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The Kiss are going to pass through the fateful threshold of 40 years of life. As with people, the question that fans (and, most likely, even themselves) puts it: Kiss will be the beautiful forty morettiana of memory, or one of the many groups protogeriatrici pant with reinforced leather outfit?
In the twentieth studio album, "Monster" in fact, the award-winning firm Simmons / Stanley is pushing hard to prove his form and inevitably feel the pressure of the passage of time, of course, on their side the truccatissimi New Yorkers have a brand that is now history and recognizable in the blink of an eye. But it's the music that needs to talk, mainly ... and from this point of view the Kiss themselves seem to have doubts when - instead of the usual statement about how the last one is their best album ever - when they advertise promotion that "Monster" is one of their three best albums. In short, we do not even believe they have baked IL masterpiece and is a worthy, though subtle demonstration of realism. Why "Monster" is certainly one of the album that the group will be remembered or will break through to new legions of fans: for that is the production of the golden age, that it is enough, makes and keeps everyone thoroughly.
Having said that - that's pretty obvious if you think, in fact, the fact that the Kiss sound since 1973 - our presence we have a hard decent, definitely better than its predecessor a bit 'too patchy, in "Monster" you will find many more echoes of "Revenge" (production early nineties, then) that the Kiss of yore, but it is not necessarily a bad thing. Let's say, off the brain for a while and just drifting from the sensations of the skin, these Kiss are closer to glam metal, the street metal and hair bands that do not rock n 'roll party of the seventies, the first track, for example, it seems a hypothetical (and beautiful, by the way) outtake from "Dr. Feelgood" by Motley Crue. The result, therefore, is undeniably appreciable.
The cliches of genre, and Kiss, above all, we are all (really all), so no one can be said to be disappointed or bitter: the choruses to sing, the second note riffs that you already know how they're going to close, the desire to casino hits rock partying ... just that everything has an imprint sound closer to Guns N 'Roses, Aerosmith to the nineties and to the aforementioned Crue.
Only song that somehow seems to differ from this stylistic feature is "Back to the stoneage," which resembles more closely the MC5 band in contemporary practice to the first stirrings of the musical Kiss vintage, with a riff bearing weight taken from "Kick out the jams" and is a pleasant surprise, I must say.
