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| Source: @DollSkinBand on Twitter / © Cameron Gile |
Politically charged and grittily driven, Doll Skin's sophomore album, 'Love Is Dead And We Killed Her', thrashed into the scene, blazing a thought-provoking and culturally aware trail in its wake. Following the album's release on 28th June, the Arizona-native quartet appear to have no intention of losing traction - their fans are as aggressively empowering as their record.
'Don't Cross My Path' introduces the album, beginning with a melancholy tone that is
reminiscent of the sensitive subject explored in the first verses. This,
however, soon explodes into an angsty chorus, embellished with heavy, gritty
vocals and jolting guitar riffs, ensuring the listener that this is not an
album to be taken lightly - the narrative is that of realism and the exposition
of hardships or wrongdoings experienced by the band. Tenacious chants only
reinforce this passion as the intended emotion is evident in the vocals -
allowing for the subsequent content of the album to be established in the
opening song. 'Don't Cross My Path' speaks directly and
unapologetically; a fitting reflection of the band's overall style and
execution. The title track, 'Love Is Dead And We Killed Her' possesses
a more lilting rhythm, highlighting the melodic creativity of Doll Skin -
not only is the lyricism gut-wrenching, the instrumentation jives in a way that
subliminally captivates the listener. It is virtually impossible to listen
(particularly to this track) without bobbing your head, forcing you to revisit
each song frequently, leaving no choice but to digest the lyrics and messages
that inevitably come alongside the hard-hitting riffs and beats.
Instrumental intricacy is particularly evident in the next
track, 'Mark My Words', alongside the continuation of the
expository and empowering tone of the album as a whole. This track is a
tangible embodiment of - particularly female - empowerment, unearthing
interpretations of gender inequality and the justified action that is being
increasingly taken against this. Due to the exploration of these topics being
illustrated in such a valiant and unapologetic nature, the members of Doll
Skin are painted to be somewhat admirable figures.
The interlinking of musical complexity and subject matter culminate
in the next track, 'No Fear'. The song runs alongside
extra-terrestrial metaphors and imagery, detailing the ideals of leaving behind
'all [of my] fears', all bouncing atop a chunky bass line and stellar vocals
(courtesy of Nicole Rich and Sydney Dolezal). 'Outta
My Mind' carries the punchy energy of the album into its second half,
with an invigorating chorus that proves difficult to sit still to. Each verse
acts as a kick, drilling against the striking palm muted riffs and intricate
undertones that, without close appreciation, could go unnoticed. Doll
Skin are sure to include decorative elements that provide the songs
with new layers upon each listen, giving the album a multi-dimensional feel
that towers above the all-too-familiar artificial tone that is so prevalent in
the industry today.
'Ink Stains' is
particularly ferocious in its delivery, blending harsher vocals with the
contagious melodies of the kicker choruses. The crafted use of pronouns
in 'Ink Stains' emphasises the impact of the lyricism, as the
illusion that the listener is being directly spoken to is maintained - allowing
for a greater chance of relatability and effect. 'Nasty Man' follows
soon after, possessing cathartic tones, as the topic in discussion appears to
be sordid and is reacted to in this exposing and unnerving medium. Each note is
sharp, each hook is laced with poison and each syllable is sung with a forked
tongue. In a bar fight with this song, you would lose - and it would
sting. 'Your Idols Are Dying' also carries this punch,
delivering a tongue in cheek expression of the blind eye society tends to turn
to its treasured figures. Again, Doll Skin are
acting as catalysts for societal change, exhuming deeply rooted issues and
scattering them in their songs in order to bring their audience to face these
problems.
When people say that bands are 'changing the world', I find it
hard to believe that there are many bands doing so in such an unyielding
fashion.
'Empty House' preceded
the album release, and justly so. Its trickling guitars (on behalf of Alex Snowden) served nothing but justice
to 'Love Is Dead And We Killed Her's anticipation in succession of
its announcement in April. The fusing of a bluesy bridge, punky guitar shreds
and intoxicating vocals acted only as a taste for the acidic experience that a
front-to-back listen of the later released album would give. Concluding
tracks, 'When They Show Their Teeth' and 'Homesick' leave
a sour taste in your mouth, but in the most exhilarating way. The album as a
whole highlights the necessary actions that we must take to better our society,
enlightening the listener on their potential as an individual to help in doing
so.
The album leaves us on an emotive note, while retaining the
vitalising energy the rest of the album so strikingly possesses. 'Homesick' lulls
us in terms of vocals, giving the listener a clean and sensitive send-off,
while strategically being coupled with the pressing kicks of Meghan
Herring's drumming to reinforce that, again, this album is not to be taken
lightly. The topics covered are hard-hitting, require further thought and are
intended to be explored on a deeper level.
Doll Skin are
truly paving the way for positive societal change, particularly in the
alternative music scene. Their music is highly concentrated on tackling issues
that would otherwise go unnoticed, fearlessly leaping away from conventions and
norms - 'you can't make history if you're stuck at home', after
all.
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| Source: www.dollskinband.com |
You can stream Doll Skin's album, 'Love Is Dead And We Killed Her', here.
