“The Del-Viles don’t ask you to stand still — they give you every reason to get up, turn it loud, and let the guitars do the talking.”
There is something refreshing about a rock record that knows exactly what it wants to be. The Del-Viles’ debut album, It’s Just a Kiss-Off, is loud, direct, rough around the edges, and full of life. The Minneapolis three-piece does not seem interested in polishing away every little imperfection. Instead, they lean into the energy that made garage rock so exciting in the first place. The result is an album that feels made for small rooms, crowded floors, sweaty shows, and nights when nobody wants to go home early.
The album opens with “The City,” and it immediately sets the tone. The guitars come in with a sharp, restless feeling, while Ethan Robert Ray’s vocals carry the attitude of someone who has had enough of being told what to do. The song’s focus on breaking away from “The Man” gives the record a clear sense of purpose without making it feel overly serious. It is rebellious, but it is also fun. “What You Got” brings in more blues influence. The guitar has a familiar groove, while the rhythm section keeps everything moving. This is where the chemistry between Ray, bassist Gabs Semansky, and drummer Daniel Robert Collins starts to become especially clear. Semansky brings a thick and steady bass presence, while Collins gives the drums plenty of weight and movement. There is a looseness to the playing, but the three musicians clearly know how to lock in together. “Two-Tone Dress” is one of the album’s biggest highlights. It is simple in the best possible way. The song does not need a complicated arrangement to make its point. The bass keeps your head moving, the guitars add bursts of grit, and the lyrics create the feeling of a night that should be spent outside rather than sitting around thinking about your problems. It is the kind of song that can easily become a live favorite. The album also knows when to slow down. “Don’t Hang Around” gives Ray more room to show a different side of his voice. There is frustration in the song, but also a sense of hurt. The heavier guitars add pressure underneath him, making the track feel more personal. “Charlotte” then turns the energy back up with louder guitars and increasingly urgent vocals. “Go Figure” is another strong moment because of how much attention it gives the rhythm section. There are moments where the drums and bass are allowed to carry the song before the guitars come crashing back in. It gives the track a loose, almost reckless quality that suits the band perfectly.
By the time “I Hate You” arrives, the album has built up plenty of momentum. The title sounds hostile, but the line “I love you so” reveals the messy emotion underneath it. That contrast gives the closing moments real character. Recorded live in the studio in a single day, It’s Just a Kiss-Off captures The Del-Viles in their natural element. Ray’s punk background, Semansky’s blues and alternative influences, and Collins’ love of jazz and Keith Moon all find a place without taking away from the band’s central sound. The upside-down crown covered in black roses on the album artwork fits the record perfectly. It represents the band’s rejection of “The Man,” but it also captures the attitude running through these eleven songs. It’s Just a Kiss-Off is not trying to impress with unnecessary decoration. It is about guitars, bass, drums, attitude, melody, and movement. The Del-Viles sound like a band that wants people to have a good time. Their debut has plenty of grit, but it never loses its sense of fun. It is the kind of rock record that makes you want to see the songs performed in a packed bar with the speakers turned up and the crowd moving from the first song to the last. For a debut, It’s Just a Kiss-Off makes a strong introduction. The Del-Viles have found their sound, and they are not afraid to play it loud.
English