Once upon a time, the world was filled with greasy haired boys and crater faced men, testosterone brimming out onto the necks of their guitars. The music industry craved, wanted, and begged for a girl group. We're not talking about the likes of Geri Halliwell and the rest of the cardamom pods, they wanted an all out Siouxsie and the Banshees part deux, a whole yard of blondies - more power, less penis. Soon enough, Warpaint arrived with their deeply enchanting brand of indie fuzz, parting the current to signal a whole horde of breast bearers onto record stores forevermore. There were folkies and pop troupes, tambourine players all glitter and lace, flowing dresses and siren calls. Oh, what a time it was - Oh, what a time it wasn't.

Where was the attitude, the intimidation, the atmosphere? The industry needed a rock band who happened to be girls, not a girl band who wanted to be rock. Fuck independent, they wanted dominant, fuck Marilyn, they wanted Medusa. Now, I hear calls of Savages hailing from somewhere at the back. Wrong. Savages - whilst being one of the best live bands in the country - are not the answer. Everyone knows they're not organic, and their PR isn't conducted too well either. They are not likeable. PINS on the other hand, are. They make ferocious noises, and whilst giving off a whiff of threat, they don't take it too far. PINS therefore, are the most likely to be the industries' answer.

After a brief woozy intro, the aptly named Girls Like Us explodes into life with a track of the same name. It's one of the best you'll find on the album, utilising pretty much every element that has so far contributed to PINS' success. The tribal drum beat goes as far as to verge on militant - a constant baseline throbbing in the background as the vocal storms in with a chant like verse. Trademark howls sit atop crying guitar sweeps to complete the formula, and before you know it, there's the finish line. It's as sudden as a gunshot, and packs the same force. Throughout the entirety of the LP, these ingredients remain fixed to create the base of the cake, with the icing and decorations taking each turn in slightly different directions. It is the fact that this doesn't once appear to the detriment of the record, that is the ultimate masterstroke.

They flawlessly create a simplistic signature sound, taking note of Manchester ancestry whilst making the whole outfit seem immediately transatlantic. There are two occasions on the record which highlight these factors - the first being the brilliant interlude, 'Play With Fire'; a pacey riff comes in sounding like something straight from the depths of a tennessee canyon, as those backing wails reappear to initiate the track. It's fear and loathing personified - exposed nudity and copious amounts of uppers, riding open top down the highway. It sounds truly native, but just as you wait for the vocal to truly stamp its mark, it all disappears. I'd feel disappointed, but the tease was good enough.

The second occasion in which influences are laid most bare is with the end track 'The Darkest Day', yet unfortunately, it's not for the better. For all intents and purposes, it's a magnificent track and an understandable album closer, however the only thing it's lacking is a bowl cut and an disjointed dance for it to be officially classified as a Joy Division special. With a brand as strong as theirs, it's an unnecessary bit of laundry to leave on the line.

There are some moments of wonderment sprinkled all over, 'I Want It All' and 'Lost Lost Lost' both emerging champion because of the same things. The vocals are at their strongest here, the drumbeats sounding distinctly primal. A lovely bit of reverse delay then makes for an intriguing backdrop on 'Velvet Morning', some inspired prose being softly spoken over the top. It's one of my favourite aspects of the debut, as not once does it come across cocky or precocious. It sounds serious - sinister even - yet vulnerable and endearing too.

It'd be all too easy to say that the music PINS are creating is relatively simple, yet it'd also be a mistake. By not overloading their style with too many effects and the addition of unnecessary instruments, they have uncovered exactly what makes their sound work and stuck to it. It's refreshing for a band to be so sure of themselves so early in their journey, and it comes down to them setting out with the right goals in mind. They're not trying to be innovative, they're just trying to be brilliant. If the signs from this first release are anything to go by, they're surely on their way.