There’s something indescribably kinky going down on the cover of Kins’ debut, and given the title’s reference to whipped cream, it’s fair to assume that there may be something deviant on the groove here. Either that, or American college rock. It’s a huge relief then, that it’s neither, which makes the second half of the title seem like a slightly immature joke that deflects from what is a sublime release.
It’s quite fitting that Kins have made the move from Australia to the UK (Melbourne to Brighton to be precise), as this mini-album’s seven tracks are very much at home on British shores. There’s plenty of evidence that recent-era Radiohead was on heavy rotation during the recording process, though perhaps it’s bands like The XX and Wild Beasts that have had more of a hand in shaping Kins’ melancholic pop sound.
From the opening verse of ‘Mockasins’, singer Thomas Savage’s voice flexes its muscles; his range is impressive (from Thom Yorke to Jason Lytle in scale), and the production sensibly ensures the vocal is mixed above the guitars throughout. Overall, strong melodies and ringing riffs are supported with a heavily distorted rhythm guitar, and an understated mid-tempo rhythm section that explodes into life on occasion.
‘Til He Stirs’ takes the album on a haunting turn, which continues on ‘For This Modern Day’, where keyboard and guitar player Queline Smith grabs the lead vocal and does a beautiful take on Hope Sandoval’s enchanting vocal style.
The album’s highlight is the concluding title track, with Savage’s voice sounding more pained as his story of an imbalance in humanity draws to a conclusion that is bleakly atmospheric – though the simple fade out ending disappoints.
Okay, there’s maybe the odd instrumental coda that’s a little too long – like on ‘The Last Detail’, but that probably says more about the strength of the tracks than a weakness in direction. This is an assured debut, and one that’s strong enough to dance back and forth without the need for any whipped cream.
Out now through Bandcamp
Posted by Kevin Scott
