Post War Glamour Girls, a young four-piece from Leeds, have been stomping about their local scene for a few years now, Pink Fur is their first full-length. While the mostly black sleeve, featuring two garish faces, one aggressive; mid-scream, the other looking on in fearful apprehension, would make you steel yourself for something weird or German, this is actually something as unusual as a well-made 10s rock record. It’s one of those albums that, for better or worse, implore the listener to sit down and take in its screeches of feedback, blotches of clever lyrics and frequent changes in full.
Central to the band’s sound are the two excellent lead vocalists on board. James Smith and Alice Scott use their disparate voices, his a full-throated anguished baritone, hers a spooky contralto, to great effect all throughout the disc.
Opener ‘Sestra’ is a six-minute epic built on a slowly chugging bass-line, starting off with a nonchalantly sullen verse by the former to sparse accompaniment before opening up, switching lead vocalist and heading into a bridge where Smith beseeches the target of his lyrics, or the hearer if you will, to “use your fucking ears and listen”, our man at the microphone gloriously sounding like a cross between Black Francis doing his shouty, rhythmically groaning bits from the first two Pixies records, and some overly-refreshed bloke outside a half-filled Leedsian indie night shouting at his mates.
There’s messy guitar feedback and heavyweight post-rock here too; hometown heroes and bill-sharers I Like Trains an obvious influence. ‘Powdered Milk Asylum’ is a solid chunk of danceable post-punk certain to get any northwestern indie venue going. ‘Stolen Flowers Rust’ is almost funky in its swinging heaviness. The album closes with ‘Brat’, a thundering epilogue that builds on the themes from ‘Sestra’, intensifying them, slathering the chorus in reverbing choir and hacking it to bits with thumping drums and screams.“Cathartic”, a first-year art student might say.
That’s the thing though; there’s braveness to the way Post War Glamour Girls dare to be ostentatious in between the noise. Although no strangers to clever production and dizzying feedback, PWGG don’t hide their melodies and lyrics behind the deafening waterfall of reverb and delay favoured by contemporary guitar bands. Although not all of these brazen outbursts hit the spot, most do. This mess is theatrical, powerful and definitely worth a listen.