Gossip [&] the Devil

I’ll be honest. I haven’t submitted to anything print in a long, long time, save the Columbia Poetry Review (who have a history of rejecting me, but I’m hopeful this time). I’ve felt like writing but nothing decent is hitting the paper. I think I’m getting out the dust and mold before the clean work comes. Cracking my creative bones.

In the meantime, I conducted a short interview with the rock photographer Lisa Johnson the other day, which I’ll post later when it’s closer to the release of her collaborative effort with wiL Francis, Flowers + Filth. Lisa has shot some of the biggest bands in history, captured chaos all across warped tour, but I won’t get into that until the write-up. I have contacted wiL as well, but since he’s just had a baby I’m not sure his schedule will allow.

I was fortunate enough to see U2 and Muse in Dallas this past Monday. Two iconic and epic bands, for separate reasons, together in the same huge, tin room. The show was a trip for my birthday back in April as well as my roommates way of getting me to see U2 since she’s been singing their praises since I moved in. I’ve never seen Muse before and what I walked away with was yes, they’re very good performers but because you can tell they do the performance a lot. They played “Map of the Problematique” which was the only song I’d asked for and they didn’t play “Knights of Cydonia” which was the only song I asked not to play. So it was a win all around.

U2 was pretty unbelievable. Everyone said Bono was a priest and I’m inclined to believe them after what I saw. He’d say “raise your hands” and you’d think you were in church. There was a man next to me so enraptured I’m not sure the smile left his face the entire show. At one point Bono quieted the entire band while the crowd sang “I Still Haven’t Found What I’m Looking For” and I wondered, as I mumbled along with the believers, how that must feel to have so many thousands of people say your words back. How could that ever get old? I saw sisters, brothers, boyfriends, girlfriends and parents hugging each other during various songs. The crowd didn’t have a mean bone in it’s body, they just wanted Pastor Bono, The Edge, Larry and Adam to deliver them from real life for two hours, where they could hug and feel safe doing so, where a smile didn’t come barbed with guilt. Since it was their “360 degree tour” their big pile of “space junk” went around the arena so there wasn’t a bad seat in the house.

Not in dallas, but you get the idea. No clue who took this. Email if offended.

The acoustic “Stuck in a Moment” with Bono and The Edge was a personal highlight for me, where I discovered The Edge had a very nice singing voice and that the song resonated with me in such a way that I was forced to tears. But, as he evangelized, “it’s just a moment, this time shall pass.” I’m sure I’ll write more about this later, but I thought I should at least mention it since it impacted me in a way I”m not used to.

After the show a marathon 8 hour drive home because of concert traffic and we landed back in Tulsa at 8am, just in time for my roommate to go to work. I’d ask her occasionally if it was worth it. She always said the same thing: “Yes.” If you can answer “yes” to those question about the things you do in your life, regardless of what comes, you’re headed in the right direction.

“…a song I haven’t sung since I was a little brat in Connecticut,” sings Kill Hannah’s Mat Devine on their latest effort, Wake Up the Sleepers.

He’s right.

Sleepers is no doubt Kill Hannah’s most honest and ambitious album to date, the “album we’ve always wanted to make,” according to the band. More than their major label efforts, For Never and Ever and Until There’s Nothing Left of Us, this album stays truer to the original “Kill Hannah sound” that decorated the band’s first albums: an infectious blending of sludge and sleaze, glitter, dance beats, space cadet effects and afro-Cuban drum parts. Somewhere inside this album lies the aural cocktail that’s been eluding them since the release of American Jet Set in 1999, and they’ve attempted every trick in the book to re-discover it, including guest appearances by everyone from Benji Madden to Amanda Palmer.

One must take risks in producing such an ambitious effort, and Kill Hannah has not fallen short in that regard.  In doing so, however, they must be prepared for those risks to turn people off. Several of Kill Hannah’s influences have learned this the hard way, notably U2 (Pop) and The Smashing Pumpkins (Machina/The Machines of God).

Key track “Escape Artistry” is “All That He Wants (American Jet Set)” updated for 2009 and “Living in Misery,” is every bit as grandiose as Devine’s dreams—an epic, hopeful ballad featuring larger-than-life Twitter-er and sometime musician Palmer, a children’s choir and the chorus, “We are living in misery, but we have to hold on.”  With throwaway lyrics and a beat meant to move you, “Tokyo (Dance In The Dust)” takes influence from friends Shiny Toy Guns and their hit “Le Disko,” despite the questionable and unnecessary T-O-K-Y-O chant let loose toward the end of the song.

Self-produced and pieced together in four different studios around Chicago and in Canada, the album alternates from hopeful to hopeless, lovesick to love-heals-all-things. The fact a few of the songs were written years apart from one another explains some of the manic-depressive mood swings. Fan favorite “New York City Speed” was an internet demo leaked years ago, while rock-love song “Acid Rain” was written during the Until There’s Nothing Left of Us sessions. These songs act as the glue holding the album together and bind new with old, attempting to keep the band’s promise to “unite all the Kill Hannah fans from the last 10 years, and do everything in our ability to continue to earn [their] loyalty.”

The mixing on the album feels just as scattered—tracks like “Mouth 2 Mouth,” “Escape Artistry” and “Strobelights” sound like they belong on one album, while “Living in Misery” and “Laika” on another. Complete downer “Promise Me” samples a string orchestra and features live tympani drums, but the subtleties are such it barely seems to break through demo waters. The song has potential to be a heart-rending, moody ballad, but comes across as neglected next to the slick production of “New York City Speed” and “Radio.”

Dan Wiese performed virtually all of the guitar work (aside from a couple guest turns), due to the departure of Jonny Radtke (who makes a sole appearance on “Acid Rain”). He gives the album a depth missing in previous KH efforts, layered in distortion and effects, a mad concoction of thick sound. Wiese’s vibe is more indie than metal, and instead of sprawling solos you get sonic landscapes crafted from the belly of this effect scientist’s laboratory.  The guitars are dripping with whatever Wiese can pull from his pedal board, adding a refreshing touch to a tried-and-true formula.

Drummer Elias Mallin plays on his first record with the band and adds the touch of metal flair with a thunder of double bass and added rhythmic complexity.  His contribution is especially noticeable with improvements on old favorites (“Welcome to Chicago Motherfucker”) and the occasional stray from the 4/4 time supported by bassist Greg Corner.

Devine lets his voice loose, stripping away the Pro Tools and letting his elfin, strained moans and shrieks come to life on their own terms. It’s one of his finest performances vocally and lyrically as he tries to tackle subjects only hinted at on previous albums. While his trademark turns of phrase are evident (“…and so we say goodbye, with thunder in our eyes…”) he also takes the blame (“Promise Me”), gives a free-style confessional (“Why I Have My Grandma’s Sad Eyes”) and tells his detractors to fuck off (“Radio”).

While Wake Up the Sleepers has some cringe-worthy moments (the T-O-K-Y-O chant) it has some triumphant ones as well (the chorus to “Strobe Lights”).  By far my biggest complaint about the record is song order. While likely intended to be schizophrenic and experimental it comes across as sloppy and disagreeable. The album jumps and jars so often I finally gave up and made my own playlist, which I’ll post below.

Regardless of the collective opinion, Kill Hannah make no apologies and have again made an album unlike any of their contemporaries. They are busy living, creating, and taking risks—rather than catering to a specific audience or delivering a disc put together by a label.  They are honesty warriors making the music they want to make. From their ambitious Chicago roots Kill Hannah’s message has always centered on hope and the unbeatable desire to press ever onward.

They’ve faced obstacles that have destroyed other bands; their suffering supplements their art. Through fire, trial, struggle and change emerges “a renewed sense of fearlessness and freedom during the writing and recording process that we haven’t felt since our independent DIY days in Chicago. We took a lot of chances, because this is the album that we want to be remembered by,” said Devine.

They danced with major labels and painted their faces; now Kill Hannah seem eager to jump into the bare grit of the sweat-soaked crowd, the sleepless that have always been awake, wearing trademark sniper hearts on their sleeves.

Julie M. T.’s recommended song order:

1. Mouth 2 Mouth
2. Snowblinded
3. Why I Have My Grandma’s Sad Eyes
4. Radio
5. Escape Artistry
6. New York City Speed
7. Strobe Lights
8. Tokyo (Dance in the Dust)
9. Laika
10. Vultures (Be There For Me)
11. Acid Rain
12. Promise Me
13. Living in Misery
14. (Bonus) Welcome to Chicago Motherfucker

(Visit killhannah.com for numerous Wake Up the Sleepers packages, or buy the album on Itunes here. Kill Hannah are currently on tour with Jet and Papa Roach. Check their Myspace for details.)