Band of Skulls - Baby Darling Doll Face Honey Review
Posted by Vanessa Willoughby on 05.17.2009
The Southampton trio delivers an album that's a mix of alternative rock's best and brightest.
TRACK LISTING:
1. Light Of The Morning
2. Death By Diamonds And Pearls
3. I Know What I Am
4. Fires
5. Patterns
6. Hollywood Bowl
7. Bomb
8. Impossible
9. Blood
10. Dull Gold Heart
11. Cold Fame
Generally, when it comes to today’s alternative rock scene, many of the debuting bands make the mistake of attempting to sound like the next White Stripes or Strokes. There’s always the need to repeat the familiar, instead of branching out and establishing a new sound. However, with Southampton’s Band of Skulls, the sound is a compelling mixture of the old and the new, the original and the essential.
Released on April 7th, Baby Darling Doll Face Honey contains the roots of blues and classic rock and roll, many of the tracks a reflection of their admiration or appreciation of groups such as The Strokes, The White Stripes and the Yeah Yeah Yeahs. Band of Skulls consists of three members: Russell Marsden on guitar and vocals, Emma Richardson on bass and vocals, and Matt Hayward on drums. The trio first met in college and soon gained notoriety in the local music and art community, eventually completing the recording of their debut album before their contract was finalized.
The opening track, “Light of The Morning,” crackles with a gritty blues-inspired guitar rift, reminiscent of bands such as The Black Keys. Marsden and Richardson’s voices are like coffee and cream; his vocals matching the roughness of the guitar, her vocals acting as a smooth foundation to balance out the sound. It’s a fairly simple song, void of superfluous guitar solos or crazy-complicated musical arrangements. However, the steady buildup of energy and the repetitive guitar rift create a song that opens the entire album with a bang. The break around 1:57 and the following adagio of the rhythm provide the transition into the second song.
The transition from the opening track into the second track is seamless; before you have a chance to fully realize it, “Light Of The Morning” has transformed into “Death by Diamonds And Pearls.” Marsden’s voice is reminiscent of Jack White and the searing guitar break near the end of the song closely resembles something that could’ve been from Elephant. Everything seems to be perfectly in place, from Richardson’s bass, to Hayward’s drumming, to Marsden’s aching vocals. For a debut band, Band of Skulls not only has remarkable chemistry, but impeccable synchronization. Both the lyrics and the sound conjure the world of the rock and roll underground, of glamorous girls and boys with long hair and skinny jeans. Naturally, today’s “hipster” culture will no doubt flock to Band of Skulls, but this shouldn’t downplay or hurt the sincerity of their talent.
“I Know What I Am,” the next track,” subtly mimics the musicality of a nursery rhyme or a Dr. Seuss book. Marsden and Richardson alternate between lead vocals, their voices joining together for the chorus. Like a mantra, they sing:
High ho, triple sow co,
I got a feeling like I'm tired of the flow
But I know what I am,
They know what they are
So let me be
Gasoline, saccharine
I got no reason for the state I'm in,
But I know what I am,
They know what they are
So let me be
Additionally, the song allows Richardson to gain equal time in the spotlight, as far as vocals are concerned. “I Know What I Am” is a song that showcases the band as favoring a sound much more akin to a group like The Kills; Richardson’s vocals aren’t about establishing her presence as a female in a band with two other males. Rather, it’s about working with the rest of the band and the music itself.
The next track, “Fires,” is a bit of a change from the first three tracks, opting for a rhythm that makes much more usage of the bass. Like the title of the track itself, the chorus is a sudden flare of noise, as Richardson and Marsden join vocal forces. There’s something incredibly dreamy at this track, despite the ongoing rawness of the guitar.
“Honest” starts off with Richardson’s vocals and Marsden provides the supporting vocals. This song is the first that exhibits both the full capacity of Richardson’s voice and a slower tempo. It’s a surprising, albeit welcome departure from the previous high-powered, full-throttle tracks. Instead of allowing the electric guitar to carry most of the rhythm, Marsden uses an acoustic, which compliments Richardson’s full, soulful voice. The placement of this track is an effective interlude from the previously established energy. It not only allows the listener to indulge in its mellow enchantment, but to harbor a newfound anticipation for the album to kick into high gear again.
The seventh track, “Hollywood Bowl,” is an infectiously upbeat track that describes a spontaneous night of partying with the rich and beautiful. As noted in other tracks, Richardson and Marsden trade off on vocals, their voices explaining the opposing sides to the same story.
The following track, “Bomb,” is an appropriate title, as Hayward’s drumming acts as the methodical ticking of a bomb. Marsden and Richardson’s vocals serve as the prelude to the smattering crunch of guitar and bass.
“Impossible” evokes a guitar and bass collaboration that is reminiscent of contemporary, British bands like The Verve or Oasis. Coincidentally, in this track, Marsden’s voice takes on the inflection patterns of the front-men of the aforementioned bands, rather than the eclectic stylings of Jack White.
The final track, “Cold Fame,” challenges the benefits of fame, analyzing its impact on personal relationships and personal identity. The musical arrangement echoes the laid-back, surreal feeling of “Honest.” The combination of the music and Richardson and Marsden’s vocals washes over the listener like syrup, creating a fitting ending for an electric album that borders on the blissfully surreal.
The 411: Band of Skulls is certainly a band to watch. There isn't a single throwaway track on Baby Darling Doll Face Honey. The album is a satisfying and complete experience from beginning to end. Some readers may think I'm a bit lenient when it comes to reviewing albums. However, this is one album that's captured my genuine admiration and is a gem that even the toughest critic couldn't deny.
