The Kills "Blood Pressures"

The "Future Starts Slow," but good things come to those who wait. However, This record starts off on a good note with This "Satellite" hovers over the bass with this slow groove that's played like a reggae riff, and drum pattern that hides in sync with the riff, but then drops like five rocks from the sky. The First track almost has you thinking you'll run faster with Pumped Up Kicks, but then you realize that you'd rather just continue at this pace and be able to enjoy the song as it goes. The drum pattern of the next song almost reminds of when Mickey was so fine any girl would say "..you blow my mind..Hey Mickey!" However, the song is not really as elastic as that song; it was just an observation, and it is a slower pace. The distortion and the great riff just recall that the  "Heart is a Beating Drum." Well, this is another "Nail In My Coffin," I mean this song's beat with those handclaps and melodies just scream for help to be recognized as a great pop song, and that real short passage after two minutes just causes the coffin to be inescapable. Wait a second..HELP! "Wild Charms" gives Hince a chance to display his singing chops on this short 1:14 nugget, and somehow open up this dang coffin Phew! I think I'm claustrophobic, and I have asthma (still..possibly) so that wouldn't be good. Ok, now the "Dna" of this song can be traced by this lo-fi and a slightly psychedelic sound that may rival contemporary Ariel Pink? The drum pattern however doesn't seem to completely agree with that observation, but it is catchy.  The vocals of Mossheart in the next track are commanding, but not demanding, and the "Baby Says" she likes the look of the Starlight from this garage. The beat/finger snaps, vocals of Mossheart, the everpresent "dunning" bass, and the shimmering guitar and its accompanying distortion make this song more audible without assistance of a monitor. Figures, "The Last Goodbye" would include a piano, some light strings in back, a semi audible beat that stays for about twenty seconds after the three minute mark and fades out before the song does, and lyrics like this "Can't quite see the end/How can I rely on my heart if I break it with my own two hands?" The piano in this song is more in the old school style; it's not too sappy or tailor made for radio (See: undeniably catchy or poppy), it's heartfelt with just enough emotion to see it's real, but not bombastic. "D*mned If She Do" is a great garage-funk-dance track with a prominent beat, and a whirring riff that slowly sways back and forth, but then comes alive after 1:00 in the morning when she gets to that place. Then goes back to sleep, and comes alive again at 2:02, but this time she stays alive because she has got to because she is on her last legs and needs to make it to the end. Hey! you're in my way!! "You Don't Own The Road," and you don't drive in two lanes! Did you hear the police cars behind ya? OOOPs, guess not. Well, the riff doesn't own the song, but it makes it work, and almost steals the song, but the beat becomes co-owner. So apparently the song is directed toward to someone that stole Moss' heart once, and she is asking it to be stolen again? Possibly? Remember when you used to bang on "Pots and Pans?" Well, they come with a folkie tendency is probably not correct, but there is a guitar note staircase (small one) "You're so good/I ain't joking when I said/You're so good/I can't find enough pots and pans/Let alone knives in my kitchen/To keep you cooking." The songs that I would listen to lower my blood pressure are Wild Charms, You Don't Own The Road, and Pots and Pans.