Elan Vital, the title of Seattle quintet's Pretty Girls Make Graves third album, is a phrase with several meanings; but perhaps the most symbolic in this case is the one pertaining to the life force that drives the evolution and development of the species. An apt definition then, as this particular body of work retains PGMG's experimental freestyle post-punk approach (as heard on previous releases Good Health and The New Romance), yet simultaneously removes itself and well..evolves. The departure of guitarist Nathan Thalen in 2004 meant the subsequent inclusion of second keyboardist Leona Marrs and ergo, a subtle change in direction for the band. The softening of Andrea Zollo's abrasive vocals is also a factor; gone are the riot grrrl shrieks of yesteryear, now replaced with a more tenuous, simmering inflection. Pretty Girls Make Graves don't 'do' straightforward indie in any case; the complexity of Pyrite Pedestal, drenched with layered guitars and a galloping drum beat (exquisite throughout) is characteristic of what Elan Vital has to offer; stripped-down, unbalanced and experimentative post-punk. There are some overt nods to their assumed favourites, however; The Number is a superb Devo-esque art-rock number spliced with 60s Yardbirds garage, Pearls On A Plate has a Cocteau Twins soundscape vibe going on and Wildcat sees Zollo perfecting her off-kilter Siouxsie/Karen O yelp. There are some terrific arrangements here too (The Magic Hour) and the omission of guitar on keyboard-led Pictures of A Night Scene works well, as do Derek Fudesco's vocals on same. Not the Elixir of Life they had hoped for, perhaps, but it would seem that Pretty Girls Make Graves have certainly found their Elan Vital.

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