Lambrini Girls lead the pack with cocksure swagger on fiery 'Who Let The Dogs Out'

On their debut LP, UK riot grrrls Lambrini Girls have crafted a full-bore modern punk record that tackles hot-button issues with the head-on intensity of a rogue heat-seeking missile covered in hastily scrawled Sharpie tags and splattered tip to tail in vitriol soaked rainbow glitter. Who Let The Dogs Out is unabashed 21st Century Brighton rock, blasted at maximum volume from the boardwalks to the back alleys, championing working-class struggles that radiate outward from a resolutely feminist origin into biting commentary on modern existence that addresses a broad spectrum of societal maladies.
Operating within the orbit of Aussie standard bearers Amyl and The Sniffers and drawing influence from the likes of Idles, Viagra Boys, and Deap Vally, Lambrini Girls have pushed their way forward by remaining hyper-focused on their strengths and leaning hard into the kind of pent up fury that actively resists compartmentalization like a pressurized can of PBR exploding in foamy gouts of intoxicated hedonism.
Who Let The Dogs Out recklessly mixes up styles into a razorblade tornado of unrelenting sound and fury. From the muscular opening stomp of “Bad Apple” that blends a punishing rhythmic cadence and unchecked aggression into a blistering diatribe against police brutality and a lopsided justice system it’s readily apparent that Lambrini Girls are absolutely not fucking around. Phoebe Lunny and Lilly Maciera barrel forward through the albums’ tracklist with reckless abandon, managing to jam-pack a thesis’ worth of hot takes and informed positions into scathing diatribes targeting the status quo, mercilessly taking to task overprivileged nepo babies, sleazy bosses, gentrification, and two-faced nice-guys with impartial impunity.
The sheer scope of Who Let The Dogs Out can be disorienting, as the band’s kitchen sink approach to songwriting and composition intentionally leaves very little space for nuance. Plainspoken verse and unveiled threats are the band’s M-O, unleashed with machine-gun fury that lends an irrefutability to their claims. These are facts of life experienced daily, pressured to the breaking point amidst an avalanche of jagged riffs engineered as communal catharsis, raging against a machine specifically designed to discredit and devour. Lambrini Girls are the spanner in the works, hurled from the uplifted arms of a generation that refuses to be brought to heel under the uncaring jurisdiction of a ruling class grown fat off the backs of the 99%.
Lambrini Girls twist the knifey on tracks “Company Culture” and “Big Dick Energy,” a diptych treatise on toxic masculinity balanced on the razor’s edge of late stage capitalism and regressive cultural constructs, setting a collision course for glass ceilings with seek-and-destroy intention. “You’re Not From Around Here” and “Filthy Rich Nepo Baby” are all-out class warfare carpet bombs, pitting the masses against the classes in a turf war that explodes beyond neighborhoods into full frontal clashes over preferential seating at the proverbial table.
Who Let The Dogs Out isn’t all big-picture issues, Lambrini Girls take the same uncompromising approach to more personal themes, spending time on frank discussions of female sexuality, body image, and the age-old topic of true love itself. Juxtaposing sing-songy “Kate Moss ruined my life!” with throat rending screams on “Nothing Tastes As Good As It Feels,” Lunny eviscerates diet culture’s outmoded conceptions of beauty and the direct impact on the psychology of young women with the same level of verve as skinning the patriarchy alive. “Love” and “Special Different” chart a similar course, highlighting the lasting impact wider societal constructs have on impressionable young minds while tearing down the foundations of traditional culture with a modern perspective borne from being forced into molds not of one’s own choosing.
“Cuntology 101” summarizes the album by coupling pogoing mosh pit energy with a throbbing Sleaford Mods style beat, injecting a clubby vibe to a celebratory statement that reclaims female empowerment from the farthest end of the insult spectrum; like the uncouth inverse of Chappell Roan’s “Hot To Go!” and a veritable exclamation point dropped at the conclusion of a statement already rendered in full bold face caps: “C-U-N-T, I’m gonna do what’s best for me, I’m cunty!”
In the wake of Amyl and The Sniffers’ disappointingly messy Cartoon Darkness, Lambrini Girls have succeeded in filling the vacuum with a record that lends an adjacent feminist perspective to high-octane punk but cranks every aspect past 11, effectively capitalizing on an opportunity to claim the soapbox for their own, coming out swinging at the front of the pack with with undeniable big dick energy.
Stream Who Let The Dogs Out on Spotify. Follow Lambrini Girls on Instagram.
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