A triumphant return from THE GETTING PRETTY, Fainted marks the German band’s first album release in over 30 years. Following two well-received albums in the early ’90s, THE GETTING PRETTY split in 1995. They reunited in 2022 for the first time in nearly three decades, and new material emerged thereafter. The result is Fainted, an immersive showcase in melodic rock songwriting with a tendency for rewarding structural swells and relatable themes; it’s a clear success from the trio of drummer Philipp Adenacker, bassist Georg Manthey, and vocalist/guitarist Ralf A. Thomas.
“Life Control” kicks off the album with whirring guitars and hypnotic bass rumbling, then traversing into a moody vocal suaveness that builds with climactic fervency. Chilly guitar adornments expand into a distortion-touched passion past the one-minute turn, the vocals fading there and assuming a laid-back composure throughout; the emphasis on “Life Control” is on the gripping guitar work and enveloping rhythm section, complemented enjoyably by spacey effects and a reverberating call to re-take control. “Upn Down” follows with more anthemic vigor, reminding enjoyably of Suede in its seamless rise from contemplative into the hooky “place where we came from,” catharsis.
“4 Sale” amps up the intensity even further. The vocals “ashes to ashes, dust to dust,” in biting form as panting guitars swell amidst brisk bass bounces. A psych-friendly guitar haziness pops off enjoyably into the second minute, following the exhilarating vocal push — showing shades of Manic Street Preachers. “4 Sale” is a thorough success all-around, from its bursting rock replay-inducement to a poignant thematic pursuit, commenting on a society ripe with media-driven chaos that feels soul-sucking. The delectably eerie “Hatmaker” continues the strong run, compelling especially during a quivering title-referencing charm. The guitars are again engaging, consuming in both moments of angular moodiness and distortion-heavy passion.
The album’s second half doesn’t let up in the impressive songwriting and polished production. “Fainted” achieves a nocturnal rock atmosphere in its echoed vocal reflections and twanging guitar escalation, while “The Girl” is lovably reminiscent of The Cure in its swirling of emotive vocals, string-touched emotion, and acoustic/electric guitar interplay. “Low” ventures successfully into the more sprawling rock realm, exuding a ’90s nostalgia in its powerful guitar soaring — akin to Smashing Pumpkins’ “Mayonaise.” “When The World Stood Still” concludes the album with satiating impact, conveying aspirations to “turn the tide,” amidst hardship — and developing gorgeously into a concluding expression of layered guitar entrancement. Fainted is a consistently enthralling success from THE GETTING PRETTY.
