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Bright, chiming guitars and propulsive drive Pitchfork. Girls Names strike an almighty chord for the homegrown underground scene thats been severely lacking in recent years - Drowned In Sound. Forming in Belfast in January 2009 initially as a two-piece, Cathal Cully and Neil Brogan booked their first gig as Girls Names before theyd even played together. Expanding to a three piece some months later with the addition of Claire Miskimmin on bass, the band have effortlessly refined their own personal take on the early mid eighties shadow world of Black Tambourine, Felt and the Sound of Young Scotland. Although still in their infancy, Girls Names have traced their development through a series of releases, having already issued a 12 Captured Tracks, an 8 track mini-album on Tough Love and a split 7 with San Francisco s Brilliant Colors on Slumberland. From humble beginnings their live show has also been dramatically improved, helped in part by sharing stages with Times New Viking, Dum Dum Girls and Abe Vigoda, amongst others. With their identity firmly established, debut album Dead To Me is the next step forward that delivers on the promise shown on previous releases. The song writing is more defined and the production values have been sharpened, representing a definitive break from the nonsensical lo-fi tag that has lazily followed them around by association. Recording for Dead To Me began in the last half of 2010, the band entering the studio with the conscious desire to make an old fashioned style pop album, albeit one with a perverse haunted feel. As intended, the haunted aspect is brought to the fore. The ten tracks that comprise Dead To Me are possessed with a warm, classic quality derived second hand from the 60s influenced bands of the 80s. Songs such as When You Cry, Bury Me and I Lose are characterised by a timeless melodicism that s long been the reserve of pop classicists from the Walker Brothers to Orange Juice, while other elements of the record, such as Séance on a Wet Afternoon, reveal a perverse undercurrent. And in an oblique manner, ghosts are also integral to the lyrical themes of the record. Whoever the inferred protagonist in the album title is, their spectre lingers throughout Dead To Me, hiding in the narrative arcs that run consistently throughout. Masked under the gloom of reverb heavy guitars are subdued bittersweet vignettes charged on bloody nostalgia, bad romance and a fascination with the occult. Despite their influences and immaculate taste, Dead To Me remains a distinctive listen precisely because of where it was conceived. The grey contours of Belfast streets indelibly shade the mellifluous guitar tones and spooked vocals. As such, for all the bands backwards gazing, theres a feeling that this album couldnt have been made anywhere but Belfast right now. The album also gets a US release through Slumberland.
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1 of 1 people found the following review helpful
Format:Audio CD
Taste makers take note. This Belfast three-piece already have releases under their belts on both the Captured Tracks and Slumberland labels. And, if that isn't enough to prick the ears, then how about the fact that, amongst others, they've also supported Times New Viking, Dum Dum Girls and Abe Vigoda?
It's safe to say that those that heard Crystal Stilts' choice Alight Of Night album will find Dead To Me, and in particular the dirgeful "Cut Up", very familiar. Those that continue to follow the prolific Spectrals set-up need also to sit up and pay attention.
Another, simpler way to put all this is that Dead To Me is great. An all-too-brief collection of ten impeccably reverbed, chiming garage-poppers with thin, period production in the C86 vein, it can't help but leave you wanting more, but in reality there'll be few dissatisfied with what they get.
Neil Brogan's listless vocal bobs around in jangling slews of 60s garage. Iconic drum patterns skitter around the mix joining frenzied surf scales. Echoes abound as dark-hearted Girl-group influences prevail. To cap it all, "Bury Me" even thinks to court early, feedback-free Jesus & Mary Chain as it drags itself through that same influential grey wetness.
Mournful thanks to Brogan's ennui, miserable thanks the band's choice of subject matter - the album is called Dead To Me for goodness' sake, another sample track "Séance On A Wet Afternoon" - Dead To Me is drop-dead cool in every sense.
*Advised downloads:* "Séance On A Wet Afternoon" and "Bury Me".
It's safe to say that those that heard Crystal Stilts' choice Alight Of Night album will find Dead To Me, and in particular the dirgeful "Cut Up", very familiar. Those that continue to follow the prolific Spectrals set-up need also to sit up and pay attention.
Another, simpler way to put all this is that Dead To Me is great. An all-too-brief collection of ten impeccably reverbed, chiming garage-poppers with thin, period production in the C86 vein, it can't help but leave you wanting more, but in reality there'll be few dissatisfied with what they get.
Neil Brogan's listless vocal bobs around in jangling slews of 60s garage. Iconic drum patterns skitter around the mix joining frenzied surf scales. Echoes abound as dark-hearted Girl-group influences prevail. To cap it all, "Bury Me" even thinks to court early, feedback-free Jesus & Mary Chain as it drags itself through that same influential grey wetness.
Mournful thanks to Brogan's ennui, miserable thanks the band's choice of subject matter - the album is called Dead To Me for goodness' sake, another sample track "Séance On A Wet Afternoon" - Dead To Me is drop-dead cool in every sense.
*Advised downloads:* "Séance On A Wet Afternoon" and "Bury Me".
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