The Minneapolis-based trio The Del-Viles have just released their debut album It’s Just a Kiss-Off. The record came out only a few days ago, but the first taste arrived earlier this year with the single Two-Tone Dress, which dropped in the first half of January. From the opening seconds it was clear what kind of sound the band was aiming for: loud, scruffy garage rock that is not just raw for the sake of it, but surprisingly danceable. It’s the kind of track that immediately makes you tap your foot or nod your head along to the beat. Even as a trio, the band manages to create a thick, punchy rock sound. The song relies on a rather minimal vocal melody, yet that restraint works perfectly, giving the heavy riff an extra layer of gritty atmosphere.
But let’s go back to the beginning. The album features eleven tracks, and it opens with two songs that immediately establish its restless energy and stylistic range. The City bursts in with a crash of gritty guitar chords and rattling drums, setting the pace for an urgent garage-rock drive. And vocalist Ethan pushes the song forward, capturing a raw sense of rebellion in its portrait of people around the city dreaming of taking a stand against “The Man.”
It’s followed by What You Got, which shifts the mood without losing momentum. Built on twanging guitar lines, a pulsing bass and steady drums, the song leans more toward a laid-back blues-rock groove. In the first half of the record we also get the punchy Wild, which arrives with a memorable vocal melody right from the start. Despite its simple, rough-edged riff, the song carries clear hit potential and even hints at a slightly dirtier Black Keys-style vibe.
The next track, If I Might I May, initially reminded me of seventies rock — and in a good way. After the choppier riff of the intro, the song gradually opens up and lands somewhere between garage rock and grunge. The chaotic ending is especially enjoyable and instantly makes you imagine how fun this moment must be live, particularly when the playful bass line emerges near the end.
Right in the middle of the album sits Don’t Hang Around. It begins with a brisk, distorted riff that stands out for its apparent simplicity. When the vocals arrive, they feel a bit smoother this time, creating an almost indie-rock atmosphere. Later a lively bass line joins in, and the highlight becomes the repeating chorus. The band isn’t trying any big experiments here — it’s simply a classic, catchy garage rocker.
With Charlotte, the tempo rises again. The energetic riff from the very beginning reminded me a bit of the supergroup Them Crooked Vultures, while the distorted vocal delivery sits somewhere between Motörhead and Drive-By Truckers. The shouting passages are particularly fun and must translate into a powerful, high-energy moment in a live setting.
Skeleton brings a bluesier touch and almost feels like it could have slipped out of an episode of Twin Peaks. It’s the kind of song you could imagine hearing in a dimly lit roadside bar somewhere deep in the woods – a slightly smoky room, a quiet drink in hand, and the band playing in the corner.
Go Figure continues the more energetic run of songs, but my attention was especially caught by the penultimate track I Hate You. Here a shouting vocal collides with a driving riff that repeatedly pulls back just long enough to leave space for a memorable vocal line and a catchy bass groove before building intensity again. That constant push and pull keeps the song engaging and dynamic.
My absolute favorite, however – perhaps because I’m a big fan of folk – is the closing track River Seine. It begins with an acoustic guitar and feels very raw and emotional. At first it might seem slightly out of place among the album’s loud, garage-rock heavy hitters, but in the end it works beautifully as a closing statement. The song carries a gentle melancholy and a quietly bittersweet mood that leaves a surprisingly strong impression once the album fades out.
This album was discovered via Submit Hub
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