New CD Dollheads
The ghotic technobeat group Dollheads bears such an imprint of emotional detachment that one can easily agree that their previous name – Necropolis – was really to the point. The music of a large city blinking with its lights in the night, though empty. The emergency lights of a paper shop are on, a lonely trolleybus is drifting under the colonnades of a large bridge marking its way with the bright light of the empty passenger compartment, shimmering of the light on an inkjet printer, which has been left with the power on since the last weekend on the fortieth floor of a skyscraper abandoned by the people. The city is breathing, but there are no people. They have gone to sleep. And in their dreams they will see the synthetic waves with the clouds of guitar vibrations joining them from above and resembling the sounds of the outside world, which sometimes encroach on the dream and interrupt it. The group is using the “fish” [non-existent language] as a matter of principle, and if the “chanson style” is the city song, Dollheads is the chanson without lyrics. It brings to mind the shoegazing – the pop of the British rockers of the late 80-s, which was composed as a contrast to Duran-Duran playing in the nearby school disco or Angelo Badalamenti, who had heard too much of Trent Reznor. Generally speaking, of all the gothic groups I know, of the projects existing on the electronic spaces of the Russian-speaking CIS internet, Dollheads is the brightest, in my opinion, if the word “bright” is at all applicable to the Gothicism.
A. Zaitsev
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Dollheads is the new incarnation of the respected group Necropolis, which was named the first Ukrainian gothic group in the beginning of 90-s. In the time of its existence, the team managed to give a jingle at all the main national festivals (Kin, Alternative, Intonation, Chervona Ruta [Red Ruta], Perlyny Sesonu [Pearls of the Season], and Rock-Ekzystencia) and to present itself in the neighbouring countries. The particularities of the style did not presuppose mass popularity, but Necropolis has always had its audience, as well as the authority among its colleagues. Nevertheless, the group did not last till the new millennium. Five years later, almost without changing its members, the team returned to the scene under the name Dollheads. Frankly speaking, it doesn’t stand anywhere near the gothic. However, the artists have their own opinion on the issue: “We are not keeping to any particular style, though we are not doing anything fundamentally new, and we are not trying to. At least, we are not engaged in plagiarism. We are not concerned with keeping to the style and fashion of the music industry. Our priority is the freedom of creative work and live performance.” Dollheads perform live, but in a sampling manner. The nearest associations are Red Snapper. Outstanding ornate bass, modest guitar, though, well aware of its worth, abundant but unobtrusive electronic effects, pumping the beats with different degrees of ricky-tick and “fishy” lyrics [in non-existent language]. Taken together, all this sounds very tasty. You can try yourself.
Max Vikhot (Afisha magazine46(189) 24-30 November 2004)
Dollheads_Interviews_DC Dollheads
Hi Dollheads! Thanks for the friendship. We have a show coming up in Raleigh, NC May 30th. Check the event link below for details. Hope to see you there! Click Here To View Event <>>> <>>>
The perfect background to your daily pleasures (...) Melody-filled, ethereal and very rich; it's a soundtrack to an imaginary adventure with romance, drama, chases and a happy ending piped in from the 60s.
U might have thought: Florian has left for another planet. Oh no, I would never leave you!) Been busy cooking up new brew- NEW ALBUM, listen/buy from my page, NEW VIDEO, check on my page, NEW TRACKS, on the player!! WOHOOO!!
New CD Dollheads
The ghotic technobeat group Dollheads bears such an imprint of emotional detachment that one can easily agree that their previous name – Necropolis – was really to the point. The music of a large city blinking with its lights in the night, though empty. The emergency lights of a paper shop are on, a lonely trolleybus is drifting under the colonnades of a large bridge marking its way with the bright light of the empty passenger compartment, shimmering of the light on an inkjet printer, which has been left with the power on since the last weekend on the fortieth floor of a skyscraper abandoned by the people. The city is breathing, but there are no people. They have gone to sleep. And in their dreams they will see the synthetic waves with the clouds of guitar vibrations joining them from above and resembling the sounds of the outside world, which sometimes encroach on the dream and interrupt it. The group is using the “fish” [non-existent language] as a matter of principle, and if the “chanson style” is the city song, Dollheads is the chanson without lyrics. It brings to mind the shoegazing – the pop of the British rockers of the late 80-s, which was composed as a contrast to Duran-Duran playing in the nearby school disco or Angelo Badalamenti, who had heard too much of Trent Reznor. Generally speaking, of all the gothic groups I know, of the projects existing on the electronic spaces of the Russian-speaking CIS internet, Dollheads is the brightest, in my opinion, if the word “bright” is at all applicable to the Gothicism.
A. Zaitsev
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