Blood Pressures

  • Record Label: Domino
  • Release Date: Apr 5, 2011

Generally favorable reviews - based on 32 Critics

Critic score distribution:
  1. Positive: 25 out of 32
  2. Negative: 0 out of 32
Buy On
  1. Entertainment Weekly
    Apr 8, 2011
    The blues-punk duo builds another near masterpiece. [8 Apr 2011, p.59]
  2. Apr 5, 2011
    It's an album that deserves the limelight, regardless of how it got there.
  3. Apr 4, 2011
    Dirty, loud and intimidatingly sexy, Blood Pressures is the result of a year spent apart - Hince's adventures in sound provide the album's thick production, while Mosshart's stint as Dead Weather frontwoman instils further confidence and swagger in her provocative lyrics.
  4. Apr 19, 2011
    Bluesier and less electronic than its predecessor, "Blood Pressures" is by far the Kills' most accomplished and diverse set yet.
  5. Apr 4, 2011
    Blood Pressures mixes heavy, gainy hard-rocking guitars with a whole lot of making love to the mic.
  6. Q Magazine
    May 17, 2011
    What was often missing was much in the way of engaging, nuanced songwriting. Four alums in, though, there are clear signs of progress. [May 2011, p.121]
  7. Apr 7, 2011
    Her cold-blooded style meshes well with Hince's clanging guitars and the sleek world they have created inside of Blood Pressures.
  8. Apr 6, 2011
    Blood Pressures is the band's most coherent, consistent work to date, an album painted in gritty black-and-white blues and Mosshart's sexy, venomous vocals.
  9. Apr 6, 2011
    So, while Blood Pressures isn't quite as singular or great an album as Midnight Boom is, it does show that the latter record wasn't a fluke, wasn't the kind of classic that a minor band can almost stumble upon once in a career.
  10. Apr 5, 2011
    Blood Pressures is a darker, slower ride than Midnight Boom, but it shows the Kills can make subtle innovations as well as bold ones, and make them fit their signature sound to boot.
  11. Apr 5, 2011
    The chemistry between Mosshart and Hince must be more intense than ever, because their fourth album is also their finest.
  12. Apr 5, 2011
    Blood Pressures is a compelling forty minutes, and by the time we reach the closer, Pots and Pans, with a slider and twelve bar riffs to accompany its sultry, resonant admissions, you can barely imagine them any other way.
  13. Nonchalant no more, here they spike their sparse blues-print with humour and humanity, dub grooves and Southern gothic flavours.
  14. 80
    Compared to 2008's Midnight Bloom, Blood Pressures sheds the more pop beats and synthetic sounds and embraces a more simplistic, almost vintage-y blues punk hybrid.
  15. Apr 1, 2011
    Given Alison Mosshart's recent adventures with the Dead Weather (and Jamie Hince's escapades with fiancée Kate Moss), it's no shock that the new Kills record presents a more expansive sound from the London-based blues-punk duo.
  16. Through the steady flowing of Allison's vocals and the constant strumming of the chords as well as the steady drum beats, the band proves that they are more than just robots and distortion; the Kills are indeed talented musicians.
  17. Apr 6, 2011
    It's hard to shake the feeling that the band's fourth album, Blood Pressures, is the one that will take The Kills to the next level.
  18. 75
    The songs' little jabs infect the listener again and again: they suck you back in even as they draw a little blood, but never quite a gushing wound.
  19. 70
    It's been a cold three years since 2008's garage-synthy third album Midnight Bloom, but their new effort Blood Pressures is more than worth the wait.
  20. Apr 5, 2011
    The Kills are back - still covered in dirt, sleaze and reverb, but with a cleaner, softer centre.
  21. It's business as usual on the whole.
  22. Apr 1, 2011
    At its best, album four matches the duo's darkly seductive early material.
  23. Apr 1, 2011
    Blood Pressures won't leave you feeling clean, but The Kills have found redemption.
  24. Apr 6, 2011
    The new album feels at once a return to the Kills' beatbox-blues origins as well an attempt to broaden their palette with more sensitive, intimate turns.
  25. Apr 4, 2011
    On Blood Pressures, the fourth studio album from singer Alison Mosshart and guitarist Jamie Hince, the duo adds a few twists to the formula.
  26. Mojo
    May 17, 2011
    Blood pressures doesn't quite take charge of their joint destiny as decisively as it needs to, the cohesive chain smoking cool do their earlier albums diluted by sudden shifts in tempo and mood. [May 2011, p.104]
  27. Apr 11, 2011
    Could 'Blood Pressure' restore The Kills fortunes to their early glory days? It would seem that Hince's luck might be running out.
  28. Alternative Press
    Apr 8, 2011
    A highly charged and welcome return. [May 2011, p.93]
  29. Apr 5, 2011
    They do try to mix up their formula, a move that pays off when subtly employed (the reggae textures in Satellite, for instance) but fails in the big, obvious spots.
  30. Apr 4, 2011
    Blood Pressures works mostly because of how fully the duo believes in the junk they're spitting out.
  31. Apr 1, 2011
    Their fourth album [...] finds them turbo-charging their sound, the familiar primeval bluesy rock combined with bigger grooves and almost Burundi-type drumming.
  32. Apr 5, 2011
    In spite of some solid material and smoky performances by Mosshart, Blood Pressures does little to change that.
User Score

Generally favorable reviews- based on 36 Ratings

User score distribution:
  1. Positive: 5 out of 7
  2. Negative: 0 out of 7
  1. Jun 18, 2011
    Well, there are a few odd turns, but "Blood Pressures" is pretty much the same amalgam of raw, tense, amateurish delivery that's been conveyedWell, there are a few odd turns, but "Blood Pressures" is pretty much the same amalgam of raw, tense, amateurish delivery that's been conveyed throughout their career. Mosshart has undoubtedly improved her skills over the years and can perform a fairly convincing torch singer's touch ("The Last Goodbye") along with her usual tortured moans. By contrast, when Hince steps up to sing on the turgid "Wild Charms" one suggests he should concentrate solely on instrumental duties.Leaving behind the more dance oriented rhythms of "Midnight Boom", and although aiming for the carnal blues rock of "No Wow" there's a cleaner, less energised feel to the record. The cod reggae of "Satellite" sounds like it's powered by Prozac, and the resignation in Mosshart's vocal on "DNA" suggests minimal enthusiasm to the cause. She saves her best performance for "The Last Goodbye"; a melancholic piano ballad that resonates with an emotional intensity rarely found on the rest of this collection. For fans, "Blood Pressures" is a fine if sanitized version of former glories. With all the activity away from the band, one wonders if hooking up once again was more obligatory than inspirational, and may explain the tame, uninspired nature of this recording. Full Review »
  2. Apr 5, 2011
    Blood Pressures is not their best album (I'd say that distinction goes to Midnight Boom) but for those of us who can't enough Mosshart in ourBlood Pressures is not their best album (I'd say that distinction goes to Midnight Boom) but for those of us who can't enough Mosshart in our lives, this album should fill the void until the Dead Weathers next album. Full Review »
  3. Mar 26, 2012
    The Kills were a band that I never listened to until I heard The Dead Weather. I don't love The Dead Weather, but I liked them enough to wantThe Kills were a band that I never listened to until I heard The Dead Weather. I don't love The Dead Weather, but I liked them enough to want to check out this other band Alison Mosshart was in. To be completely honest, a lot of the songs on this album just didn't resonate with me. There is nothing bad on the album, but not much that is particularly great for me either. The one exception would be 'The Last Goodbye' which is a simple yet emotional piano ballad that is unlike anything else on the album. Maybe I need to start at the beginning of this band's career to get into them, but this album definitely didn't get me on the bandwagon. Full Review »