The Lion’s Daughter
Season Of Mist
I’m not really sure what to think about this one, regardless of the fact that I praised The Lion’s Daughter before. It just feels like they wanted to make their own version of Cult Of Luna‘s Vertikal I&II, which I just don’t think anyone in the post-metal/doom category should be attempting to touch right now. Additionally, The Lion’s Daughter utilize more modern core elements, which take a masterpiece and slightly smear it with mud. In a word, the record is heavily influenced by electronics and attempts the same “we’re kind of a mix of core and black metal” style as before, albeit with the pretentious node of electronic flair that rubbed me the wrong way. An interesting thing is that this band’s name is The Lion’s Daughter and there’s a live-action remake of The Lion King coming out in a year or so, so it would be really intriguing if these guys sat down and wrote a concept album based on The Lion King. Not covering the Disney songs, obviously – but just focusing on the story itself. There’s actually a great deal of psychology to that story also, like the Elephant Graveyard representing the subconscious mind. Even so, it would probably make these gentleman a household name if they had made a record like that. Could you just imagine “The Lion’s Daughter – The Lion King” coming out in 2020? They would be all over the internet in a matter of minutes, especially if the record wasn’t made to be satire or some sort of joke, but a well-thought out release with its own unique vibe. People would be so shocked by the quality of the performance given the nature of the material that they’d be running to the bathroom while at the same time on the verge of spontaneously combusting.
Though getting to the album, I notice immediately on this second listen that electronic effects ebb and flow throughout sections of doom fronted angry man screams, which soon fill with more electronic stuff and maybe even some chiptune and disco. It’s interesting when “Die Into Us” throws in a nice solo to fit nicely over the top of Disco Stu. “Suicide Market” utilizes some colder horror melodies that don’t sound too far removed from the Michael Myers film franchise. (20th Century Fox, are you listening? I mean, House Of Mouse? But of course, the great ears of our rodent savior are always observing the actions of tiny human worms). “The Gown” definitely intrigued me, but that was up until the point where the guitars began and the incoherent angry man shouts arrived onto the scene. Not that the riffs didn’t serve as a nice decoration piece, but the shouts felt unnecessary. This would have made a fine, creepy little instrumental. Not every song needs vocals, you know. As a matter of fact, I wonder if the whole record would have worked without vocals? There’s definitely enough in the way of soundscapes and effects to make that point known as the vocals often feel one-dimensional. I almost want to ask the frontman if he can do more than angry grunts. I can. (smiles) Honestly, I think the vocals are what offset this performance the most for me, because it just comes off like a disgruntled customer with a hair in his soup or “man who had bad day at work” kind of thing. I get it, you can shout loud and heavily with incoherent lines about nothing. The man could be shouting about that bullshit final battle in Ys Seven where the developers force you to use your entire party to fight a boss battle, including those who aren’t leveled up and don’t have the right equipment, and are just second-tier characters at best. Now that’s something worth shouting about. I mean, you’re looking at an extra thirty hours of grind, just to finish a final boss and get an ending to a game you’ve already sunk hours into. Biggest bullshit Falcom ever pulled. So if one of the lyrics here is “Fuck you Falcom, for the final battle of Ys Seven!” then he has every right to be angry. Another thing he could be angry about is that jump in Donkey Long Land for the Game Boy Color, by far one of the most bullshit designs I’ve ever seen in a platformer. My former colleague and I used to refer to this jump as “The Jesus Jump” which means that you would literally have to be Jesus to perform it. And what’s more, is that you can’t actually finish the game by skipping it. It’s intentional. I’m sure if I handed the man a copy of that game, he’d have the same issue and roil with so much seething anger that an entire album could be made from it. A record called, “The Lion’s Daugher – Fuck That Jump” which I’d support immensely.
Getting back to the album, we’re now faced with a closer in “In The Flesh” which actually seems to invite some grindcore territory and a slightly differing vocal tone in the beginning, I’d say it’s a bit more raspy. The vocals don’t completely overpower it this time though, making for what I’d consider a very intriguing synth atmosphere in the middle and at the end of it. I just don’t think that the guitar feedback should have been a section here, as it would have been far creepier to end with the synths. You had a good thing going already, why ruin it?
If this intriguing mix of synth, chiptune and admittedly rather bland post-metal (mainly in the vocals, but there are definitely people who won’t mind it) with some rather punchy elements for good measure interests you, then you can give it a listen at the link below.
(10 Tracks, 37:00)
Purchase HERE (Bandcamp)