The Muffs - Whoop Dee Doo
"Whoop Dee Doo"
![The Muffs Whoop De Doo](https://best-fit.transforms.svdcdn.com/production/albums/The_Muffs_-_Whoop_De_Doo.jpg?w=469&h=469&q=100&auto=format&fit=crop&dm=1643656405&s=d3419a9eb5d5bcd367662351edd232aa)
Whoop Dee Doo is the first studio album from The Muffs in ten years, blatantly taking it’s title from Frank Black’s comments regarding Kim’s exit from the band; “There’s been a shift in the lineup, big woop-dee-doo”. Opener “Weird Boy Next Door” wastes no time in setting the precedent for the record – this is classic, old school pop-punk, the sort Muffs fans will take-to instantly. It’s clear a stint replicating Kim Deal’s backing vocals has done nothing to repress Shattuck’s guttural, gravely growls, which litter the entire record.
This is an incredibly live-feeling affair, with loud guitars and strained vocals at its core. Kim has never claimed to be a guitar virtuoso, but even by her standards “Paint by Numbers” and “Like You Don’t See Me” could be accused of being a little one dimensional. Thankfully “Take a Take a Me” shifts things up a gear, juxtaposing a retro, surfy guitar-line with more angst-ridden and humorous lyrics like “I’m gonna punch her out/and I’m gonna scream and shout”. “Up and Down Around” starts off with what sounds like a punk take on Oasis’ “Live Forever” drum part, but instead of a whiny Manc-vocal, the three-piece change direction and slip into a waltz beat. The dynamic doesn’t last long however, as “Where Did I Go Wrong” presents another wall of raucous and fizzy guitars; the backbone of The Muffs’ sound.
It would be a push to say this is a record of two halves, but there’s no denying the latter tracks on this release bring some much appreciated pop-sensibilities to proceedings. Shattuck manages to squeeze in “Get away from that/and the superficial, boring, condescending chitter chat” in the song “Cheezy”, perhaps the most accessible and enjoyable track on the album. Closing number “Forever” is an endearing, sweet lo-fi ballad, showing a more vulnerable side to the now married performer (“I’m happy/as happy as I’ve ever been… because of you/you’re the one I’ve been dreaming of”).
Despite what the album title first suggested, Whoop Dee Doo is far from bitter. Instead we are treated to a collection of refreshingly care-free and up-tempo punk; well-crafted and not at all pretentious. Shattuck has lost none of the fire that fuelled her 80’s and 90’s output. My only slight criticism is that I like my pop-punk with a little more chaos in the drum department, but that aside, this is as no-nonsense as it gets.
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