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#the kills
listography · 4 months
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GIRLIEZ OF THE BLOGHAUS/INDIE SCENE (2007-2012)
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timedontgiveashit · 8 months
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totallyfuckd · 6 months
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THE KILLS
I HATE THE WAY YOU LOVE
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herringunderlayer · 5 months
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londonhatesyou · 8 months
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dhawanmasters · 8 months
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You taste just like New York before a storm takes hold New York (2023) | The Kills dir. Andrew Theodore Balasia
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needle-drop · 2 years
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“Doing It to Death” by The Kills in Titane (2021) dir. Julia Ducournau
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lanaoceans · 5 months
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They look like they bite ppl lmao
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llzrabin · 2 months
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A recent interview of Alison Mosshart from The Kills for music magazine Dans Ta Face B. Full interview under the cut and French version on their website.
La Face B : You’ve just released your sixth album, God Games, twenty years after your first record. Which means you’ve been making music together for two decades now. You’ve mentioned a few times in recent interviews being ‘terrified’ of the process of recording this album. Obviously, danger is inherent to creativity and passion. What were you scared of in particular, regarding your own history as a band? Can one as a musician actually ever get rid of this fear? Alison Mosshart : I think as an artist, fear is good. Fear keeps one alert and desirous to discover something new in oneself, in one’s work, and about the world. Fear is a simple word to describe “facing the unknown.” At the start of every album, you are facing the unknown. There is nothing, a blank page... and you have to muster up the courage to turn this nothingness in somethingness. And not just any old thing. But something truly great. Even though we’ve been writing music together for 20 years, nothing is a given. Nothing is taken for granted. We constantly must prove to ourselves and to one another that we’ve got the goods. Every record is as important as the first, at least to the artist.
La Face B : When I first heard the album, I was under the impression that I was listening to a movie sequence or a journey, with some kind of movements. You kept the traditional verse-chorus structure in most songs, but they also sound like something else. What do you think evolved the most in your music over the years? And on the other hand, is there something that definitely stayed true to your first sound?
Alison Mosshart : A couple of things. We both think the traditional verse chorus structure is a little at odds with the mind. Whereas novels and poetry and film... can veer around elegantly, it’s a little hard with rock n’ roll structure sometimes. It’s nice not following the traditional rules and allow some abstraction.
Thoughts by nature...zig zag, skip, don’t really work in liner or predictable order. Thoughts lead to thoughts lead to other thoughts say “california can’t be trusted” to “I love rollercoasters” to “Thursday’s good for me,” to “I wonder what happened to Bob?” “Green car,” “dog bit my face,” “phone’s dead again” “papercut!” And on and on and on.
Having said all that, I do think our music is very visual. It seems to contain its own colours and shapes and tactility. I know when a song is done by listening to it and seeing it from start to end. When it feels like I’m watching a play or a short film and I’m satisfied with what I’ve seen, I’m happy with the song. If I’m listening and the scene freezes, there is still work to do.
La Face B : Did having another person involved in the studio give you a different perspective on your music?
Alison Mosshart : Having another person in the room always gives you a different perspective. You know right away if a song is working by feeling the energy of that person hearing it for the first time. They don’t have to say a word. The truth is just there.
La Face B : Your lyrics almost always address another person, like a dialogue between two people. Love and hate, hope and failure, tenderness and violence blend into each other in the stories you tell. They also almost always convey a sense of urgency. Alison, do you still record and write your lyrics in your car while driving at fast speed, CARMA-style?
Alison Mosshart : Sure. We’re all contending with one another and ourselves. There is surely a lot of back and forth and push and pull going on in the lyrics. The war is never won, right? About cars, I love to drive. It’s very meditative for me. A lot of ideas come when I’m behind the wheel. I do still have a little Dictaphone in the car that I keep handy. It’s a safer option then a pen and pad.
La Face B : When I first saw you in 2011 at Rock en Seine during the Blood Pressures tour, there were two other musicians with you onstage. Lately, it looks like you’ve gone back as a two piece again. Is it important to you not to depend on anyone? Is it a way of not having to compromise?
Alison Mosshart : Different times call for different measures. We love playing with other musicians and we love playing as a two piece. During certain records, it made a lot of sense to have the back up. But it was a different time in the music industry too. We’re in a different world now 6 years later. Streaming has made it unaffordable to hire extra musicians. Which I think is ultimately a very bad thing. I hope one day things change.
La Face B : The Kills have always been a very visual band. Alison, you’re also a painter, and Jamie, I’ve heard in a recent interview that you would have loved to collaborate with Lucian Freud… Do you feel the need to explore other art forms to maintain this global approach to music?
Alison Mosshart : We’ve always painted, drawn, taken photos, filmed things. I love every art form. I don’t think it’s important to do all these things to maintain a global approach to music. I’m not sure what a global approach to music even is. I just love making art. It all comes from the same place I think.
La Face B : A friend of mine who doesn’t like rock music was telling me the other day how he thought he witnessed the best rock concert he’s ever been to after seeing you live in Paris, precisely because your music didn’t sound like rock to him. I found that very interesting because you do have that kind of bluesy-guitar signature style, while also playing with noisy textures that could come from a cut-up approach, like hip hop music does. Do this kind of approach inspire you? Do you pay any attention at all to genre while writing?
Alison Mosshart : We see ourselves as an electric guitar band before a rock n’ roll band. With an electric guitar and a vocal, you can do anything, any genre, any style, fuck around with any rhythm you want. Being a two piece is the only limit we have, everything else, every idea that we can conceive of starting from that point, is fair game.
La Face B : Lastly- I recently came across these images and immediately thought of The Kills. A series of photographs by John Divola titled ‘Dogs Chasing My Car in the Desert’, which he took in 96-98 while driving in the Southern California desert, conjuring existential themes like isolation and desire, man versus wild, joy versus fear. It made me think of God Games’ cover, with the bull and the matador, but it also reminded me of Don Van Vliet’s painting retreat in California after Captain Beefheart’s ending, and of Vanishing Point’s iconic car chase. Basically a lot of the things you’ve often mentioned as an inspiration. I wanted to point it out to you, see if you knew this photographer. What does it evoke for you?
Alison Mosshart : I love this photo series. Meditative again, like driving a car. It’s cool to see stills of animals running, their shape, their sleekness, the body transformed into a bullet. I don’t know why but it makes me think of Benton Harbor, Michigan in the snow and the dogs at Key Club (a recording studio we worked at a lot)  running down the desolate main street in a town that time forgot. These photos look like love and loyalty to me. 
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listography · 5 months
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THE YEAR IS 2003
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timedontgiveashit · 22 days
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x The closest we get to a Dead Weather reunion in 2024: Jack White tries to get Alison's attention by throwing pieces of paper(?) at her from the balcony at The Kills concert in Nashville.
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bellafemme · 18 days
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It looks like Karen was there too as well as Scarlett. Did they throw notes at Allison too? 🫠
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sloshphoto · 28 days
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kafkasapartment · 7 months
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youtube
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