The Organ - 'Grab That Gun' (Too Pure) Released 03/04/06

Last week, aging misery-guts Morrissey did his best to look like even more of a pretentious twat than normal when he had a moan about some seals going clubbing in Canada (or something?). The upshot is the lack of any Canadian tour dates on his upcoming overseas jaunt (boo hoo). But fear not all those Canadians that actually care: your home-grown, all girl 5 piece, The Organ, and their debut album ‘Grab That Gun’ are here to act as the perfect substitute.

A phenomenal similarity to all things 80s new-wave is the first thing that hits you about this album. Bassist, Shmoo’s "clear as a bell" meandering bass lines and Shelby’s crisp drum patterns are the first clue, providing a strong, piercing rhythm section to opener ‘Brother’. Debora Cohen’s looping guitar riffs would give Mr. Marr a run for his money in their repetitive beauty as they resonate their way across the ten tracks. But it is lead singer, Katie Sketch, that really helps to drive this comparison home - Morrissey whines like a girl: Sketch is a girl who whines like Morrissey, it couldn’t be simpler. The likeness is uncanny, like the spawn of a cross-gender Stars in Their Eyes 80s special. Throughout, Sketch’s monotonic verses, and soaring, woozy choruses (‘Steven Smith’) really capture the spirit of those ol’ time glumsters such as The Smiths, The Cure etc. etc.

This said, on closer inspection The Organ prove more than a Cure tribute band – the real key to the album’s success is hinted at in the band’s moniker. Despite providing this infantile hack with many a childish s****, far from some kind of crude double-entendre ‘the organ’ to which the girls are referring is Hammond in nature, expertly fingered by Jenny Smyth. As well as ruling the high/treble end of tracks such as ‘I Am Not Surprised’ and ‘There Is Nothing I Can Do’, Smith’s keys also provide a mesmerising church organ backdrop to many numbers. This drone is used subtly, but with powerful results throughout, reinforcing the melancholic nature of the album with a haunting beauty that is the perfect accompaniment to a grey, rainy afternoon.

It is in these keys-led songs, such as ‘Memorize the City’, that the band assume an identity of their own rather than clasping onto that of the aforementioned sound-a-likes. It’s only fitting therefore that the album closes with a beautifully simple church organ instrumental that could melt the coldest heart. All in all, despite its obvious attempts to mimic bygone greats, ‘Grab That Gun’ is a touching, emotive album, and makes for a fine alternative to seal-clubbing.