The Organ
Grab That Gun

THE REVIEW

Behind the moniker "The Organ" are five Canadian girls, who released this album back in 2004 with Mint Records, but in total anonymity.

In about two years, word of mouth on the internet has done justice to what I foresee as one of the releases (although it would be more appropriate to talk about re-releases, since this year's edition is curated by "Too Pure Records") most delightful of 2006.

Although truly annoying, it is obligatory to preface that no innovations are found on this album, musically speaking, that said, I think I can prematurely close the much common game of derivations, which are clearly eighties, from the Cure of "Seventeen Seconds" and "Boys Don't Cry", to the inevitable Joy Division, for the existential nuances, the never-mentioned Fall and Stranglers, for the very often "dreamy" arrangements, up to the Smiths, especially for Katie Sketch's voice, and Interpol. Despite all this citationism that will make the proponents of the game I mentioned earlier wrinkle their noses (among whom I include myself..), "Grab That Gun" is one of those rare releases that truly shatter your heart.

The melodies are as sweet, captivating, and poignant as one can ask for in this last stretch of time, which apart from rare exceptions like Interpol and ILYBICD, draws heavily from the new wave cauldron, but from its most superficial, trendy part, see Strokes, Bloc Party, Maximo Park. The freshness it expresses is incredible, almost every track is a potential single groove-crasher, with its rhythmic section devoid of virtuosity but driving, especially the bass lines, very deep.
The guitar seems, and here citationism is inevitable, but absolutely in a positive way, a mix of Johnny Marr's arpeggios and Robert Smith and Bernard Sumner's torments. The Hammond gives a pleasant solemn aura to it all, succeeding in the difficult mission of not weighing down but filling up. The voice is touching, candid, and disillusioned, hope certainly does not reside in the optical fibers of this record, as can also be deduced from the lyrics, resigned but vigorous ("A sudden Death" and "Brother" above all). It starts precisely with the arpeggio of "Brother", where Sketch's voice is already the protagonist, along with the "nasty" rhythm. "Steven Smith" begins with an organ phrase and is the most Smiths-esque of the lot, in fact, the voice is an homage to Morrissey, and perhaps also the most self-pitying.

"Love, Love, Love" is the first masterpiece of the album. The riff is truly penetrating, sweet and desperate, interpenetrated by an exceptional singing. "Basement Band Song" is a sad danceable with Sketch's vocal counterpoints, this time fatal whispers towards the end. "Sinking Hearts" and "I am not Surprised" are two other melancholic danceables, especially touching this latter one. While "There is Nothing I Can Do" and "No One Has Ever Looked So Dead" tone down a bit, cadenced ballads, the remaining two "A Sudden Death" and "Memorize The City" are among the quintet's memorable hits, boasting immediate and captivating but not obvious melodies. The first is perhaps the most emotionally abrasive track, with the riff and Hammond exuding sweet melancholy, the second, and final track of the album, launches into a very sustained rhythm, where all the matured discomfort in the work explodes, politely and moderately, but explodes, further enriched by a finally disillusioned text, as perhaps the biggest flaw of "Grab That Gun" is its self-pitying, even though it is objectively difficult to avoid when dealing with similar themes.

An extremely successful debut for the four girls, capable of collecting one gem after another and touching the listener's emotional strings with such efficacy and honesty. One can only hope they continue in this vein, but already now we can guess that it will not be easy.