That’s a convenient selling point, but the music readily supports it.
#DUM DUM DUM SONG 60S FULL#
“Anthem for a New Day” is her major-label debut, and she has described it herself as a leap forward, the first full measure of her identity. But that’s not quite the case with Helen Sung, who trained as a classical pianist before turning to jazz, and has released a decade’s worth of crisp, conscientious and decorous albums. Jazz musicians do a lot of their growing up in public - it’s one consequence of a field in which talent shows up sooner than artistry - and the process usually follows a model of judicious refinement. “Substitute,” with a tom-tom beat, a tambourine, a repetitive two-chord riff and the squeak of fingers on reverbed guitar strings, could be a rawer early Dum Dum Girls song. Peggy Sue has grown more plugged in with each album, and “Choir of Echoes” revels in electric guitar tones, using reverb to add spookier depths. The guitar-picking patterns and stark, open vocal harmonies have Celtic roots the beat, the words and the way songs gather more intertwined parts as they go mark them as rock.
The group is a trio, with Rosa Slade and Katy Young on vocals and guitars, and Olly Joyce on drums, and its songs can sound simultaneously old and new. Peggy Sue is a newer convert to the glories of reverb. It’s a roomy concept, encompassing spaghetti western guitar touches in “Cult of Love,” new wave momentum in “Little Minx,” stately folk-rock in “Under These Hands,” a weighty undertow in “Lost Boys and Girls Club” and a celestial serenity in “Trouble Is My Name.” As the titles suggest, Dee Dee’s lyrics glimpse loss, betrayal, loneliness and death, but she sings them calmly, in productions so finely burnished that the sound washes away the sadness.
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