Collegiate Times

Father, Son, Holy Ghost

Girls (Sept. 13, 2011)

Coming two years after Girls’ widely acclaimed debut, “Album,” in 2009, the expectations of “Father, Son, Holy Ghost” were almost impossibly high. “Album” received glowing reviews all around, as critics were highly impressed with how capable the duo was at incorporating decades of musical influences into a sound that felt familiar and yet engaging. Also of note was the vulnerability of Christopher Owens, whose voice sang with such a feeling of brokenness and sensitivity, always sounding on the verge of a major emotional release. The band followed up “Album” with an EP in 2010 called “Broken Dreams Club” that featured a more polished sound, which showed the band experiment a little more with their sound, blending in more country-western and classic rock influences than before.

So with two solid releases under their belts, Owens and bandmate, Chet “JR” White, finally have unveiled their latest creation, “Father, Son, Holy Ghost.” As a result, they have definitely lived up to, if not exceeded, the hype surrounding the album’s release. Building on the sounds of their 2010 EP, “Father, Son, Holy Ghost” features a very large classic rock and western influence, as well as their usual Beach Boys “surfy” guitars. The development of this blend of rock, country-western and surf pop sound lends the record a sense of timelessness, as though it exists in some time warp of the 50s, 60s, 70s and even today.

The songs here are longer and more winding, sometimes exceeding six or seven minutes in duration. Owens takes advantage of the time to explore more diverse song structures, mixing slow buildups with explosive peaks. For instance, the first single, “Vomit” — nearly seven minutes long — begins with hushed guitar strums and quiet, brooding vocals only to be torn apart by a thunder of drums, fuzzy guitars and (surprisingly) a gospel choir. “Die,” a straight up classic rock track, features guitar solos that cut clear through the track before fizzling out into an extended outro backed by a synthesized flute.

Girls’ songs have always had that element of darkness and sadness, but it’s all taken to a new level on “Father, Son, Holy Ghost.” Whereas before, Owens disguised the melancholic nature of his lyrics with cheerful, upbeat pop backdrops — here he throws his most dismal, dejected words into a song that sounds equally as depressed and weary. What’s amazing about this album is that it contains this heaviness that is intertwined with songs like “Honey Bunny” and “Magic.” These combinations make them sound about as sunny as anything the band has ever done, as they balance out the lowest of lows (“My Ma” and “Vomit”) with highs of comparable emotion. The album ends on a truly beautiful, subdued note with “Jamie Marie,” which is perhaps one of Girls’ best and most poignant tracks.

In fact, that earlier thought summarizes the album well — “Father, Son, Holy Ghost” is a trip through the ups and downs of Owens’ emotional peaks and valleys, rarely existing in any state of moderation. When he’s sad, he’s extremely sad. When he’s happy, he’s the happiest he’s ever been. Although the album probably features less immediate jams like “Lust for Life” or “Laura,” its emotional complexity and range of influences make it a more demanding, and thus more rewarding, album to listen to. If you’re willing to put in a little bit more time and patience with the record, and really ride the emotional rollercoaster Owens and White have constructed, you will find that this album just may be superior to any other Girls’ release.

Listen To

: “Honey Bunny” / “My Ma” / “Jamie Marie”

You Might Also Like...

Dye It Blonde

 —

Smith Westerns (Fat Possum Records, 2011)

Smith Westerns explore similar classic and glam rock influences on their terrific 2011 release “Dye It Blonde” and definitely fit in the same nostalgic vibe as Girls, although their age sometimes lends their lyrics a little less maturity and darkness.

Continue Reading: 12 Next » 

A version of this article appeared in the Sep 13 issue of the Collegiate Times.