When it comes to garage rock, Pinky Pinky are wise beyond their years. Not only is their sound advanced, but the subliminal humour embraced within the genre lies directly in their name: the "Pinky Pinky" is a South African urban legend preying on little girls draped in the colour pink while they're on the toilet. The LA-based proto-punkers have been playing separately for almost six years, and within that six years have seemed to master a rather dull genre. On their debut, Pinky Pinky EP, the trio have drafted an imperative chapter for a sound that has been notorious for its mindless redundancy and beer-crushing bro stigma.

The album opens with the invigorating 'Ram Jam', a perfect single to release prior to the album. It's loud, it's frantic, and it's catchy as hell. Muffled behind the songs' hectic emanation, the band produces complex bass lines complementing the raucous back and forth drumming.

Although the band consists of three teenagers, I can't remember the last time I've heard a debut this mature. They've grasped a tiresome genre by the balls and emit a fresh wave of surreal angst and vivid song writing. It's difficult to stumble upon garage rock this well organized and skillfully crafted, let alone from a group of kids with an empty discography.

On the second track, 'Hot Under Habit', the band embarks on an ecclesiastical journey stuffed with palm mutes and dramatic guitar bends. They seem to reach the pinnacle of their witty songwriting with faith fearing lyrics such as, "Picks me up half past ten/ I sneak out the back with my bible and gin/ He's the devil when he handles me/ Lifting up my veil so delicately."

Pinky Pinky are the epitome of what teenage angst can do to rock n' roll. Their apparent campy spirit bleeds authenticity, and their strident sound dishes out a mean portion of teenage attitude. This appeal is showcased directly on 'Spiders', an odd encounter of spiders overtaking a woman's body "engulfing her in silken misery." Their unconventional approach to garage rock is further highlighted through the album, as it takes you on a noise-filled journey through a woman's perspective - a rare occurrence within the genre.

As if the first three songs have flowed together like the spider web vocalist Anastasia Sanchez described on 'Spiders', the closing track instantly cuts that web short on the closer 'The Nest'. Not only does the band's musical knowledge shine as they cover Jeannie Piersol's cult classic, but they stick to the origins of the song, avoiding the mistake that most musicians make when they attempt to "recreate" a song that has already done itself justice. It's an easy listener that exposes the bands mellow alter ego, but acts as the cherry on top to a powerful, unexpected debut from a rather promising band, unveiling their diversity and future capabilities.

This short stint of an EP proves that there is plenty more to come from Pinky Pinky, as they have quickly established themselves amongst a shit-stuffed genre that's begging for legitimacy.