KISS (Official Thread)
- Thread starter METALPRIEST
- Start date
Some early Monster reviews! 
Sweden's biggest newspapers:
Expressen 4/5 - "The biggest hardrock release of the year", "ditching the hits and looking at the album as a whole"
Aftonbladet 4/5 - "Classic Shock 'n' Roll for the 2010's", "best album since Creatures"
Sweden's biggest newspapers:
Expressen 4/5 - "The biggest hardrock release of the year", "ditching the hits and looking at the album as a whole"
Aftonbladet 4/5 - "Classic Shock 'n' Roll for the 2010's", "best album since Creatures"
Kiss - Monster review
Year : 2012
Genre : Glam Rock
Label : Universal Music Group
Origin : United States
Rating : 9.0 / 10
Buy it now
Experience knows no age. You can think about Kiss what you want, - and no one will give a shit - but the one thing you won't ever be able to take away from this band is that they are the masters of their craft of delivering covert operation family friendly gla... chick metal. PMS metal. The Monster LP is the picture perfect reproduction of the old school BUT exigent registers of late '80s early '90s glam metal. The package - hihi. - really has no shortcomings - ihihi, and hihihi. - to it and renders a rigorously, meticulously and competently constructed glam rock soundscape from beginning to end, top to bottom. You literally have to be a troll-prospect to find a flaw in its fabric, such steep is the level of attention that has been devoted to the creation process of this album. Read on to know more.
And that "more" is really more of the same, this time around. The Monster LP is an almost embarrassingly "characterous" praise of hair rock/"metal", and the connotations you will pick up will scream and shout stone traditional BUT very well constructed glam warfare all over the psyche. Hell, the drums are featuring cowbells, Steven Adler type. Aerosmith, early G'NR are key similarity factorials, and the more intense behavior and pastime of the LP has a skillful tendency to find fun balance points between classic rock and dangerless - pinball machine - heavy metal.
The review will be short, because the disc has no secrets to explore, and it isn't in the need to scatter/implement any of those, either. Kiss, as a PRODUCT, can't just come forth and offer some strange exotic deviation from their original niche, and why would they, really? As noted, experience knows no age, and these dinosaurs STILL have it, have no doubt about that, and I would dare to go as far as to call this release ballsier as an Overkill pinball machine thrash metal album, though, as a snob, I might deny that I listen to these declarations. But, to be honest, the album has a healthy amount of high quality hooks, and it is not impossible to get hooked - TUKK! - on those to make you realize that you basically are a mancunt, because you are rocking out to the new Kiss, and that is a privilege for the 13 years old girl, you mancunt!
The album is cliché but so masterfully and flawlessly constructed at that, and it seeks to be the obedient taste-slave of your expectations with such rabid eagerness and shamelessness that the only thing more embarrassing than listening to it is is to write too much about it. With Monster, Kiss delivers the album you, as a Kiss fan hoped they would, only, they give you more of it than you dared to dream of. You won't be disappointed, because you wont' be given the chance to be disappointed on.
Rating : 9.0 / 10
Year : 2012
Genre : Glam Rock
Label : Universal Music Group
Origin : United States
Rating : 9.0 / 10
Buy it now
Experience knows no age. You can think about Kiss what you want, - and no one will give a shit - but the one thing you won't ever be able to take away from this band is that they are the masters of their craft of delivering covert operation family friendly gla... chick metal. PMS metal. The Monster LP is the picture perfect reproduction of the old school BUT exigent registers of late '80s early '90s glam metal. The package - hihi. - really has no shortcomings - ihihi, and hihihi. - to it and renders a rigorously, meticulously and competently constructed glam rock soundscape from beginning to end, top to bottom. You literally have to be a troll-prospect to find a flaw in its fabric, such steep is the level of attention that has been devoted to the creation process of this album. Read on to know more.
And that "more" is really more of the same, this time around. The Monster LP is an almost embarrassingly "characterous" praise of hair rock/"metal", and the connotations you will pick up will scream and shout stone traditional BUT very well constructed glam warfare all over the psyche. Hell, the drums are featuring cowbells, Steven Adler type. Aerosmith, early G'NR are key similarity factorials, and the more intense behavior and pastime of the LP has a skillful tendency to find fun balance points between classic rock and dangerless - pinball machine - heavy metal.
The review will be short, because the disc has no secrets to explore, and it isn't in the need to scatter/implement any of those, either. Kiss, as a PRODUCT, can't just come forth and offer some strange exotic deviation from their original niche, and why would they, really? As noted, experience knows no age, and these dinosaurs STILL have it, have no doubt about that, and I would dare to go as far as to call this release ballsier as an Overkill pinball machine thrash metal album, though, as a snob, I might deny that I listen to these declarations. But, to be honest, the album has a healthy amount of high quality hooks, and it is not impossible to get hooked - TUKK! - on those to make you realize that you basically are a mancunt, because you are rocking out to the new Kiss, and that is a privilege for the 13 years old girl, you mancunt!
The album is cliché but so masterfully and flawlessly constructed at that, and it seeks to be the obedient taste-slave of your expectations with such rabid eagerness and shamelessness that the only thing more embarrassing than listening to it is is to write too much about it. With Monster, Kiss delivers the album you, as a Kiss fan hoped they would, only, they give you more of it than you dared to dream of. You won't be disappointed, because you wont' be given the chance to be disappointed on.
Rating : 9.0 / 10
KISS - Monster Reviewed
Rock Hard
Posted on Sunday, October 07, 2012 at 11:37:21 EST
KISS' long-awaited album, Monster, is out now in Europe and will see the light of day this week in North America. BraveWords.com's famed author/reviewer Martin Popoff has heard the album. Check out his 8.5/10 review below:
What was Gene on about... a cross between Revenge and Destroyer or something like that? Of course that’s hype without barely thinking, and you can never go back, nor would you want to. Do you really think Kiss songs from Dressed To Kill wouldn’t sound like Kindergarten right now? Fortunately, Monster isn’t any of that. Instead, it’s what happens when two dynamic, unique, legendary, signature vocalists (who just can’t help but put you an’ me in a good mood) meet up with a scholar of a classic rock fan in Tommy Thayer (a maker of great mid-‘80s records, but old enough to be an early ‘80s guy), and a superlative journeyman drummer in Eric Singer, Badlands never to be bested. Both are long-time Kiss members, but more importantly, you get the sense that their ‘80s and ‘90s music brains are complementary and catalytic to Paul’s and Gene’s still goodly songwriting instincts, along with whatever other corporate but wisely tamped collaborations collude to make Monster such a hot rockin’ spread of heavy, arena-grade Kiss, start to long-live-the-loud finish. First thing one notices is that the grinding, noisy playing along with the attendant red-line production of the thing make for a more organic and energetic record than the very good Sonic Boom album of three years ago. Impressed with that thing I was, but it’s positively tame compared to the wall of sound (er, sorry, there’s even a song called that) that is Monster. I mean, ‘The Devil Is Me’ is a cymbal-crashed party, and ‘Back To The Stone Age’ is the sermonizing of ‘Let There Be Rock’ crossed with ‘Kick Out The Jams’ and even the New York punk metal of The Dictators, who Kiss finally make that natural link with. Elsewhere, there is indeed that slake and draw from original Kiss, that synthesis between UK glam and Kiss’ own boogie-based contribution to glam. In this realm, there’s storied Kiss-proud cowbell party metal like ‘Outta This World’, ‘Eat Your Heart Out’ and ‘All For The Love Of Rock & Roll, (which sounds enough like the old Tuff Darts song of the same name to make one wonder if they know it). Then there’s ‘Freak’ and ‘Last Chance’, where those chromium melodies collide with songwriting and arranging that is more complicated than at first glance. And man, adding to this inspired vibe of loomed large integrity, is the fact that Gene’s bass is often buzzed to Lemmy proportions and Steve Harris volumes, as evidenced on ‘Shot Mercy’, one the album’s smartest tracks, one that brings the bar-room clang of, well, at least party-grade Motorhead, thanks to a kick-ass rhythm track from Eric and Gene. The theme falling out of Monster is a surprising and noble one. Nay, never expected to have Gene pick and then try sell the vibe for us, but I’m glad it’s even better than his load of it. Not Revenge or Destroyer or anything, Monster in fact sounds like the under-rated and snarling Carnival Of Souls crossed with The Dictators’ Bloodbrothers, the self-titled New York Dolls, Get Your Wings from Aerosmith, and Sonic Boom by these four wily rockers that know how to throw a party.
Rock Hard
Posted on Sunday, October 07, 2012 at 11:37:21 EST
KISS' long-awaited album, Monster, is out now in Europe and will see the light of day this week in North America. BraveWords.com's famed author/reviewer Martin Popoff has heard the album. Check out his 8.5/10 review below:
What was Gene on about... a cross between Revenge and Destroyer or something like that? Of course that’s hype without barely thinking, and you can never go back, nor would you want to. Do you really think Kiss songs from Dressed To Kill wouldn’t sound like Kindergarten right now? Fortunately, Monster isn’t any of that. Instead, it’s what happens when two dynamic, unique, legendary, signature vocalists (who just can’t help but put you an’ me in a good mood) meet up with a scholar of a classic rock fan in Tommy Thayer (a maker of great mid-‘80s records, but old enough to be an early ‘80s guy), and a superlative journeyman drummer in Eric Singer, Badlands never to be bested. Both are long-time Kiss members, but more importantly, you get the sense that their ‘80s and ‘90s music brains are complementary and catalytic to Paul’s and Gene’s still goodly songwriting instincts, along with whatever other corporate but wisely tamped collaborations collude to make Monster such a hot rockin’ spread of heavy, arena-grade Kiss, start to long-live-the-loud finish. First thing one notices is that the grinding, noisy playing along with the attendant red-line production of the thing make for a more organic and energetic record than the very good Sonic Boom album of three years ago. Impressed with that thing I was, but it’s positively tame compared to the wall of sound (er, sorry, there’s even a song called that) that is Monster. I mean, ‘The Devil Is Me’ is a cymbal-crashed party, and ‘Back To The Stone Age’ is the sermonizing of ‘Let There Be Rock’ crossed with ‘Kick Out The Jams’ and even the New York punk metal of The Dictators, who Kiss finally make that natural link with. Elsewhere, there is indeed that slake and draw from original Kiss, that synthesis between UK glam and Kiss’ own boogie-based contribution to glam. In this realm, there’s storied Kiss-proud cowbell party metal like ‘Outta This World’, ‘Eat Your Heart Out’ and ‘All For The Love Of Rock & Roll, (which sounds enough like the old Tuff Darts song of the same name to make one wonder if they know it). Then there’s ‘Freak’ and ‘Last Chance’, where those chromium melodies collide with songwriting and arranging that is more complicated than at first glance. And man, adding to this inspired vibe of loomed large integrity, is the fact that Gene’s bass is often buzzed to Lemmy proportions and Steve Harris volumes, as evidenced on ‘Shot Mercy’, one the album’s smartest tracks, one that brings the bar-room clang of, well, at least party-grade Motorhead, thanks to a kick-ass rhythm track from Eric and Gene. The theme falling out of Monster is a surprising and noble one. Nay, never expected to have Gene pick and then try sell the vibe for us, but I’m glad it’s even better than his load of it. Not Revenge or Destroyer or anything, Monster in fact sounds like the under-rated and snarling Carnival Of Souls crossed with The Dictators’ Bloodbrothers, the self-titled New York Dolls, Get Your Wings from Aerosmith, and Sonic Boom by these four wily rockers that know how to throw a party.
LRI RECORD REVIEW KISS-Monster-Universal
Okay, I will admit, the first thought that enters my mind upon examining the new disc from my favorite band KISS is “Man, I hope the album itself is better than the cover art”. Thankfully, it is. Much better, in fact. I really wasn’t that big on the last album cover but could at least appreciate the fact that it looked like an artist spent some time on coming up with a concept. The title “Monster” could have lent itself to so many different creative interpretations from comic book inspired dreamscapes to abstract images that provoke but instead we get a rather stock looking photo of the current band. It’s sort of an understandable fact that the guys don’t really take a lot of chances at this stage in the game and generally go for the “if it ain’t broke don’t fix it” approach whether talking about setlists or staging but KISS album covers have often been far more interesting. This time out, screw the cover and just dive into the music which is insanely potent for a band which has been doing this for seemingly eons.
Everyone has heard the track “Hell or Halleluljah” with it’s driving riff (reminiscent of Deep Purple’s “Burn”) and it’s an excellent choice for an opening act. Paul Stanley takes a “Modern Day Delilah” approach again here and it works like a charm. It feels good, indeed. Stanley produces the albums these days and has always been a massive part of the creative end of KISS so the next question is; does Uncle Gene bring it this time out? The next song, “Wall Of Sound” is excellent, probably one of the best Gene Simmons songs since the REVENGE era. It’s a loud, aggressive and affirmative anthem for the KISS Army to remember that “we all bow down to the wall of sound” and it’s refreshing whenever Gene can convincingly put across emotions other than horniness. More of this please. The next song, “Freak” is another anthem of course and another song where Paul is just really, really strong in all respects. It’s also another very effective “us against them” song that KISS has always been able to use to their advantage in rallying the troops.
I really want to like “Back To The Stone Age” but I can’t honestly admit that it’s any good. Of course you can tell from the title and lyrics that despite the shared credits this is Gene’s personality to the max. We all “get it” but it’s reeeallly cheesy nonetheless (and us KISS kids were bred on this stuff). The performances from all four KISSers are great and the verses and riff are great musically but the chorus is kind of where it all falls apart and feels undeveloped. Gene’s bass playing on “Monster” is fantastic though so who gives a shit and the next song, “Shout Mercy” in particular really features some of his best bass work in years. It’s a snakelike riff that wraps around a really great Paul Stanley and Tommy Thayer guitar tradeoff and an excellent song structure in general. It’s heavy, as is most of the album (which features NO ballads) but with a hint of Detroit Motown swagger for good measure and diversity.
My favorite song at this point is easily “Long Way Down” which features some seriously strong and intelligent lyrics from Paul Stanley while also showcasing his undying love and appreciation for Led Zeppelin. Eric Singer turns in a great performance on the entire album but is just unreal on “Long Way Down”, beating the living hell out of his kit exactly the way we all know he’s capable of. The next song “Eat Your Heart Out” took some listens to grow on me but it now has big time. I love the fact that this song is such a group effort, which is ultimately what wins over the listener about “Monster” in general. It’s a Gene vocal but he’s hardly the only one who shines on the track which features Tommy Thayer kicking total ass through the entire track and Paul and Eric throwing in great gang vocals about a “hot mess” who is just what they need (heeheehee).
Gene gets another vocal turn on another seriously strong track, “The Devil Is Me” and again, I have to say he has not sounded this focused since REVENGE. I realize that the Bob Ezrin produced early nineties effort was not a commercial smash for the guys but I think they know exactly how strong REVENGE was nonetheless. A song like “The Devil Is Me” and MONSTER as a whole kind of hints at what of a proper follow up to REVENGE would have sounded like has the band not gotten off track during the “Carnival of Souls” and “Reunion” era. Tommy and Eric are the future of KISS and they both get a lead vocal chance to shine on this album just as they did on SONIC BOOM. Tommy’s track “Out of This World” didn’t strike me as immediately as his previous attempt “When Lightning Strikes” but it is growing on me. The guitar playing and production is amazing here and absolutely captures some of that original “Spaceman” feel and sound that they were going for. Eric’s track “All For the Love Of Rock and Roll” is rumored to be a single/video, probably a good choice as it’s unbelievably catchy and probably the most Klassic KISS sounding song on the album. Eric’s vocals have always been one of the biggest reasons I am a huge fan of his and he has never sounded better than he does here, he should sing two or three tracks next time around. Speaking of Klassic KISS, some of the best moments have always been when Gene and Paul trade off verses on a track and that happens here on “Take Me Down Below”. It’s a classic ‘Oh yeah’ horny KISS song that features an unhinged and sick solo by Tommy and sets the stage for “Last Chance” the closing track (unless you have the Best Buy version). “Last Chance” is effective in its urgency and Paul’s delivery, a blazing, tom-tom beating blitz of a song that succeeds in making you wanna push repeat to start the whole ride all over again. Hey, I’m very obviously a member of the KISS Army and biased as hell, but MONSTER has at least 8 or 9 great rock and roll songs to make anyone stand up and salute.
Okay, I will admit, the first thought that enters my mind upon examining the new disc from my favorite band KISS is “Man, I hope the album itself is better than the cover art”. Thankfully, it is. Much better, in fact. I really wasn’t that big on the last album cover but could at least appreciate the fact that it looked like an artist spent some time on coming up with a concept. The title “Monster” could have lent itself to so many different creative interpretations from comic book inspired dreamscapes to abstract images that provoke but instead we get a rather stock looking photo of the current band. It’s sort of an understandable fact that the guys don’t really take a lot of chances at this stage in the game and generally go for the “if it ain’t broke don’t fix it” approach whether talking about setlists or staging but KISS album covers have often been far more interesting. This time out, screw the cover and just dive into the music which is insanely potent for a band which has been doing this for seemingly eons.
Everyone has heard the track “Hell or Halleluljah” with it’s driving riff (reminiscent of Deep Purple’s “Burn”) and it’s an excellent choice for an opening act. Paul Stanley takes a “Modern Day Delilah” approach again here and it works like a charm. It feels good, indeed. Stanley produces the albums these days and has always been a massive part of the creative end of KISS so the next question is; does Uncle Gene bring it this time out? The next song, “Wall Of Sound” is excellent, probably one of the best Gene Simmons songs since the REVENGE era. It’s a loud, aggressive and affirmative anthem for the KISS Army to remember that “we all bow down to the wall of sound” and it’s refreshing whenever Gene can convincingly put across emotions other than horniness. More of this please. The next song, “Freak” is another anthem of course and another song where Paul is just really, really strong in all respects. It’s also another very effective “us against them” song that KISS has always been able to use to their advantage in rallying the troops.
I really want to like “Back To The Stone Age” but I can’t honestly admit that it’s any good. Of course you can tell from the title and lyrics that despite the shared credits this is Gene’s personality to the max. We all “get it” but it’s reeeallly cheesy nonetheless (and us KISS kids were bred on this stuff). The performances from all four KISSers are great and the verses and riff are great musically but the chorus is kind of where it all falls apart and feels undeveloped. Gene’s bass playing on “Monster” is fantastic though so who gives a shit and the next song, “Shout Mercy” in particular really features some of his best bass work in years. It’s a snakelike riff that wraps around a really great Paul Stanley and Tommy Thayer guitar tradeoff and an excellent song structure in general. It’s heavy, as is most of the album (which features NO ballads) but with a hint of Detroit Motown swagger for good measure and diversity.
My favorite song at this point is easily “Long Way Down” which features some seriously strong and intelligent lyrics from Paul Stanley while also showcasing his undying love and appreciation for Led Zeppelin. Eric Singer turns in a great performance on the entire album but is just unreal on “Long Way Down”, beating the living hell out of his kit exactly the way we all know he’s capable of. The next song “Eat Your Heart Out” took some listens to grow on me but it now has big time. I love the fact that this song is such a group effort, which is ultimately what wins over the listener about “Monster” in general. It’s a Gene vocal but he’s hardly the only one who shines on the track which features Tommy Thayer kicking total ass through the entire track and Paul and Eric throwing in great gang vocals about a “hot mess” who is just what they need (heeheehee).
Gene gets another vocal turn on another seriously strong track, “The Devil Is Me” and again, I have to say he has not sounded this focused since REVENGE. I realize that the Bob Ezrin produced early nineties effort was not a commercial smash for the guys but I think they know exactly how strong REVENGE was nonetheless. A song like “The Devil Is Me” and MONSTER as a whole kind of hints at what of a proper follow up to REVENGE would have sounded like has the band not gotten off track during the “Carnival of Souls” and “Reunion” era. Tommy and Eric are the future of KISS and they both get a lead vocal chance to shine on this album just as they did on SONIC BOOM. Tommy’s track “Out of This World” didn’t strike me as immediately as his previous attempt “When Lightning Strikes” but it is growing on me. The guitar playing and production is amazing here and absolutely captures some of that original “Spaceman” feel and sound that they were going for. Eric’s track “All For the Love Of Rock and Roll” is rumored to be a single/video, probably a good choice as it’s unbelievably catchy and probably the most Klassic KISS sounding song on the album. Eric’s vocals have always been one of the biggest reasons I am a huge fan of his and he has never sounded better than he does here, he should sing two or three tracks next time around. Speaking of Klassic KISS, some of the best moments have always been when Gene and Paul trade off verses on a track and that happens here on “Take Me Down Below”. It’s a classic ‘Oh yeah’ horny KISS song that features an unhinged and sick solo by Tommy and sets the stage for “Last Chance” the closing track (unless you have the Best Buy version). “Last Chance” is effective in its urgency and Paul’s delivery, a blazing, tom-tom beating blitz of a song that succeeds in making you wanna push repeat to start the whole ride all over again. Hey, I’m very obviously a member of the KISS Army and biased as hell, but MONSTER has at least 8 or 9 great rock and roll songs to make anyone stand up and salute.
Lynch
Here for the cookies and the tunes
Will will post a few of my thoughts on the new album in a bit, but I wanted to share this video that I found (before I forget).
Coffee anyone?!
Coffee anyone?!
METALPRIEST
Senior Member
^^^^ 
Cool review there too 70's Guy!! Makes me wanna get it ASAP!!
Cool review there too 70's Guy!! Makes me wanna get it ASAP!!
Lynch
Here for the cookies and the tunes
One thing I'll touch on quickly. The Eric Singer track, All For the Love of Rock and Roll ... it REALLY sounds like something that was written back in the Rock and Roll Over era. It has the sound and feel of a cross between Mr Speed and Baby Driver. Not exact, but the general feel and groove is definitely there.
KISS - Monster
Universal
Metal Express Rating: 9.5/10
Release Date: 2012-10-08
by: MICK BURGESS
Email: mick@ metalexpressradio.com
BUY
Universal
With their garish black, white and silver face paint and outrageous costumes with six inch stack heeled platform boots, KISS may just be the most instantly recognisable band on the planet. Hated by the critics yet adored by their fans, almost four decades in the business and 100 million album sales suggests that they`ve done something right and now they are back with their 20th studio album, Monster.
For a band who only a few years ago proclaimed that their recording days were over only to hit back with Sonic Boom, an album that saw them kept of the top of the US album charts by Michael Buble, KISS are on something of a roll.
In the past KISS have sometimes been guilty of straying too far from their signature sound, with forays into Disco/Pop territory with Dynasty, Hair Metal (Animalize), Grunge (Carnival of Souls) and even Symphonic Rock (the intriguing but ultimately unsuccessful The Elder) but Monster sees KISS heading in a heavier, darker direction while still retaining those classic KISS elements that has seen 28 gold records come their way, a record haul for an American band and second only to The Beatles.
There`s plenty of thumping stop/start Rock `n` Roll riffs, screaming, staccato, Chuck Berry inspired guitar solos, fist pumping anthems and clanking cowbell. It`s all here in abundance, wrapped up with some of the tastiest melodies around.
Lead singer/guitarist Paul Stanley comes up trumps as usual with the hallmark up-tempo, chest beating songs laced with interminably catchy hooks. “Hell or Hallelujah” positively roars out of the stocks in a way not heard since “I Stole Your Love” kicked off Love Gun back in `77. “Freak” and “Last Chance” hit hard but with a melody you`ll be humming for an age.
Gene Simmons (bass/vocals), so often in Stanley’s shadow in the song writing stakes is a revelation with “The Devil is Me” and “Eat Your Heart Out” adding the menace and the bite to counter point Stanley`s glitz. Simmons hasn`t delivered this consistently since 1982`s Creatures of the Night opus.
While Stanley and Simmons share the bulk of the lead vocals, even trading lines in “Take Me Down Below”, lead guitarist Tommy Thayer and drummer Eric Singer have their moment in the spotlight. Singer, with his gravel edged voice, shines on “All For The Love of Rock & Roll”, a song that tips its hat to the early Dressed To Kill days while Thayer`s “Out of this World” is one of many highlights on the album.
Thayer, who at times has received stick for replacing the original Space Man, Ace Frehley, has succeeded in breaking out from the shadows not only co-writing nine of the albums tracks but stamping his own individual style throughout the album rather than closely replicating Frehley`s technique as on Sonic Boom.
A band almost 40 years into their career should by all logic be heading into pipe and slippers territory yet KISS have always lived to break the rules and may just have released their strongest, most consistent and exciting record since their `70`s heyday.
Universal
Metal Express Rating: 9.5/10
Release Date: 2012-10-08
by: MICK BURGESS
Email: mick@ metalexpressradio.com
BUY
Universal
With their garish black, white and silver face paint and outrageous costumes with six inch stack heeled platform boots, KISS may just be the most instantly recognisable band on the planet. Hated by the critics yet adored by their fans, almost four decades in the business and 100 million album sales suggests that they`ve done something right and now they are back with their 20th studio album, Monster.
For a band who only a few years ago proclaimed that their recording days were over only to hit back with Sonic Boom, an album that saw them kept of the top of the US album charts by Michael Buble, KISS are on something of a roll.
In the past KISS have sometimes been guilty of straying too far from their signature sound, with forays into Disco/Pop territory with Dynasty, Hair Metal (Animalize), Grunge (Carnival of Souls) and even Symphonic Rock (the intriguing but ultimately unsuccessful The Elder) but Monster sees KISS heading in a heavier, darker direction while still retaining those classic KISS elements that has seen 28 gold records come their way, a record haul for an American band and second only to The Beatles.
There`s plenty of thumping stop/start Rock `n` Roll riffs, screaming, staccato, Chuck Berry inspired guitar solos, fist pumping anthems and clanking cowbell. It`s all here in abundance, wrapped up with some of the tastiest melodies around.
Lead singer/guitarist Paul Stanley comes up trumps as usual with the hallmark up-tempo, chest beating songs laced with interminably catchy hooks. “Hell or Hallelujah” positively roars out of the stocks in a way not heard since “I Stole Your Love” kicked off Love Gun back in `77. “Freak” and “Last Chance” hit hard but with a melody you`ll be humming for an age.
Gene Simmons (bass/vocals), so often in Stanley’s shadow in the song writing stakes is a revelation with “The Devil is Me” and “Eat Your Heart Out” adding the menace and the bite to counter point Stanley`s glitz. Simmons hasn`t delivered this consistently since 1982`s Creatures of the Night opus.
While Stanley and Simmons share the bulk of the lead vocals, even trading lines in “Take Me Down Below”, lead guitarist Tommy Thayer and drummer Eric Singer have their moment in the spotlight. Singer, with his gravel edged voice, shines on “All For The Love of Rock & Roll”, a song that tips its hat to the early Dressed To Kill days while Thayer`s “Out of this World” is one of many highlights on the album.
Thayer, who at times has received stick for replacing the original Space Man, Ace Frehley, has succeeded in breaking out from the shadows not only co-writing nine of the albums tracks but stamping his own individual style throughout the album rather than closely replicating Frehley`s technique as on Sonic Boom.
A band almost 40 years into their career should by all logic be heading into pipe and slippers territory yet KISS have always lived to break the rules and may just have released their strongest, most consistent and exciting record since their `70`s heyday.
METALPRIEST
Senior Member
I hear Mr. Speed in that as well man!! First two words that came out of my mouth. That Long Way Down tune as well was bugging me on what the verses sound like.
Then it hit me...sort of like Mariner by Angel meets Athena by The Who
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