Golden Grrrls - Golden Grrrls

Their sound gleams with a lo-fi aesthetic that stays true to their bedroom beginnings.


Golden Grrrls were born in a bedroom at the end of the last decade, and before too long the time-killing project blossomed in to a fully-fledged band who were quickly tipped. However, after three years of varied obstacles, it’s only now they’re releasing a long-awaited debut album.

Time has not been wasted between then and now. It’s clear the Glasgow and London-based band have consumed a steady diet of their home city’s flagship output: the influence of The Pastels and The Vaselines, and the output of the Flying Nun label is clear. It’s helped pave the way for the trio’s concise, melodic pop songs. Yet, it is their modern-day contemporaries that they will be unfairly compared to.

They are a completely different proposition to current indie-pop darlings Veronica Falls: the interweaving vocals and guitars that were used to great effect on the Londoners’ debut may be the essential ingredient for Golden Grrrls’ success, but this is where the resemblance ends, as the latter’s sound gleams with a lo-fi aesthetic that stays true to their bedroom beginnings.

The recurring theme on ‘Golden Grrrls’ is the shortness of their harmonic power-pop songs. The first of these is ‘New Pop’, which rattles along at breakneck speed and features the first of many charming refrains. ‘Older Today’ is the standout moment. It begins in the same vein as the rest of the album, but as it reaches its climax, Ruari MacLean’s baritone delivery is immediately perfectly complemented by Rachel Aggs’ sweet voice.

And despite the undeniable charm that ‘Golden Grrrls’ posesses, it often feels as if the group are treading water: they stick to the same formula throughout; the songs are too similar, there are no obvious highs or lows. It’s hard to become emotionally attached as a listener.

It may not be a grand statement, but this is a good representation of a band keen to create their own interpretation of their favourite sounds. The result is an accomplished debut that’s a welcome - though not essential - addition to a growing number of lo-fi pop bands.