Dum Dum Girls Too True

It's hard to believe that the Dum Dum Girls' first album only came out in 2010. After the release of I Will Be, the band released two EPs and another full-length record in the course of just two years. The band couldn't keep up with the pace though, as their disappointing sophomore record, Only in Dreams, proved. 2013 was the first year in the Dum Dum Girls' career without a major release. Now, they've returned with their third album, Too True. Has the break done them any good? Ehh....

 

On the first listen, Too True is far more lively than their last effort. However, that energy does not translate into staying power. Many of the tracks start to lose their appeal after another three or four listens. The problems are not necessarily with the songs, but the style. Past works like Jail La La and He Gets Me High came bursting out of the gate with heavy riffs, pounding drums and harmonies laid on top. In most cases here, the guitar feels buried in the mix, diminishing the power of its melodies. 

 

Cult of Love and Evil Blooms start the record off right, but only as scene setters, not as strong compositions. The former wastes some Bond-theme guitar parts on the verses, with only meaty chords taking centerstage on the chorus. The latter has great harmonies in the bridge, but that's about it. It works as background music, which is not the best way to start a record. Are You Okay brings out acoustic strumming with electric pickings, but the song doesn't go anywhere. If a number comes in at less than three minutes, but seems to drag on forever, it's doing something wrong.

 

Many songs have bits  and pieces that are intriguing. These diamonds in the rough aren't enough to turn the track around though. Sandy brings out a fantastically bouncy drum pattern on Too True To Be Good, but the rest of the song is a let down. Little Minx comes out with a cool, massive wall of sound effect towards the end, but it's only used once when it should have played a larger role in the song.

 

It's not all bad though. Rimbaud Eyes may bury the guitar riffs a little, but the chorus is infectious and the the instruments have more room to breathe than they did on the opening duo. It will likely be a killer live track. Lost Boys and Girls Club moves a little outside the Dum Dum box.  A heavy bass groove combines with a rhythm that sounds half-machine/half-human, while the guitar's sharp melody slices through the rest of the music, rather than being laid underneath everything.

 

The Dum Dum Girls have proved that they can put together great records. Their first album and two most recent EPs have been standout performances. But the band needs to play to its strengths, rather than a production style. This is not a band that sounds good with buried instruments. This is a group that sound best when they are in your face. After all, what's the point of writing great riffs if you can't properly listen to them?