Dum Dum Girls, an act lead by songwriter Kristin “Dee Dee” Gundred, have been fairly prolific over the last four years or so. Her new EP End of Daze may not be the best place for newbies to acquaint themselves with the cut of Dee Dee’s gal-pop jib, but fans will find its five tracks hitting the familiar spots easily enough.
Smartly, Dum Dum Girls started off small, self-releasing and later hitting upon solid connections with such respected indie concerns as HoZac and Captured Tracks. Anybody wishing to get in on the ground floor regarding the work of this shape-shifting act should search around for the sounds contained on Blissed Out, a limited and naturally now out of print cassette that collects a handful of Gundred’s formative tunes. Sticklers can (and will) hold out for the vinyl, but it’s a safe assumption that at this late date the singles and EPs from which Blissed Out is drawn are going to be hard pups to locate.
If frustrating for listeners late to the game, this strategic modesty paid off via a relationship with indie empire Sup Pop, Dum Dum Girls’ home since 2010. And while I will confess to locating the highest level of appeal in the gauzy low-fi of Gundred’s earliest work, that ultimately speaks to my own disposition for bedroom derived non-production than to any major flaws in the progression of Dum Dum Girls’ thing. In fact, their recent development has been rather interesting, with Gundred’s sophomore LP from last year Only in Dreams provoking me (and others) to think upon the potential for positive influence from that sly Ohioan Chrissie Hynde.
Along with her continued indulgence in covering a wide swath of other’s material in a highly consistent sonic manner (everything from Misfits to Sonny & Cher to The Smiths to Delta 5 to The Rolling Stones), maybe the strongest aspect of Dum Dum Girls’ growth is the frequency of 45s and EPs in their growing discography.
To expound, Gundred’s is a pop musician and it’s nice that she recognizes the benefits of the short formats in shedding the strongest possible light on her work. End of Daze is just the most recent, her fourth EP thus far, an affair that if not her best work still far exceeds my expectations for her progress as based upon the assured movement toward maturity and polish that was Only in Dreams.
The first track “Mine Tonight” combines its contempo dream pop qualities with a ‘60s inspired gal-fronted pop sensibility, and none of that is a bit surprising. This is Gundred’s zone, and it’s surely part of the reason Richard Gottehrer, writer of the stone nuggets “My Boyfriend’s Back” and “I Want Candy” and producer of such distinguished names as Richard Hell & the Voidoids and the Go-Gos has lent a hand to so much of Dum Dum Girls’ extant work. Though it also bears mentioning that Dum Dum Girls’ ‘60s disposition is never overstated, and it would actually be inappropriate to describe it as retro in orientation.
And if the shoegaze guitars that enter the fray at around ninety seconds in gives “Mine Tonight” a highly expected (if not quite telegraphed) boost, then the light touch of xylophone that follows can be accurately described as an unexpectedly pleasant addition. It’s the little things that matter, y’know? Dee Dee’s voice is a big thing however, and a very appealing instrument at that, husky though not quite smoldering, and it makes complete sense that she’s mentioned Siouxsie Sioux as an influence.
“I Got Nothing” begins with a terrific drum line that somehow feels like it’s been lifted from another song entirely. Rather than presenting a potential disconnect, this aspect instead helps to rescue the tune from another possible issue. For if “I Got Nothing” flirts with possessing an outright flaw, it lies in how it comes so perilously close to being just an excuse to revel in the catchiness of its chorus, a chorus that while quite strong (in fact the tune’s best aspect overall) is definitely overplayed by the song’s conclusion. Catchy can be great, but catchy can also border on the monochromatic. Thankfully, “I Got Nothing” survives; a subtle uptick in the guitar dept during its closing moments also aids in relieving some of the cut’s flirtations with one-dimensionality. Everything’s all right in the end.
“Trees and Flowers” continues Dum Dum Girls’ swell progression of covers, this time adapting the debut single from Scottish bubblegum new wavers Strawberry Switchblade, definitely a detail to tickle the sweet spot of unabashed ‘80s Brit-pop partisans everywhere. And Gundred’s take succeeds with flying colors by wisely utilizing only guitar and her excellent, well-controlled vocals, this version basking in pretty atmospherics by replacing the Bacharach-esque angle of the original with a moodiness that couldn’t help but inspire me to think of prime Cocteau Twins.
“Lord Knows” repeats prior motifs into something close to a well-honed strategy, featuring another strong drum line, echo-laden production, and undercurrents of chiming guitars, all of it helping to boost the moment on the EP that flirts most heavily with an aura that smacks of middle of the road.
That’s no crime certainly, but to my ears Dum Dum Girls sound best when leaning toward an unabashedly indie pop paradigm. Gundred definitely acquits herself most strongly when turning away from a radio-friendly template that’s comparable to (if ultimately much more listenable than) the fleeting chart successes of The Divinyls or Concrete Blonde. If Gundred chooses this route as one path to her future (and I’ve a sneaking suspicion she will), then I can only retort for more Chrissie Hynde, please!
So, this means my ears find a whole lot of value in End of Daze’s closer “Season in Hell,” the closest the record comes to a pure indie pop derived statement. Along with being the record’s most uptempo moment, flaunting a galloping beat, a bold bass line, and shimmering guitar that if not accurately described as “heavy” then is soaked in enough reverb to at least give it the appearance of such.
The whole track harnesses enough songwriting and production verve to nudge at least a half smile from discriminating fans of Dolly Mixture and the early Primitives. And as an astute proponent of both, I don’t think I’m speaking out of line.
And “Season in Hell” bookends extremely well with opener “Mine Tonight,” both tracks easily locating and promoting the best attributes of Dee Dee Gundred’s work. While not an outstanding batch of songs in full, End of Daze still leaves me quite curious over the future direction of her work. Anyone bummed out over the current direction of Best Coast just might find the Dum Dum Girls to be a highly attractive pop proposition.
GRADED ON A CURVE:
B
