Album Review: Doll Skin - Love Is Dead And We Killed Her

When Sleater-Kinney returned from their hiatus, it was a huge deal. The punk attitude that got thrown under the label 'riot grrrl' had been missing from the mainstream for quite a while, and what they did was update it with a more mature, and *frankly* better written sound. They showed that punk, feminism, and damn catchy rock music could all coexist in one beautiful mixture. I don't know if Doll Skin takes that influence directly, but that's the point of reference my thoughts start from as I put on their new record. Here, we have a band of young women who are open about their beliefs, fearless about using their voices, and who also happen to be writing some great rock and roll.

They caught my attention with the first single, "Mark My Words", which was a bit of a bolt from the blue. It was a propulsive track that had palpable energy, just enough attitude, and huge melodies. I wasn't familiar yet with Doll Skin, but it put them on my radar. The second single, "Empty House", was even better. Those two songs showed a band that could straddle the line perfectly of writing pure rock that is as catchy as pop, without ever making you think it is. They have true sing-along rock.

What makes Doll Skin stand out from so many other bands with prominent women is the skill spread out among the members. This isn't the case of a great singer with great melodies singing over some bland rock instrumentation. All four of these women bring their absolute best, so while Sydney Dolezal's voice will get the lion's share of the attention, Alex Snowden, Nicole Rich, and Meghan Herring are every bit as important to making this record work. From the groovy riff of the title track, to the searing solo in "Empty House", there's so much more to Doll Skin than I usually hear from bands that can be labeled mainstream.

In "No Fear", there's a definite mid-90s vibe to the guitars, as the tones and chord choices have echoes of Weezer (when they were good) to them, which along with the hand-claps makes it a charm offensive. That's contrasted with "Outta My Mind", with its almost surf-rock meets grunge riffs, and backing vocals that are slightly snotty (in the good way). There's a diversity to the songs as the band explores the shades and contours of their sound, which makes for an interesting ride. Even with the best bones, eleven songs built on the fame framework can be a bit tiresome as a record, but that's not an issue we have to worry about here.

Track by track, the album gets stronger as each and every song reveals a message and a hook sharp enough to pierce straight to the heart. One can be a fluke, two is a trend, and a whole record is a sign of greatness. Doll Skin has grown into a formidable band with this record. They've written an album that is loaded with potential singles, and practically guarantees they move up at least another rung on the ladder. Very few rock bands like them are making records that are this powerful, and this well-crafted. There's a killer instinct that turns melody into a hook, and Doll Skin have it in spades on this record.

Doll Skin twists the old Nietzsche line on "Love Is Dead And We Killed Her", but they are wrong. Love is not dead, because I love this record.