Releasing a debut album on your own record label is not uncommon of Manchester’s DIY culture. Though in this instance is more illustrative of GeEkgiRL’s industrious character, ambition and drive. It’s been 2 years since GeEkgiRL met, playing their first gig after 2 rehearsals. Ask them what their influences are and they’re likely to stare in different directions and pluck something as opposite as the corners they were staring at. GeEkgiRL’s music is refreshing, as Joel, Fi and Ted, within their own individual musical capacity, echo many different musicians and sounds. As a band, they do not seem content with using someone else’s recipe and have created an inventive blueprint of pop, soul, punk, blues and funk, served with spirit, and seasonings of melancholy. Having found a sound engineer that could fit all the elements of GeEkgiRL’s sound to desired proportions onto their debut album, GeEkgiRL burst out in jack-in-a-box style with the opening track, ‘Get it on.’ A perfect blend of punk, funk, country and pop with unashamedly fickle, lustful, cheeky lyrics. The bass rubs it’s self infectiously against you, played with the rigor of Flea (RedHotChillis) and catchy sound reminiscent of the Violent Femmes. Listening to just the opening track would create a false impression of who GeEkgiRL really are. The second track, “Filth,” immediately changes course, bringing us into darker waters, sung with a hint of disdain, and is something you’d get if Patti Smith and Kate Bush had a love child fought over by Chrissy Hynde. The album pulls you to different areas of a ball park and you feel you experienced a full flavoured meal, batted between genres, realising you cannot predict where it’ll take you next. ‘I wanna be,’ brings you back in the realms of pop and fully acquaints you with Joel and Ted as backing vocalists, to give added elements to this quirky, wistfully forward, up-beat song. ‘Here we go,’ is an amazingly visual song with the parts played to perfection by the funky bass, drums and timed delivery of lyrics. The songs intro lulls you into thinking it might be one of the quieter tracks, but then Fi unleases her voice onto, you armed with angst and hurt and burdened with pride and annoyance. “You owe me”, swings back round out of pop corner of track 5s, (‘You’re so cool,’) to draw out an uneasy sound to match the bitter lyrics, “you better watch out, ‘cos you owe me.” ‘O!’ is pretty orgasmic. ‘Elvis’ unfolds a picture painted by the delicate, contemplative piano, of sitting alone in a bar, nursing countless glasses of drink and even more memories. “No body asks if I reach for the glass, the liquor here’s easy.’ The music compliments the chorus’s height, with the growling bass and drums…. ‘Save my soul/Won't you save my soul/I need some help baby/But you'd have to be crazy/To want to save my soul.” The concluding track, “Devil and the dolly,” is the most matured GeEkgiRL song, sculpted along the years into what you hear today. Fi’s theatrical delivery gives even more depth to this beautifully crafted narrative, directed by drums and a bass that has been caressed into producing its sounds. Far from being an end track to stipulate ‘the end,’ of the album, it merely states GeEkgiRL’s arrival. I get the impression that they will stay as long as they like, thank you very much. It’s easy to see why GeEkgiRL were eager to release this album. They believe in their music and that it should be heard. And so it should.