surges…

    You don’t see chemistry like this on a stage every day of the week. The Kills, VV and Hotel, have a special relationship. They met five or six years ago in South London, while VV, née Alison Mosshart, was on tour in Europe with her band at the time, Discount. Hotel, then known as merely Jamie Hince, had just wound up his group Scarfo and was just knocking around a few ideas of his own, solo. Before Alison returned home to Florida, they exchanged numbers. They corresponded, sending each other letters, tapes (of music; of themselves talking) and occasionally splashing out on a pricey international call.

    At the turn of the millennium, Alison moved in with Jamie in his flat in Gypsy Hill. They gave each other a stage name, and The Kills were born. In many ways, The Kills had been born the very day when they met. The band was an expression of everything they experienced together, a document of them. They were entirely self-sufficient. Jamie did most of the guitar, Alison did most of the singing, Jamie learnt to drum and laid down some backing beats on tape. What else did they need? Anyone else would be an intruder.

    One Summer, they hired a car and drove round the States, calling ahead to clubs in towns they fancied stopping in, and booked themselves to play there. They started recording officially in March 2002, with Liam Watson at Toe Rag. Four tracks, including their cover of ‘Dropout Boogie’ by Captain Beefheart, were released by Domino as the ‘Black Rooster EP’ that Summer. Early in 2003, the three originals therefrom were added to eight other self-penned songs to make up their first album, ‘Keep On Your Mean Side’.

    Says Jamie, “We’re still really proud of it. We’d talked for weeks and weeks about the songs we wanted to write. We wrote and recorded them 100 percent exactly like we wanted them. That album was the only thing I’d ever done in my life which turned out exactly as I’d intended it.”

    Happily colliding with the new craze for a back to basics aesthetic, the Kills rough-edged, blues-rooted sound got an abnormally unanimous thumbs-up from the UK’s press in particular. Said NME: “Anyone with a love of The Velvet Underground, Patti Smith and ill-rock in general will find plenty to gorge on here. In a world over-run with careerists, The Kills’ desire to be outsiders means there’s a glow to their dischord that you’d do well to bathe in.” Mojo hailed it as “a testament to the unstoppability and violence of human desire,” while quality nationals like The Times and The Observer heaped further praises thereon.


    Written on 27. February 2006 by Gene Gregorits .
    This customer review refers to a alternative version.

    Very well said, Mike. Now get the new LP. Most people don't take my advice seriously. For example, most of my alleged friends have yet to take in a viewing of Homeboy, or Last Night at the Alamo, or Death to Smoochy...the family of the Great Maligned. The Kills thing seems to be taking shape everywhere though. But back to Ryan's little testimonial, it is true that the Kills are unafraid of sincerity, as if that is something in itself to be admired. "I'm SINCERE! I really MEAN it MAAAAN." Big deal. Shut up. Go away. After all, everyone THINKS they mean it, even if "it" just happens to be the PRIDE IN TOTAL FILTH AND ARROGANCE, hideous fashion, "ROCK ROCK ROCK, GONNA ROCK YOUR LITTLE PUSSY, GONNA ROCK YOUR LITTLE ASS, ROCK ROCK ROCK"....yup, that's basically IT, myopic and stubbornly stupid, all wrapped up in a greasy 73 leather jacket and tossed into the River Rouge. Rock and roll is the only art form that I hate to love, because 99% of it makes me feel like a cranky old man.

    But to be as deliberately anti-social and suicidally long-term optimistic as the KILLS, to just fire away with those countless gestures of unrestrained effrontery for which they are coming to be both reviled and adored, IS something of great importance, and I do mean historically. This goes beyond music. It's the reason why people like me don't t give up on rock and roll, full total. The problem with all these infantile scene whore bands is that they are too immersed in music. Music need not only be based on and informed by other music. What you get then, as with inbreeding, is drooling idi*ts. The Kills encompass film and literature in their songs, it's incredibly visual music, evocative as a chunk of Celine or William Burroughs or Harry Crews. They're far smarter, se*ier, and authentic than anyone else the snotty punks are stumbling around dumbly nodding their heads to. The Kills, like their 03 touring mates Primal Scream, are mixing and matching the best and darkest of subcultural elements to create a mythological framework, wherein a fireworks show for unleashed feelings of contempt and desolation can take music for the new age. Pure se* and guts, with rusty shotguns, cheap bathtub crank, awkward screwing behind filling stations...a total collision of primal lust and uncontrollable panic. (They recorded the new record in a remote Michigan ghost town, and the effect makes this effort even more "Nebraska" flavored than their first.) A band like this comes along but once in a decade if you're lucky. In the 80s, there was a few, like PiL, Pixies, Stone Roses, MB Valentine, Dream Syndicate etc. The 90s had Primal Scream, Come, Handsome Family, Geraldine Fibbers,. Maybe I'm missing a few.


  • and it always sounds good to me

    Written on 24. February 2006 by Candy Cane Child.
    This customer review refers to a alternative version.

  • dvd?

    Written on 30. August 2005 by Jack Joe.
    This customer review refers to a alternative version.

    das album ist super.
    was ist auf der Bonus DVD?

  • a

    Written on 02. March 2005 by andi.
    This customer review refers to a alternative version.

    minimalistischer, dreckiger, elektrischer bluesrock. einfach geil

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