‘KISS’s’ popularity could never have been attributed to a serious attitude, lyrical or otherwise. There has always been a different and refreshing force at work, with the band’s presence itself cheekily demanding that extra bit of attention, be it the insistent tone of their party-friendly hit songs, the heaviness of their getup, or that extra-ridiculous piece of merchandise popping up in a place you would least expect.
Unlike the few alumni with a similarly long run, the presence of ‘Monster’ in your local rock music aisle is less fated to induce rolled eyes at the sight of “yet another KISS album” – there have been enough opportunities to sigh that already – fans and non-fans alike only have to look at them to see that they love what they do, and are not going to budge because a few people think them past their sell-by. KISS is still KISS.
Noticeably, the album itself isn’t packed with filler tracks or moments which fail to follow through with the build up – the mental picture most people hold of something old and tired attempting to carry on as it is used to. In fact, ‘Monster’ is not only refreshingly old-school next to the drab attempts at “hard rock” of the current generation, but consistent throughout. While some songs may be hookier or better thought-out than others, it is a pleasing package with no tracks this reviewer can picture the audience unanimously disliking.
The first two songs, ‘Hell or Hallelujah’ and ‘Wall of Sound’ have a good kick to them, and I can’t help thinking wistfully that I’d be content if more modern rock music was at this standard and carrying the same influences. These two tracks drew me into the album, and kindled a suspicion that I may have to see the band live while they tour ‘Monster’ as opposed to just catching a showcase of their life’s work. ‘Freak’, an ode to rocker status, has enough spirit but an odd datedness to it at the same time. Obviously an appeal to the devout rock fan, it is one of the songs which feels most typical of older artists’ continuing output, but I find it to be a pleasing song which recalls images of being encouraged towards music by my own father.
At various points the contrast between age and setting can jar the listener, for instance the barely metaphorical tone of ‘Take Me Down Below’, which reads like it was written by a seventeen-year-old, for better or for worse – despite that, it’s really one of those tracks which grows on you after a few lines (by the second verse I was sold on it), and comfortably fits the role of song you’ll want to sing along to and feel silly doing so. ‘Back to the Stone Age’ has a curiously opposite and complementing effect – clearly open to jibes about the band getting on in years, it presents a welcome comparison between feeling in the wrong era entirely, and simply missing the better, younger days of rock music as a new thing, which ties in nicely with their return to analog. ‘Eat Your Heart Out’, for me, earns the crown for highest nostalgia towards cocky, strutting glam rock, but I expect your mileage may vary, with ‘All for The Love of Rock & Roll’ a close second, losing points only because, lyrically, it seems so crammed together (despite the words being strong) that it gets no easier to sing along to when you know what’s coming next.
The musicianship on this album is pleasing to me, a younger music fan, and has an overall feel that seems missing from the almost “anything goes” lineup of modern artists. It’s important to take this, the Starchild-produced, 20-somethingth studio offering, in the context of contemporary music as well as that of KISS history – while it may not contain the catchiest, most original offerings to date, it will be high in the running for this reviewer’s favourite album of 2012. It’s simply the type of music I like to hear live, and the live show is half the KISS package – age and experience may give an unfair advantage to the returning rockers, but the fact is that the daddies and granddaddies of the scene are capable of putting out quality music, and I don’t see anyone trying to compete.