Who Let the Dogs Out
Lambrini Girls don't spend much time preparing you for the point. Who Let the Dogs Out is loud, angry, funny and frequently rude, with Phoebe Lunny's voice pushed straight into the argument. The surprise is how much is happening in the music while she is there.
Bad Apple opens with a threatening buzz and a rhythm that keeps the pressure on. It is an effective introduction to the duo's ability to turn a direct accusation into a forceful song. Selin Macieira-Boşgelmez's bass matters as much as the guitar noise. The parts give Lunny something solid to push against, so the record rarely feels like words shouted over an interchangeable backing.
Company Culture takes aim at workplace behaviour with a sharpness that suits the clipped attack of the band. Filthy Rich Nepo Baby is more openly ridiculous, and the humour works because the target is clear. They are good at making an ugly situation look stupid without making it feel harmless.
No Homo brings another lively, direct hook, while Love uses a strong riff to give its account of a damaging relationship some real force. These songs are catchy in a way that never makes them feel cleaned up. The roughness is part of how the words arrive.
Nothing Tastes As Good As It Feels is the hardest moment to sit with. Its treatment of eating disorders is deliberately uncomfortable, and the sudden humour doesn't remove that discomfort. It makes the song feel more like somebody trying to speak through the problem than a tidy statement about it.
The relentless approach can be demanding, and the very direct writing leaves little room for uncertainty. That is part of the record's purpose. It doesn't ask you to admire how carefully it has considered every possible response.
The closing Cuntology 101 turns the energy into a noisy dance-floor celebration. It is a good ending for an album that finds room for enjoyment inside its anger. Lambrini Girls have more than strong opinions. They have the riffs, rhythms and hooks to make those opinions difficult to forget.
