wasn't sure what to expect here
a lot of borderline tracks here
liked 3, didn't like 2, rest are borderline likes
first single of the clip is one of the likes
falls just short of the list
from the album - Smart
released Nov 1st, 2011
from all music
Naming themselves in homage of the Smiths' song "Girlfriend in a Coma," Girl in a Coma started in San Antonio, TX, with bassist Jenn Alva and drummer Phanie Diaz, two best friends who bonded thanks to a shared interest in Nirvana and the Smiths. The duo endured several failed experiments in both band lineups and musical styles before discovering that Nina Diaz, Phanie's younger sister, possessed talent as a singer, guitarist, and songwriter. Though Nina was only 12 when she performed her first song for them, both Alva and Diaz recognized her potential. After recruiting the younger Diaz, Girl in a Coma spent five years writing, performing, and touring before coming to the attention of label reps and tour managers in the summer of 2004. One of the managers sent a homemade demo tape to Morrissey music director Boz Boorer; after hearing it, Boorer invited the trio to London to record its first demo. Soon after returning, Girl in a Coma found themselves featured in a television documentary about emerging Latino bands. As part of the show, the group went to New York City for a show at the Knitting Factory and a surprise meeting with Joan Jett. While on camera, Jett and her producing partner Kenny Laguna praised the trio's set -- and invited the band to join the Blackheart Records label. Girl in a Coma accepted and released their debut album, Both Before I'm Gone, in May 2007.
After embracing the concept of the covers album with 2010's Adventures in Coverland, San Antonio trio Girl in a Coma get back to reviving the riot grrrl scene with their fourth album, Exits & All the Rest. Produced by Mike McCarthy (Spoon), the likes of the bass-driven garage rock of "Knocking at Your Door," the pogo-inducing glam of "One Eyed Fool," and the sludgy grunge of "Mother's Lullaby" are just as ballsy, raw, and noisy as anything the early '90s could muster, while frontwoman Nina Diaz remains a tour de force, effortlessly pushing her voice to the limits throughout its 11 tracks, as evident on the no-nonsense punk feistiness of stop-start opener "Adjust," the whiskey-soaked anguish on the slow-building country-tinged "Sly," and the tortured howls on the galloping sleazy fuzz-rock of "Control." These heavier amp-cranking tracks are what you'd expect from a band signed to Joan Jett's Blackheart Records label, but less predictable is the middle section, which reveals a more melodic, slightly mellower, and arguably more compelling side. The jangly indie pop of "Smart" is one of the rare occasions where their love of the Smiths is apparent in more than just their band name; "She Had a Plan" is an effective spin on the surf rock sound of the '60s with its twanging guitars, chiming glockenspiels, and crunching distorted solos; while the reverb-laden atmospherics and sweet yearning harmonies of "So" help produce perhaps the poppiest song of their career. Despite these interesting diversions, Exits & All the Rest is just a bit too straightforward to gain the plaudits of the more experimental Warpaint, but it's still a vibrant record that cleverly recaptures the spirit of their influences while remaining quintessentially Girl in a Coma.
2. One Eyed Fool
4. She Had a Plan
6. Cemetary Baby
7. Knockin' at Your Door
11. Mother's Lullabye