Gretel – ‘Squish’ album review: A powerhouse debut balancing references and originality
For some reason, some voices in music have got weirdly snooty and elitist about artists having references, as if demanding art to be void of context and history is the new way to prove power. Thankfully, on her indie debut, Squish, Gretel ignores that.
The Skinny: In particular, the demand for referencelessness feels like something thrown at women by men. It’s a new tool used in a weird attempt to catch women in rock out, suggesting if they take clear influence from another act or time, they’re clearly a copy-cat, a phony or incapable of their own originality.
On Squish, Gretel wearing her references doesn’t impact her greatness at all. In fact, it makes it all the better. Within seconds of the opening title track alone, Gretel croons “something in the way…” and your mind fills in the blank of George Harrison’s ultimate love song. That’s a tune of grand gestures and devotion, but as Gretel twists it, ending the phrase instead with “you’re holding me now”, she instead launches into a song about modern connection and desperation for affection, even if it’s fleeting. The rest of the song is a battle between two desires; “All I want is to drown in love” she wails while also agreeing to the chaotic confines of modern dating, singing “But call me up / In the dead of night / And I’ll be all over it / No courting, I’ll be all over it.”
Throughout the record, it’s as if Gretel sees the artists that shaped her and pays thrilling homage. There are PJ Harvey tones across the board, from her guitar tones to her turns of phrase and vocal acrobatics on ‘Witch Hunt’. ‘Laurali’ is devastating in the way Stevie Nicks’ saddest songs are, merging mythical images with simple gut punches like “I’ll lick your wounds while you’re sending back the things I bought for you“. Wolf Alice also comes up as a likeness again and again as Gretel undeniably sits in the new cast of women in rock influences, spurred on by the power of Ellie Rowsell’s powerful and characterful voice.
With shades from shoegaze to classic indie to all-out rock rages like the standout track ‘Unbloom’, Gretel is clearly taking sips from all the different pools that first got her drunk on the idea of picking up a guitar and singing into the mic. Yet no amount of that takes away from her clear talent as a composer, but especially as a lyricist.
Squish is a step up in every way from her prior releases, but most notably in her writing. On ‘Maybelline’ alone, Gretel’s contemplation of beauty standards, generational insecurity passed down from age to age while it morphs and disguises, is so nuanced yet so catchy. All the references that colour the record might have pointed her in the right direction, started her off and informed some choices, but only sheer talent picks up a pen and makes something that good.
Standout Track: ‘Unbloom’
The Verdict: Building slowly over a scattering EP, Gretel’s debut album launches with a promise fulfilled and potential not only met, but doubled down on. Spanning a broad sonic landscape while her pen keeps her unique and focussed, it’s an album that never dulls but only deepens with each listen and gets more euphoric once you can sing along.
Release date: 10th April | Producer: Seth Evans | Label: Breadcrumb Records / AWAL
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