Until There's Nothing Left
The second album from this Chicago outfit continues where 2003’s ‘For Never and Ever’ left off. The slightly off the wall approach of Kill Hannah is clearly an endearing feature both musically and via their somewhat sleazy effeminate image.
Named after a song that singer Matt Devine wrote about a girl who he knew from school, Kill Hannah mixes an addictive musical cocktail, drawing on influences as wide and diverse as The Cure, The Smashing Pumpkins the British new wave pop scene Alice Cooper. Add a touch of smudged eye mascara and some modern electronic wizardry and Kill Hannah come bang up to date yet remain strangely entrenched in a nostalgic retro era. ‘Believe’ and ‘Lips like Morphine’ swagger audaciously and perhaps give a clue as to what Alice Cooper would have sounded like if he had recorded his eighties work in 2006. ‘Black Poison Blood’ and ‘Under the Milky Way’ come over like a heady mix of New Order and The Cure, only with edgy guitar and more obvious hooks. ‘Love You to Death’ is a punk tinged romp whilst ‘The Collapse’ is simply a consummate piece of warped power pop. In a world where every band aspires to be the next pop punk sensation jumping on the bandwagon to rehash tried and tested formulae, it is refreshing to hear a band that remain true to their ideals as well as sounding original in the process.