Girls’ first album, “Album,” was largely characterized by it’s influences; Christopher Owens was noted for his nasally Costello-esque style of singing, and their sound was often compared to the jangly and mellifluous pop songs of the beach boys, buddy holly, and a slew of other 50s, 60s, and 70s pop singers. In Father, Son, Holy Ghost, these influences are still indubitably present, but they are more subtle and are augmented with new sounds and influences that are unique to this release. Gospel choirs do backing vocals on most of the album, and the occasional arena rock guitar riff provide punctuation. While at times these fresh elements do clash with Girls’ established formula (catchy pop chord progression, simple harmonies, and the occasional guitar solo), overall, they add to the album.

While their sound has evolved, the lyrical content has not. The lyrics are darker at times than previous releases—on the single, “Vomit,” Owens is as evocative as ever, and almost every song on the album feels incredibly emotional and intimate. It is still Owen’s immense charisma as a lead singer that sets Girls apart from the usual revivalist band.

As a whole, Father, Son, Holy Ghost, just as the Broken Dreams Club EP did last year, proves that Girls has the ability to change and evolve while still retaining their initial charm.