Style: progressive sludge metal (mixed vocals)
Review by: Sam
Country: US-MO
Release date: 9 April, 2021
My introductions are often too long. Most of the time I have lots of inspiration for an introduction, so that I often have to cut short what I want to say. This time however, I have absolutely nothing to say about this band, so I’ll just cut to the chase.
This is an interesting little album. It was marketed as progressive sludge metal, but it’s much more than that. Heck, I’d barely call it sludge metal, and it only takes the first track to show why. The album opens with rather industrial sounding synths and a one-two drum beat, with the only sludge-resembling element being the harsh vocals. After that it gets into straight black metal territory with tremolo riffs and mid-tempo blast beats. It’s only after two minutes that the sludge metal comes shining through, but only briefly as the industrial motifs are more important it seems. This sort of balance between sludge, industrial, and black metal remains throughout the album. It took me quite a while to get used to the album, but I think I’ve got a firm grasp on it now.
And there’s more to it, because the production is also very atypical for the genre. Instead of focusing on humongous e x t r a t h i c c riffs and fuzz, the guitars are pretty medium intensity for metal. Only the bass tone has that typical sludge vibe. If it wasn’t for the sludge style harsh vocals, I would have believed you if you said this was a progressive black metal album. The band themselves described the album on Bandcamp as a soundtrack to Times Square in the 1970s as “the epicenter of sin and salacious misdeeds.” I find it pretty fitting in a way. The album’s chock full of spooky synths. I mentioned them being industrial earlier, but they have a real John Carpenter (infamous horror film director and solo artist) vibe to them. Also not to mention the general weirdness of prominent synths on a sludge album.
If it wasn’t clear already, this band gets a lot of points for uniqueness. I also have to applaud them for keeping it varied throughout. Some tracks feel more industrial, others lean in more on the sludge riffs, sometimes it feels thrashy, and then they fully embrace the black metal aspects again. I even swear that some of the riffing patterns feel like power metal. They keep continuity with the ever-present horror synths, and just sheer good songwriting. All the songs are short and to the point, making them easy to distinguish. They have solid hooks and great performances. The album’s only 42 minutes, so it’s over in a blast. One major point of contention though is that I miss the big emotional climaxes. While each track is fun and well to listen to and their sound is super unique, there isn’t any point in the album that blew my socks off. There’s nothing in here like the solo in “The Czar” or a super moving chorus like “Roots Remain” (both Mastodon tracks) that puts it over the edge.
Ultimately that’s what’s keeping Skin Show from getting a really high grade from me. This is an incredibly unique, well-performed album that’s very easily digestible and catchy. However where it lacks is that bigger emotional gut-punch which makes music truly memorable for me, and gives it longevity beyond the year. Don’t let that keep you from listening to the album though. This is one of the most unique things you’ll hear all year.
Recommended tracks: Become the Night, Werewolf Hospital, All Hell Is Mine
Recommended for fans of: Obsidian Kingdom, John Carpenter, Mastodon
Final verdict: 7/10
Related links: Bandcamp | Spotify | Facebook | Metal-Archives page
Label: Season of Mist – Bandcamp | Website | Facebook
The Lion’s Daughter is:
– Scott Fogelbach (vocals)
– Rick Giordano (guitars, bass, vocals, keyboards)
– Erik Ramsier (drums, percussion)
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