The Plumb comparisons are imminent. Gretchen add some elements to their lady-fronted modern rock that Plumb left out, however, like, well, mainly the tell-tale, aggressive production of Travis Wyrick, who supes up the effects for some kind of psychedelic lo-fi trip. They also drive through more upbeats, chug more low-ends, and get greasy, letting a grungy guitar hang out front at will.
Mia's lead voice is dominant, showcased, and unique, in that she plays the chameleon, changing vocal personae frequently, never really letting you know which one is really her. Is it innocent, playful Mia, or biker bar Mia, or suede and passion Mia? And that is actually a very intriguing facet of Gretchen's album. Confusing, sure, but intriguing, definitely. Especially when "Diamond" rolls around, and she starts getting all vulnerable on us.
Some of the songs on here are boorish, forced, and crude. Some of them are classy, sincere, and crafted. Some of them are all of the above, depending on the stanza. Oh, and their cover of "White Wedding" is reminiscent of Marilyn Manson's take on "Sweet Dreams." And of all songs on the disc, it bears Wyrick's signature the loudest.
Other coverage for this album
The Phantom Tollbooth 2001Reviewed by Brian A. SmithGretchen takes their name from the King's X album Gretchen Goes to Nebraska. Unfortunately, other than the song "Mr. Nothing," that is where the similarities end. The group's publicity packet promotes Gretchen as "a complete breakthrough for female-fronted heavy music." It's a lofty statement that the album falls somewhat short of meeting. It would be interesting to view lead singer Mia Richards'…Similar sounding releases
Johnny Q. PublicExtra Ordinary
1996Dissident ProphetWe're Not Grasshoppers
1996SkilletSkillet
1993Galactic CowboysSpace in Your Face
1999Room Full of WaltersEl Grande
1997SoundgardenA-Sides
