Let's face it: Garage bands are crap. The term alone draws up visions of scruffy-haired teenagers in their parents garage fumbling through a cover of their favorite punk band. The singer knows half of the words, and hits none of the notes while the guitar plays more wrong chords than right, and the drummer loses time in the first measure. So when one labels a group as sounding like a “garage band” it's usually not a good thing. However, in the case of The Kills' new album titled Blood Pressures it's a compliment. Being raw and under-produced is their style. It's their way of making a personal statement, and I read them loud and clear. Blood Pressures, released in 2011, is the fourth studio album from The Kills, a garage-rock band consisting of American singer Alison Mosshart and British instrumentalist Jamie Hince. This new album continues the twelve year legacy that the duo have created together at Domino Records. The album was produced and engineered by Bill Skibbe. Blood Pressures also forced The Kills into almost all major top selling albums charts. In the U.S., the album snagged the 37th spot, a big accomplishment for an independent label band. This recent addition to The Kills discography follows a three year hiatus where both Hince and Mosshart worked on separate projects. Although, Mosshart gained noticeably more attention for her work during this break period which includes two studio albums with the supergroup Dead Weather. However, after three years, it's nice to see Hince and Mosshart back together to create another album, one that was well worth the wait. The Kills are no strangers to the grungy, garage band feel. All of Blood Pressures seems to have been lathered in every synonym for the word “raw.” Drum machines galore, open strings ringing into eternity, air filling the vocals, and clapping where you can hear the echoes bouncing off of uncovered walls. Oh and when I said this album continues on the same legacy as their other albums, I wasn't being clever. Blood Pressures largely follows the same formula that Midnight Boom (2008) did. Both albums follow the steps of a short story: an introduction, then rising action, the climax, and finally the ultimate resolution. For an introduction, The Kills start off with the track “Future Starts Slow” which gives all the flavors that make The Kills, The Kills. Both Hince and Mosshart sing in unison with creaky, U2-esque guitar and backing them is a drum machine and real drums. They segue way into the rising action of the album where both Hince and Mosshart display their wide range of talents. Mosshart focuses on lyrics, melodic voice and rhythm while Hince shows off his array of influences and almost robotic guitar style. The subject matter focuses on love, the future, angst, and rebellion. Throughout all of this, The Kills continue their tradition of using unorthodox percussion elements such as orchestral clapping and ping pong paddles. An emotional indie punk ballad with weeping delay-heavy guitar sets the stage for the climax of the album: “The Last Goodbye.” This tune is wholly tragic, but also has hopeful undertones. A vintage Mellotron plays a haunting waltz which allows a listener to drift into Mosshart's wonderful lyrics and pure melody. On the second verse, another Mellotron joins to create an orchestra of warbling violins. It all makes this song even more of a heartbreak. I am on the verge of tears every time I hear this song and can't help singing along with Mosshart when she says “I love you to death.” “The Last Goodbye” is full of the irony: Saying goodbye for the last time could mean that two friends are being pulled apart forever or the speaker is attempting to say that after this time they will never leave their friend again. It's a truly wonderful piece that makes a listener think of the long platonic relationship that exists between Mosshart and Hince. After the rather serious tone of “The Last Goodbye” The Kills lighten the mood and give the ultimate resolution with three final tracks. The closing song “Pots and Pans” shows off the musicians' love for the blues and rock n' roll. Hince plays acoustic guitar over a foot stomp track and rather on-the-nose sounds of clanging pans as both he and Mosshart sing a slightly creepy melody. The track thickens up into wide strums with raw guitar, fades and listeners are left in awe after the 42 minute journey they have taken. Each track on Blood Pressures has something new and exciting to offer, while still keeping on the same path The Kills have been on. The Kills have grown on me. Since hearing this band for the first time, I have been thoroughly impressed and enthralled in the unorthodox ways that The Kills make their simply cool and amazing music. They have their own style, sound, and a musical aura that infects everything they touch. I am just going to say it: Blood Pressures does not disappoint. Those who are already fans of this band will love this new album, and to those that have never liked or listened to The Kills, I heartily press you to listen to them. However, I do feel The Kills are a niche band. Never will they be the popular music stars that scrape out single after single. They have a theme, a pilgrimage that they take on every album, and the listener joins them. Blood Pressures may not be immediate enough for those that often listen to popular music or can't stand listening to the same album or band for more than 5 minutes. Blood Pressures is there for those that are musical Sherlocks, and dare I say it, musical snobs such as myself. Push past the rough, rugged, raw garage band feeling and you find two people who are just making music, but doing it with grace and a genuine love that doesn't exist in a lot of other places. Only those that take the time to find that will get all that can be gathered from the treasure trove that is Blood Pressures. Those that listened to the Hince's punk band Scarfo may find that he has gained quite a bit more musicianship. Hardcore Scarfo fans should stay away; The Kills is not punky enough to satisfy you. Those that listened to Mosshart's recent projects with the Dead Weather may be able to make the switch from the supergroup to The Kills, but it might be a stretch. The Dead Weather is much more bluesy and full on, distorted, blowing-out-the-speakers rock than The Kills are. Listeners will find that Mosshart's vocals with Dead Weather remain similar to The Kills, but Hince is more quirky. He is a complete non-conformist while the Dead Weather attempts to conform to the hard hitting rock of the 70's. Perhaps the fans of the Dead Weather who also like more tame indie music will like Blood Pressures, but die-hard classic rock fans may not. Blood Pressures builds upon all that Mosshart and Hince have done up to now. The album tugs at the heartstrings, makes you want to air-drum, and begin head-banging. All of the same The Kills tricks are evident in Blood Pressures and will greatly satisfy the needs of listeners looking for something a little bit off the beaten path. It might be raw, rough, and sound like a garage band at times, but it's truly wonderfully crafted and performed. Blood Pressures is worth a playthrough, or a couple, or maybe several dozen.