If had written that Girl Scout share bruises, then things would get a little weird with Google and its omnipotent keyword technology. That’s about as geeky as things get here. Listen below.
Girl Scout are about to release one of the fall’s most highly anticipated EP’s, Granny Music, out September 27th via Made Records. This is a band who can do no wrong, after teasing the EP with previous singles including “Boy In Blue” and “Monster,” they continue to deliver stellar song after song, each as ear wormy as the next.
Before the release of Granny Music, the band is gifting us one more infectious jam in the form of “Bruises,” a ballad with country influence that showcases Emma Jansson’s professionally trained vocal spectrum.
Fit for that big stadium lighters in the air moment, this single shows another nuance in Girl Scout’s playbook. “‘Bruises’ is a song about reaching a certain age where you realize that the grown ups and elderly people around you aren’t really grown ups but just kids stuck in older bodies. It’s a song about trying to understand and forgive the wrongdoings or faults that people close to you may have and, in some ways, the whole track is a reminder for myself to try and choose love and patience instead of anger and irritation”, says writer and guitarist Viktor Spasov about the song.
On their sophomore EP, Granny Music, the Swedes explore more musical realms: “There’s some heartland sounding stuff going on, and there’s a power-ballad,” the band muses. “And then of course we have a couple rockers in there, too. We wanted to explore some new ground without abandoning the foundation we built with the first EP.”
Granny Music, like Real Life Human Garbage, was produced by Ali Chant; it features more edge, a rougher tone, and an overall even more ambitious interpretation of the Girl Scout sound. Granny Musicis another five-song continuation of their brilliance, shouldered by second single “Boy in Blue,” a song which as been hailed as one of the best rock song of 2023 (so far). Few bands can so deftly procure brash, mountainous noise without subduing the melody, but Jansson and Spasov’s songwriting chemistry has led to impeccable, unsuspecting algorithms within their own work. The songs don’t go where you expect them to, yet, somehow, they sound as traditional and electric as anything a young, hungry alt-rock has the resources to make.
