by Olivia Michalczuk
The album opens with single “Kitty Kitty,” and you can’t help but imagine Silence Kit’s front person, Mannon, bouncing off the walls of the recording studio, as she does in live performance.
The vocals on the album employ Mannon’s signature dynamic screeches to low rumbling growls to powerful screams. The vocal performance that is evident on the album brings the uniqueness to the sound of Silence Kit, the spotlight landing on the performance in “Molly.”
That being said, the band isn’t just a singer because she would be nothing without the band that provides the grungy basement floor foundation in which Mannon jumps, crawls, and dances on.
Silence Kit isn’t doing anything new with their album, and there is a laundry list of bands you could compare them to, which isn’t to say it’s been done before, but rather always has that twinge of nostalgia.
Kitty Kitty is host to five catchy songs (seriously, don’t expect to go a day without singing “little spiders in your head”) with an excellent bass and guitar relationship which makes the music feel like your angsty rock, to your dad’s old tapes.
“A Pod of Whales and Then Disaster Struck” employs the classic melodic start-stop with drum solos in between, which is just good fucking rock. Forget windows rolled down and cruising to a festival, the album has come out just in time to belt your anger away in your freezing cold 2001 Pontiac Sunfire that doesn’t heat up until you’ve already got to work.