Girls In Hawaii are back after a long intermission. The sextet of boys from Belgium have been recording their first album for three years with Grammy award-winning producer Tchad Blake, who worked with The Black Keys on 2010's Brothers. As a taster of what's to come later this year, the band are releasing Misses on the 13th of May through legendary French indie label Naïve. The 4-track EP is perfectly timed to coincide with Record Store Day, where no doubt its vinyl edition will fly off the shelves, and also ought to create a bit of hype for fans prior to their appearance at this year's The Great Escape festival in Brighton.

Misses is a diverse little package. Each of its four tracks has its own personality and world-view, but nevertheless all songs on the EP are a uniformly well-balanced mix of uplifting and melancholic. The title track is guitar-based with a full, rich sound that kicks in early on. The lead singer's voice is as craggy as the mountainous landscape on the cover. The vocals are fairly one dimensional, droney, like crunchy-fuzzy bad reception. The middle 8 is rather unexpected, but its pared-down instrumentation allows the melody to sing out. It makes the song structure dynamic and varied, enabling it to peak and evolve.

Its remix however, the second track on the record, couldn't be more different. It is almost unimaginable that the one song was cut and pasted together from the other. 'Misses (Cupp Cave Remix)' is locomotive music; it sounds like the mechanical, steam-engine-powered cousin of the original. The rhythm is progressive and has real momentum, as though it is taking us on a journey through the warped scenery in the band's promo video. I can imagine that if a factory could autonomously produce music with hydraulic pistons pumping it out through pipes, then that is exactly the result you would get.

What is then bizarre is the stark contrast between that and the impossibly simple 'Words are in the Wood', which sounds like it has been written by Simon and Garfunkel's forest-dwelling, folk-loving hermit uncle. Despite that, it is a really rather charming lullaby. What really grabs you is the depth created by this beautifully eerie, evanescent echo; barely the ghost of a female voice is perceptible, harmonizing perfectly with the narrative male vocals.

Track number three 'Dirty Sands' has a grimy, dark and quite sinister side. Girls in Hawaii manage to successfully blend this with an unbelievably fluffy non-sequitur of a chorus. It comes across like a dialogue between two people who have significantly differing opinions. The verse scathingly accuses whilst the chorus offers sympathetic advice. A musical representation of good cop vs. bad cop.

All in all, Misses offers up some exciting arrangements and intriguing sonic ideas. Unfortunately, perhaps the most contemporary and cutting-edge of which is a remix by another artist, Cupp Cave. But naturally this couldn't be generated without Girls In Hawaii's stimulus. Misses definitely has a story to tell, but it leaves you wanting more. As the old saying goes "six heads are better than one," so after such a long time apart, it is really an achievement to already be able to cooperate and work in sync with one another again, as well as this EP demonstrates. With their next LP, to be expected for release later this year, one should hope we will get to hear the next chapter of Girls In Hawaii's story.