Casablanca - 1976
9.5/10
The rapid ascent to what is likely the most sturdy ‘70s Kiss album regarding intentional consistency finally hit its peak a year following what put them on the map. With a live album also under their belts, Destroyer sees what I call the second phase of their “makeup” run. Even if the debut album has the strongest songwriting itself, there’s no denying the levels of thought that went into this one. Hell, they even managed to fit a cover into this in such a fluid way for the second time, and for a band that thus far played a game of “let’s throw some darts and see what sticks,” that’s pretty incredible.
Said cover is the beautifully performed “King Of The Night Time World,” and not just because it trails off the truck-wreck sample in “Detroit Rock City.” No, the upbeat feelings and airy leads mixed with a heavier foundation and strong drumming allowed this to feel like it was their own. As a matter of fact, there is a noticeable step up in heaviness overall that we hardly saw since the first album. Though they’ve tampered with doom before, “God Of Thunder” truly nails the style better than ever, and it feels as organic as the faster, refreshing energy in “Detroit Rock City.” Between Gene Simmons’ roaring vocals, the thunderous basslines, and the stomping nature of the riffs themselves, you’ve got something rivaling Black Sabbath.
Considering this, there’s not as much ‘60s influence sneaking into the cracks, either. The more pop-oriented ones crack harder beats than those before, a personal favorite of mine being closer “Do You Love Me?” (closer, if you don’t count the “Untitled” noise on some pressings). This one uses a steady beat, and while the chorus is repetitive, it works well with the progression of the verses into the emotional frenzy that acts as a bridge. Even the ballads bring an energy not realized before this; while “Beth” may be the most out-of-place tune on the disc, there’s no denying that the piano lines are loaded with feeling. This brings us to “Great Expectations,” a lesser-liked one, but a cocky tune that utilizes orchestral tactics. Yet, there’s a heavy enough presence to it, where if it had a piano it would also work in a Meat Loaf album. A grower of a tune, but one that I have a soft spot for.
What are we left with, fillers? Somewhat, however I struggle to even stick “Flaming Youth” with that tag. This fun number reflects the stripped-down nature of the debut album, weaving together the fabrics of this record’s contrasting element. “Shout It Out Loud” is a bit on-the-nose, feeling like a “Rock ‘N Roll All Nite” part two, but it certainly held the same level of influence, also stringing together the differences between the heavy and poppy moments with dual guitar attacks. All we’re left with is “Sweet Pain,” the single obvious filler that at worst is still loads of fun; the chorus is very catchy, and the solo is as strong as any.
Ultimately, I like to say that Destroyer was the first Kiss album that didn’t just land loads of good songs because of the addictive nature of their writing, but because the real aim was realized. Themes are more varied (not being 90% about sex), and there’s a consistent flow between ideas that otherwise seem vastly different, thanks to the album-oriented structure outside of “here’s our ideas, hopefully they work!” With just the smallest hint of touch-ups, it could be right with their debut. I may still prefer Kiss to this, but I can see why one would argue that their fourth record is objectively better.
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