In the ever-expanding world of alternative/indie pop, Norwegian singer/songwriter Marie Ulven Ringheim, better known by the moniker girl in red, has gained monumental attention through her infectious mix of classic chamber pop, DIY production and soulful lyrics that any teenager or twenty-something can shout along to. girl in red has also become a queer icon, with millions of queer fans across the world aligning themselves with her music.
Gaining prominence alongside other bedroom artists like Clairo and Cavetown, girl in red pioneered the modern wave of independent artists, amassing over 16 million monthly listeners on Spotify just short of six years after releasing her first EP, 2018’s “Chapter 1.” After opening for Conan Gray and Clairo in Europe around that time, the single “We Fell in Love in October” climbed to number 14 on US billboard rock charts. She is currently on tour across the United States before touring Europe with Momma — another DIY rock band that recently played at the University of Connecticut for WHUS’ Spring Fling event.
girl in red’s first studio album dropped in 2021. “If I Could Make It Go Quiet” was released with a mixed reception. While some people heralded the record as a beautifully melancholic look at life, others were quick to point out its repetitive and derivative nature.
With all that said, going into this album was a mixture of excitement and apprehension. Signing onto a major label can be a blessing and a curse. Especially in the underground, signing to a major label has always been something that so-called “true” music fans find abhorrent. On the contrary, a major label can provide enough equipment, money and outside help to allow an artist to fully realize their ideas and creative potential.
With this new record, the major label has certainly provided an upgrade in production. “I’M DOING IT AGAIN BABY!” has amazing production. girl in red’s voice echoes with provocative power, and the orchestral swells that are so common on the former half of the record are intensely grand and enticing.
The album is fairly short, with 10 tracks lasting just under 28 minutes. Influences on this record range from electronic, baroque pop and folk. The aforementioned orchestral arrangements on songs like the opener, “I’m Back,” feel like they could be a lost song from the “Abbey Road” side two medley, albeit with a modern tinge.
“You Need Me Now?” features Disney star turned pop sensation Sabrina Carpenter — an intoxicating and bubbly dance track that will undoubtedly be on millions of summer playlists and featured in some commercials five years down the line. Though the track was one of the lead singles, it’s one of the more forgettable tracks, save for the feature from Carpenter on the back half of the song. This style of loud in-your-face pop rock has been done countless times in the past few years, though it definitely is infectious.
“A Night To Remember” features a soft, twinkly piano and showcases girl in red’s ability to craft powerful and intimate love songs that slowly build out into something massive and grandiose. “Ugly Side” opens with an infectious bass line and evolves into a groovy rock number that takes influence from Arctic Monkeys’ “AM.” It’s a highlight of the record, though the spoken word near the end and shoo-in about starting a podcast detract from the highlights.
“New Love” has one of the most infectious vocal melodies on the album, and its breakneck switches from anthemic to intimate felt some of the most satisfying on the entire LP, though it did feel a little derivative of other songs on the album.
The album’s closer features a base of industrial machinery sounds that lead into an anxious dance number, borrowing heavily from electronic music that wouldn’t feel out of place at a club in Europe. The song is the shortest of the bunch, which feels criminal as it’s a fantastic closer that ties everything together nicely.
“I’M DOING IT AGAIN BABY!” serves as a warm introduction to what girl in red could accomplish with the backing of a major label; however, it does come at a cost. This record falls into a lot of pop cliches that can make it tiring — but that might just make others love this album even more.
3/5