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You Owe Nothing

Released 17th November

Words: Gary Feeney

It’s hard to imagine anyone being able to listen Kill It Kid’s third album You Owe Nothing without being instantly struck by the influences which are stamped over it, so it is probably best to get the obvious out of the way first: the likes of the Black Keys, Led Zeppelin, The White Stripes (amongst others) loom large over the entire album, especially the heavy rock numbers like Black It Out and High Class which introduce proceedings with their breathless vocals and driving guitar and bass lines.

Whilst both are exciting, energetic songs, the following track Sick Case Of Loving You at first seems to progress a bit too much in the same vein and early in the song there’s a feeling that things might be getting a bit familiar, but it’s at this point the band throw in the first of several curveballs which keeps the listener alert and provides the little edge that helps prevent You Owe Nothing from being a re-hash of the artists which influence it; in the case of Sick Case Of Loving You, this comes with the first appearance of keyboardist Stephanie Ward on vocal duties in the second half of the song providing an intriguing departure from front-man Chris Turpin’s vocals which one suspects may become a little bland on their own over the course of an album . This is followed up by a complete change in tempo in Caroline, a yearning, almost-power ballad which is perhaps the album’s strongest track and, you would imagine, a future single.

The album somewhat loses its way for several songs from this point, although the relative monotony is broken by the sharp, jerky guitars of the Ward-led Blood Stop and Run With Me, another example of Kill It Kid’s knack of being able to recapture the listener’s interest with a well-placed change of tack, again with Ward’s vocals at the centre of things.

If the middle section of the album threatens to undo the good work of the first part though, the band dismiss those fears by keeping two of their finest offerings to close the album. Tried, Used, Love, Abused is the first of these, a beautifully haunting ballad which sees Turpin lamenting lost love and turning in his best vocal of the album; at times soaring, at times forlorn, this is maybe the best showcase of the bands obvious song-writing talents. Closing track Law of Love brings the last of You Owe Nothing’s curveballs, a charming acoustic number which, like many of the album’s highlights, features an excellent vocal from Stephanie Ward.

Overall, this third offering from Kill It Kid is a very enjoyable affair with plenty to offer the listener. Sure, the band’s influences can be heard at almost every turn, but at no point does the album ever become boring – even if there is a few songs which don’t meet the overall standard of the album, you’re never far away from something that will demand your full attention again and it’s this unpredictability and variety that helps makes You Owe Nothing such an entertaining listen.

Watch the video for Caroline here: