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The Meek Shall Inherit What's Left

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Reseña de álbum

The Meek Shall Inherit What's Left, the much-delayed second album from New York-based indie rock band Kiss Kiss, continues in much the same vein as their celebrated debut Reality vs. the Optimist. Opener "The Best Mistake" starts the album off in typically understated fashion, melding soft, classical-tinged piano strokes with lush guitar chords before singer Joshua Benash imposes his presence with vocals that are equal parts sweet tenor and gut-wrenching emotional hardcore. "Innocent" (half of a suite on the album) recalls the romping Eastern European folk of Gogol Bordello, while "Plague #11" and "Hate" blur the lines between Baroque pop and barbed-wire punk. Musically, the developments are subtle: Rebecca Schlappisch's violin isn't quite so prominent as a lead instrument, with the focus more on the contrast between it, softer piano motifs, and dissonant, post-hardcore-influenced guitar sections. The breakneck pace at which much of Reality vs. the Optimist was played has been toned down somewhat, but in its place are more time and tempo changes, so it doesn't sound quite as samey as its predecessor seemed to at times. The Meek Shall Inherit What's Left is a nakedly emotional, atypical, punk rock album that is as much a physical experience as a musical one: exhausting, but in a good way.


Se formó en: 2004 en Purchase, NY

Género: Rock

Años de actividad: '00s

Kiss Kiss are an experimental indie rock band based in New York City. Taking their name from a collection of short horror stories by Roald Dahl, the group's distinctive style is characterized by the prominent use of the electric violin within an otherwise conventional indie rock/punk setup. Kiss Kiss' sound takes in influences as diverse as punk rock, math rock, and Eastern European folk, while their strong pop sensibilities ensure that their music is both accessible and challenging at the same time,...
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The Meek Shall Inherit What's Left, Kiss Kiss
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