Hanging Doll - Demo EP
2004 - Self-released
By Philip Whitehouse
Head over to the live reviews section, and you'll see that very recently I was faced with a promising young Birmingham-based band - one who took my initial, face-value impressions and promptly force-fed them to me in a display of assured songsmanship, quietly confident professionalism and undeniable punch where it counts - right in the part of the brain that says 'Damn, this rocks!' One quick chat with the guitarist Daniel Leddy later, and I'm clutching copies of both of their demo EPs. The most recent EP will be the review directly above this one, assuming the currently dormant Opeth - Damnation debate doesn't flare up again. This is an appraisal of their first four-track recording, with their original line-up.
Right from the offset, Hanging Doll destroy any notion you might have from the name or a look at their online promo photos that this might be some wussy, depressive, neurotica-goth band. Daniel's powerful, dirty, guitars burst forth from the speakers accompanied by Emily Brownhill's impressively melodic and controlled singing, Rachel Lilley's assured and tight bass playing, and Alex Cooper's punchy, distinctive drumming style. The heavy riffage occasionally brings to mind what might happen if Kittie started jamming out Sabbath tunes, but also occasionally lingers on more delicate plateaus. 'Merciful Sleep' features some lulling, jangly clean verses that bring to mind The Juliana Theory, while elsewhere the see-sawing, ever-in-motion guitars recall Pearl Jam on Mogadon...
The production is far above average for a demo recording, another testament to Birmingham's Rich Bitch studios (every demo I've heard recorded in that place in recent years has sounded great) - punchy, distinct and crushing during the heavy parts, but spacious and clear enough to allow the cleaner parts to breathe. Emily's sublime vocals could possibly have done with less reverb, however, but this is a minor niggle.
The most impressive thing about this demo is the potential it shows. The band haven't quite realised it yet though - there are times when the transitions from passage to passage aren't quite as fluid as they could be, and occasionally you get the sense that the group aren't really playing together - but generally, this is head and shoulders above any demo I've heard this year. It's heavy and dark enough to attract the Madder Mortem crowd, while still accessible enough for Evanescence afficianados. A fantastic start, and one which lays strong foundations for future development.
8/10
Hanging Doll's Official Website
2004 - Self-released
By Philip Whitehouse
Head over to the live reviews section, and you'll see that very recently I was faced with a promising young Birmingham-based band - one who took my initial, face-value impressions and promptly force-fed them to me in a display of assured songsmanship, quietly confident professionalism and undeniable punch where it counts - right in the part of the brain that says 'Damn, this rocks!' One quick chat with the guitarist Daniel Leddy later, and I'm clutching copies of both of their demo EPs. The most recent EP will be the review directly above this one, assuming the currently dormant Opeth - Damnation debate doesn't flare up again. This is an appraisal of their first four-track recording, with their original line-up.
Right from the offset, Hanging Doll destroy any notion you might have from the name or a look at their online promo photos that this might be some wussy, depressive, neurotica-goth band. Daniel's powerful, dirty, guitars burst forth from the speakers accompanied by Emily Brownhill's impressively melodic and controlled singing, Rachel Lilley's assured and tight bass playing, and Alex Cooper's punchy, distinctive drumming style. The heavy riffage occasionally brings to mind what might happen if Kittie started jamming out Sabbath tunes, but also occasionally lingers on more delicate plateaus. 'Merciful Sleep' features some lulling, jangly clean verses that bring to mind The Juliana Theory, while elsewhere the see-sawing, ever-in-motion guitars recall Pearl Jam on Mogadon...
The production is far above average for a demo recording, another testament to Birmingham's Rich Bitch studios (every demo I've heard recorded in that place in recent years has sounded great) - punchy, distinct and crushing during the heavy parts, but spacious and clear enough to allow the cleaner parts to breathe. Emily's sublime vocals could possibly have done with less reverb, however, but this is a minor niggle.
The most impressive thing about this demo is the potential it shows. The band haven't quite realised it yet though - there are times when the transitions from passage to passage aren't quite as fluid as they could be, and occasionally you get the sense that the group aren't really playing together - but generally, this is head and shoulders above any demo I've heard this year. It's heavy and dark enough to attract the Madder Mortem crowd, while still accessible enough for Evanescence afficianados. A fantastic start, and one which lays strong foundations for future development.
8/10
Hanging Doll's Official Website
