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The Seduction of Kansas
by
The Seduction of Kansas Image
Metascore
78

Generally favorable reviews - based on 18 Critic Reviews What's this?

User Score
7.1

Generally favorable reviews- based on 11 Ratings

  • Summary: The second full-length release for the Washington, D.C. post-punk band was produced by John Congleton and is its first without bassist Taylor Mulitz (who left to focus on Flasher).
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Critic Reviews

Score distribution:
  1. Positive: 16 out of 18
  2. Mixed: 2 out of 18
  3. Negative: 0 out of 18
  1. Chicago Tribune
    Apr 5, 2019
    88
    The follow-up amplifies the hooks, widens the scope, deepens the wordplay.
  2. AllMusic
    Apr 8, 2019
    80
    While they're too nonconformist to be a traditional punk band, they continue to define themselves as something more challenging and encompassing.
  3. PopMatters
    Apr 2, 2019
    80
    The Seduction of Kansas finds Priests progressing beyond their abrasive punk roots into a genre-defying force, fluent in the slick soundscapes of St. Vincent and the Talking Heads as well as the grain and grit of Portishead and Nine Inch Nails.
  4. Q Magazine
    Apr 10, 2019
    80
    Her dark theatrics dominate 68 Screen, evoking '70s punks X-Ray Spex with a call-and-response about women's commodified bodies. [Jun 2019, p.115]
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  5. Rolling Stone
    Apr 5, 2019
    70
    The music fits the expansive mood, at once dreamy and pointed, suggesting a psychedelic mutation of Southern indie-rock gods Pylon’s agrarian art-disco or David Bowie’s Scary Monsters toughened up on a Factory Records budget. As with the greatest anti-fascist ranters, Priests’ critiques hit home hardest when they are singing from inside capitalism’s and sexism’s matrices of exploitation, turning impassioned theory into resonate practice.
  6. DIY Magazine
    Apr 8, 2019
    70
    The Seduction of Kansas is another evocative and considered album, the band reiterating their ability to present topics with tremendous clarity and depth. Which, given the complexity of their themes, is exactly what most of us are crying out for.
  7. New Musical Express (NME)
    Apr 2, 2019
    60
    The Seduction Of Kansas is a fun, dancey funk-punk record that benefits from Congleton’s lightness of touch, proof that you can step outside your comfort zone and maintain your sense of self.

See all 18 Critic Reviews

User Reviews

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Score distribution:
  1. Positive: 1 out of 1
  2. Mixed: 0 out of 1
  3. Negative: 0 out of 1
  1. Doxxman5
    Apr 5, 2019
    10
    The Seduction of Kansas is a substantial leap forward in quality and vision for the band, creating its own consistent and succinct vision ofThe Seduction of Kansas is a substantial leap forward in quality and vision for the band, creating its own consistent and succinct vision of what a rock album should be. The production is key, creating a special atmosphere that gives it a clean produced yet still DIY kind of feeling. The influence of post-punk bands is still heavy: with 154 era Wire on "68 Screen" the bass driven "Not Perceived", The Cult meets Gun Club level abandon on opener "Jesus Son", and Blondie on satirical dance song "The Seduction of Kansas". The out of control rage of "Control Freak" channels Johnny Rotten at his angriest, PIL influence on "Ice Scream", a story of a victim (woman) escaping the abusive of her tormenter (man).
    A lot of new era technology fears are present in the lyrics, most obviously on "You Tube Satre" and the pop driven "I'm Clean" is an interesting diversion. The more artful direction is very well used in the mini song "Interlude I Dream..." and the way the chorus falls into itself on "Good time Charlie". The dynamic approach of the musicians and intricate natures of the songs and guitar leads by GL Jaguar would take a team of mathematicians to decipher. A song like "Carol" is a late album example of a beautiful tune, like a snowflake in its uniqueness, sounding like nothing that came before and nothing after. The more so than their 2017 debut album, this record proves the group can conquer about any style they want to. Katie Greer’s lyrics also make this a concept album of sorts, proclaiming that the corporate and commercialized world we live in is a façade that we need to break through to be truly free. Lastly, the female lead vocals of Greer and drumming of Danielle Danielle are symbolic of the late 2010's and a very provocative an absorbing album for it's time. I do believe its a masterwork!    … Expand

Awards & Rankings

34
#34 Most Shared Album of 2019

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