INTERVIEW: DOLL KLAW TALKS NEW EP ‘THORNS’

 

“I love the duality, because I feel it’s also a mirror image of myself.”

— DOLL KLAW

Earlier this month, I was introduced to the music of Doll Klaw — a Los Angeles based artist who specializes in tantalizing synthpop. But don’t underestimate this music: there is a definite bite to it that can’t be ignored.

I was lucky enough to chat with Doll Klaw about their latest release: an EP entitled Thorns, which was just released today. You can purchase it on Bandcamp now, and as soon as it’s released on Spotify, you can be sure to find a track on the Darkness Calling playlist.

To sample Thorns and learn more about this unique artist, read on below. 

 

 

DARKNESS CALLING: Doll Klaw, thanks again for chatting with us at Darkness Calling. For newcomers to your sound, can you sum up your career so far, and what listeners can expect to hear from you on Thorns?

DOLL KLAW: Doll Klaw began a few years ago from songs I would create and record in my bedroom. I started off playing backyard shows, then began playing at bars and art galleries with my theatrical, avant-garde performances. Thorns is the representation of the new, polished era of Doll Klaw where I finally was able to find the balance of my heavily synth-derived sound while showcasing my vocal capabilities.

DARKNESS CALLING: I like how your somewhat bright sound is juxtaposed with the darker image you portray in your photoshoots and cover art. Do you have anything to add on this topic, such as your inspirations or thought process in building the "Doll Klaw" persona?

DOLL KLAW: Well, that can be tied in with one of the many meanings behind the name “Doll Klaw” itself. Cute, sweet, innocent — yet sharp and something you might need to [approach] with caution. I love the duality, because I feel it’s also a mirror image of myself.

 

DARKNESS CALLING: Your songs fit right in at Darkness Calling. We love dark-yet-dancey material that gets stuck in our heads. As soon as your track "Inside" started up, I knew it would be a great fit for our playlist. Can you tell us anything about this track in particular, in terms of the writing and production?

DOLL KLAW: “Inside” is the only song in the EP that I actually created with intention. My music is usually the result of me processing and venting. I never am like “I’m going to make a song sound like this.” It usually just comes out on its own naturally and writes itself. I wrote “Inside” a couple of weeks before I went to the studio, because I realized I needed a song that people could dance to.

DARKNESS CALLING: I always like to ask at least one potentially cliché/dumb question. If you could work with any artist or producer right now, living or dead, who would it be and why?

DOLL KLAW: You’re going to laugh but I would love to work with The Weeknd. When I was younger, I used to be against popular “mainstream” music, but I feel as a musician you can recognize whether a song is good or not, regardless of the genre. I actually used to cover “Happy House” by Siouxsie and the Banshees before realizing he sampled that song in “House of Balloons.” [I especially enjoy] how his newer music is sounding even more obviously 80’s influenced. I respect what he has accomplished. I also think we would get along and make some sick-ass songs [Laughs].

[Editor’s Note: I wouldn’t laugh at all! See this tweet for reference.]

DARKNESS CALLING: Thanks again for your time! What's next for Doll Klaw? Do you have any music videos or livestreams on the way?

DOLL KLAW: Yes! We are doing a livestream show for the Thorns EP release party! You can catch it 8pm (PST) 02/16 on twitch.tv/dollklaw

REVIEW: THE SPLENDIDLY SOPHOMORIC SOPHOMORE ALBUM ‘NO GLORYHOLES IN HEAVEN’ BY GOD HATES UNICORNS

 

“This is an insult to all I have created.”

— GOD

What can be said about this album? Really? What can — or should — be said?

Would you ask someone to review the Mona Lisa? What about Beethoven’s Fifth?

This is the dilemma I face on this drizzly Friday morning. Having spent last night in bed listening to No Gloryholes In Heaven (in both earholes, I might add), I find myself fundamentally changed, shaken to my core, and irrevocably disturbed.

And I think I want to listen to it again.

 

You can stream the entire album now, but before you do, let me give you some background on what you’ll be stepping into.

God Hates Unicorns aren’t particularly gothy or darkwavy in the traditional Darkness Calling sense, but there’s no denying the dark, sometimes nihilistic tone of these songs, even if singer Joshua Hartz keeps his tongue planted firmly in-cheek. The sound of God Hates Unicorns — on this release in particular — is very grungy, distorted, and rock-driven, sometimes calling to mind 90’s greats like Primus and Veruca Salt.

There’s also an old-school punk rock element to the whole affair, heightened by the presence of co-vocalist Jessica Zoric. She previously provided vocals in the electronic-rock outfit The Molecule Party. Here, she channels a different energy entirely: one that feels right at home in the God Hates Unicorns landscape. Her vocal parts are some of the album’s most fun, as they’re dripping with attitude and a winking charm. She also injects a much-needed feminine touch to tracks like “Not Your Day” that would be hard to pull off otherwise.

This band is no joke, either. Marcus Gabriel Dryburgh, Jeff Zambon, Timothy Saunders, and Matthew Crippen provide some bone-shattering riffs and funky rhythms that will have you unsure if you should dance or headbang. (Why not both?)

Some of the album’s instrumental moments, namely the jam session that closes out “Heaven Scent,” feel reminiscent of (hear me out) early KoRn — in the sense that these guys aren’t afraid to create musical moments that are a little jazzy and a little grungy, with some 90’s hip-hop flavor thrown into the mix. 

 

ALBUM HIGHLIGHTS: 

 

Manners: When Josh and Jessica give us that “It’s called manners” chorus, it’s a seriously badass moment. There’s also a brief but face-melting guitar solo.

Not Your Day: What a song. Ask White Zombie to re-work “Baby It’s Cold Outside” and you’d probably wind up with this. It’s a wild, theatrical track that makes me wish I could see these guys live.

Walk It Off: Another great, catchy chorus. These guys really have a knack for getting words stuck in your head that you wish weren’t in there. And more stellar guitar work propelling the song into fist-pumping territory.

God Hates Unicorns 2: This back-and-forth dynamic is something that wasn’t always present in God Hates Unicorns, but it really adds to the comedic, fun nature of these songs. I went back and listened to the original “God Hates Unicorns” from the first album, and it’s very impressive to see how much they’ve evolved. This album is tighter, better produced, and more insane all at the same time.

It’s Not Real: This is perhaps one of the album’s more serious tracks, focusing on the religious indoctrination of children, but it’s an anthem if there ever was one.

There are also two bonus tracks: “Man, I Feel Like A Woman” (yes, a Shania Twain cover) and “Chipped Ma’am” (a much superior re-work of a previously released song). I see why these were included, as the Shania Twain cover would be a real hit in a live setting, and “Chipped Ma’am” really benefits from the added presence of Jessica. Going back and listening to the original “Chipped Ma’am” was an interesting experience. The band had more of an electronic sound in those days, and while the humor was still present, the vibe was more Smells Like Children and less “Wynona’s Big Brown Beaver.”