Girls: Father, Son, Holy Ghost [Album Review]

It's safe to say at this point that Girls leader Chris Owens is one of the most charismatic and relatable front men to come along in quite some time. Moreso than the group's lo-fi approach or his intriguing back story, Owens' ability to take universal sentiments and infuse them with a potent sense of earnestness through his delivery has defined the group's music. Owens and bandmate Chet "JR" White could have easily turned in a record similar to Album or last year's excellent Broken Dreams Club EP and come away with another feather in their caps.

By complete contrast, Father, Son, Holy Ghost sees the band going for broke. Invoking multiple changes in style and mood, an almost complete regard for immediacy, and instrumentation some might find overindulgent, it would easily crumble beneath its own weight in the hands of a lesser band. However, thanks to the group's excellent musical abilities and Owen's strength as a songwriter, Father, Son, Holy Ghost stands as one of 2011's most accomplished records.

Musically, there is a lot to like about this album. One of Girls' hidden strengths is their ability to take just about any genre they choose and make it completely their own. Rather than rest on Album's laurels as a very good surf rock record, the band decided to branch out even further than they did on Broken Dreams Club. In fact, few songs actually recall the musical feeling of Album with the exception of opener "Honey Bunny," a rollicking song that would perhaps work best driving down the coast in a drop top. Whether it's the almost dance-punk feel of "Alex," the nod to early metal on "Die" or the doo-wop vibe of "Love Like A River," the band take the best elements of these styles and perform them as though they've been doing it their whole lives. Additionally, there are tempo and mood changes throughout that never detract from the song's effectiveness. It all makes for a very diverse album that serves as a testament to the group's musical abilities, and give Owens' laments even more room to explore.

With the same sort of effortless aplomb that made songs like "Laura," "Hellhole Ratrace," and "Heartbreaker" such standouts of their earlier work, Owens' ability to channel misery and pain drives many of the songs here. While his voice is a little more toned down and refined, his lovelorn croon still makes even the simplest of phrases sound downright devastating. Whether it is the longing for someone to love him for who he is on "Honey Bunny" or the somewhat cliche question "How can I say I love you, now that you've said I love you" on "Saying I Love You," his delivery is what morphs them into something deeply personal. Standout track "Vomit" perhaps best exemplifies this, as the way he sings "Nights I spend alone, I spend them running round looking for you, baby" conjures up a kind of desperation that is only possible when someone is on the edge of their rope.

However, there are several moments of hope that glimmer through the darkness of Owens' psyche, and they can be just as powerful in themselves. Towards the end of the track, "Vomit" turns into an uplifting gospel swell, with Owens begging the lover to "come into my heart." "Magic," meanwhile, celebrates the highs of falling in love. Despite this, Owens is at his best when he's at his most vulnerable. He is one of the few people who can make communicate their own personal anguish in such a straightforward way, a quality that will keep the band sounding vital no matter what musical direction they may take.

While it may not contain the immediacy or sense of newness that made Album such a hit, Father, Son, Holy Ghost is in some ways better because of it. This is a record that shows a band living up to their increasing ambitions without sacrificing what makes them unique, and one that rewards listeners for investing themselves in the experience. As far as sophomore albums go, this is one of the finest of the last few years.

Girls: [website]