Chloe Moriondo and girl in red, Maestros of Growing Pains

Ulven also provided a raw foundation that’s now being built upon, both by her acolytes and also herself, as is clear from two excellent n...


Ulven also provided a raw foundation that’s now being built upon, both by her acolytes and also herself, as is clear from two excellent new releases: “If I Could Make It Go Quiet,” the first full-length girl in red album, and “Blood Bunny,” Moriondo’s major label debut album.

On the robust and vividly plain-spoken “Blood Bunny,” Moriondo, now 18, is a pop-punk whiz, deftly hopping between musical approaches from spare to lushly produced, and emphasizing intimate, cut-to-the-bone lyrics. Most songs are about relationships that don’t quite congeal, like “Manta Rays,” when she sings, “My therapist will tell me that it’s best to let it be/but I wanna light fires, I wanna explode/I want to be everything you want to know.”

Moriondo writes with a winning bluntness, both about her own shortcomings and the objects of her obsession. “I wanna be with her all day/I’m a bitch to everyone else anyway,” she shrugs on the crystalline “Strawberry Blonde.” On the frisky, muscular “Take Your Time,” she bemoans her fate of being in thrall to someone who’s no longer around: “I wanna know/what will it take to make you let me go/You don’t fade like old stick and pokes.”

Musically, Moriondo has absorbed several waves of punk praxis. On “I Want to Be With You,” she’s a maximalist, comfortable with jet-engine-intense production, and “Girl on TV” is keenly tuneful, verging on Avril Lavigne, or even Ashlee Simpson territory. But some songs on this album, like “Rly Don’t Care” and “Favorite Band,” are redolent of the earliest, and sparest, girl in red singles — direct production, and the simple joys of expressing oneself in first person, reveling in the emphatic, liberating power of the “I.”

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