Golden Grrrls - Golden Grrrls - Albums - Reviews - Soundblab

Golden Grrrls - Golden Grrrls

by Al Brown Rating:8 Release Date:2013-02-25

This is their debut album, but Glasgow's Golden Grrrls have been around for a few years, making short hits of fuzzing indie-pop, sounding a bit like some of your lo-fi legends: The Clean, Black Tambourine, The Pastels - but crucially only ever really sounding like themselves. Golden Grrrls might be a band for the (seemingly) few of us who still enjoy those authentic, imperfect singing voices, the kind which tell you a lot about the person even though you can't hear (or aren't listening to) the lyrics.

First song 'New Pop' is a great example of this: Eilidh (who also drums) and Ruari (guitars) both have a gorge Scots lilt, but Eilidh is more forceful and occasionally (thrillingly!) a bit flat. Ruari is laidback but no less convincing for it. His "Whoa-oh-ohs" seem more like an admission of defeat, whereas Eilidh's are more insistent: in one of the odd audible lyrics she repeats, "Why don't you come around here?"

The lyrics are inaudible partly because of the slightly lo-fi nature of the recording, but mainly, wonderfully, because the two sing over each other almost constantly, somehow maintaining a rough sense of unity while threatening to clash and disintegrate at any minute. And what more do you want from a love song? (And also why don't more bands sing over each other when it sounds so

?)

So that's two points of the Golden Grrrls triumvirate covered. The third, Rachel Aggs, provides clean, melodic lead guitar which earns the band those Flying Nun comparisons. I want every lead guitarist to be like Aggs, who plays a series of rhythmically/melodically perfect four-note riffs and solos that are a crucial part of the band's sound without ever being at all intrusive or extraneous. Check the mellow riff on 'Past Tense', or the Afro-pop-influenced stuff on 'Think of the Ways'. Aggs also adds additional vocals on a few tracks, bringing a welcome extra element to songs which occasionally threaten to sound overly simplistic, rather than disarmingly catchy.

My only criticism of the album would be that the songs rarely go beyond a couple of insubstantial verses and choruses; a template which, in general, I love - but if some were expanded into something a bit more (especially lyrically), it could, possibly, have made the album even more special. Considering the whole thing was recorded in a relatively meagre eight days, that's asking a lot, but maybe next time around there will be a bit of variation on the theme. Honestly though, even if there isn't, it'll still be pretty great.

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