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Yet the swirling and invigorating production on this record never take away from Dee Dee’s killer songwriting. Too True stays grounded ’60s-style song structure, but finds its sonic muse in dream pop and goth influences. Dum Dum Girls’ Too True, the band’s third album, builds upon those triumphs to deliver a ridiculously enjoyable pop album - intelligent, bold, and really freaking fun. But, while a lot of dream pop has a tendency to meander, the songs on End of Daze found strength in the succinct song structures of the Girls’ first two releases. The short EP kept its focus on frontwoman Dee Dee Penny’s sharp songwriting, but revealed a sonic makeover grounded more firmly in shoegaze and dreampop than lo-fi jangle. While I doubt Dum Dum Girls read our review, 2012’s End of Daze sure did answer that question.
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Still, that effort was only a moderate step forward and, at the time, Treble’s Chris Karman wondered, “how does a band like the Dum Dum Girls avoid slipping out of relevance following the success of their debut?” 2010’s Only In Dreams saw the band polishing up their recording process and adding a few songwriting tricks, and an overall darker tone. However, that album - while highly satisfying - resembled a trend of (mostly) female-fronted bands cranking ’60s-inspired pop-rock through crunchy fuzz, and their sound was frequently sandwiched in between acts like Vivian Girls and Crystal Stilts (all of whom briefly had a common member in Frankie Rose). Even when churning out fuzzy, charmingly underpolished garage rock on their 2010 debut I Will Be, Dum Dum Girls have always displayed a knack for concise, timeless songwriting.