Five years have already passed since The Linda Lindas played their song “Racist, Sexist Boy” at the Los Angeles Public Library. The video went viral instantly, especially because the group members were between 10 and 16 years old at the time, and their stage charisma suggested far more experience. It’s not surprising, since two of them, the De la Garza sisters Lucia and Mila, were raised in a deeply musical environment: their father is two-time Grammy winner Carlos de la Garza, a regular Paramore producer and sound engineer for bands such as Wolf Alice, M83, and Jimmy Eat World. And, of course, he has been involved from the very beginning in his daughters’ band.
On their third album, “GOTTA GET OUT,” they once again prove themselves diligent students of the riot grrrl movement, even as they gradually widen their sonic horizons, resulting in an eclectic and energetic work whose strongest suit is the freshness it exudes. For the first time in their career, the creative process has been entirely collaborative. Instead of each member contributing ideas individually and then merging them, everything has been planned from scratch among the four members.
As a result, it is the album that best reveals who The Linda Lindas are. With three of them already of legal age (the European one, not the American), there is a growing confidence in the possibilities of their sound, occasionally stepping out of the strictly rock realm to venture into more electronic textures. The title track opens with frantic synthesizers, introducing a pop-punk tone that recalls the latest Paramore. The immense influence Hayley Williams’ band exerts on this record is further evident in the fact that the vocalist herself is the guest on “Closer.” A track that is a genuine gift for all those who grew up listening to “Riot!,” as Williams’ vocal range paired with the drums and the bass line of the chorus directly evoke those wonderful years.
This kind of melodic and nostalgic writing greatly benefits The Linda Lindas. In “I Could Be Wrong,” the tension brought by the electric guitar bursts into a strong chorus sung with conviction by Bela Salazar. “Burning Out” is a charming indie-rock cut that stands out precisely for that knack they have for finding catchy melodies. Eloise Wong leads in “Okay” with her raspy voice, where beyond the bass-guitar-drums arrangement, atmospheric synthesizers are incorporated in the vein of The Cure.
Not everything works as effectively. The album also features moments that land in a gray area, nearly swallowed by the peak tracks. In “Lemon Ice Cream,” heavily influenced by Le Tigre, they sing in Spanish for the first time. The production is playful, but the vocal delivery doesn’t convey the rebellious edge suggested by the lyrics. “Blood On Our Hands” is a fierce indictment of the Trump administration, with lines as potent as “I don’t care about your wealth, I don’t care about your tax evasions / There’s nothing grand or beautiful about a fascist state.” Wong delivers it with a guttural voice, achieving an aggressive effect that feels a bit forced for the length of the song. This approach works much better in “Break,” a little over a minute interlude.
All told, “GOTTA GET OUT” is an album with a highly polished sound. More than a dozen engineers collaborated on each song, and the band’s talent with their respective instruments is evident. On this third release, they sound better than ever and make clear that, with or without help, they have earned a rightful place in today’s punk landscape.
