Our Girl The Good Kind

Bella Union
8th November 2024

Format Info

Dinked LP
140g clear & blue yolk vinyl
Alternate artwork outer sleeve
Alternate artwork inner sleeve
32 page A5 photo booklet
Signed & hand-numbered edition
Lyric sheet
LImited pressing of 500

Our Girl’s trademark dynamics permeate the record, from heavy guitars and soaring lead lines to ear worm choruses and intimate vocal moments. Filled with warmth and honesty, The Good Kind is a celebration of determination – of choosing to recommit to what matters, against all opposition. “A lot of the songs are about taking setbacks and turning them into superpowers” says drummer Lauren Wilson. 

“I only realised then, when I thought it out loud,” begins singer/guitarist Soph Nathan on ‘Relief’, the first single released from the album, And I feel better now”. This song is aptly named, invoking a long-awaited exhale – the feeling of finally emerging from a long and lonely period of uncertainty and self-doubt. Beginning with a single airy strum, Nathan’s reverb-drenched guitar attaches itself to Joshua Tyler’s grounding bass chords, as Wilson’s quietly insistent drum beat throws its weight behind Nathan’s words of reassurance: “You’ve gotta see it to believe it/ Well, I see it in you already.”

This song speaks honestly to the life-giving importance of queer community. From the warmth and immediacy of her delivery, Nathan could be comforting a friend. But as ‘Relief’ builds from that cautious opening to a determinedly, driving force, it becomes clear: these aren’t empty platitudes. Nathan believes in you, because she’s learned to believe in herself.

This sentiment is at the heart of The Good Kind, recorded at Rockfield Studios and produced by alt-rock legend John Parish (PJ Harvey, Sparklehorse), Fern Ford (The Big Moon, Prima Queen) and Soph Nathan herself. For Our Girl, it mirrors the long and winding road to their sophomore release, and the lasting rewards of trusting in the process.

All three members recall moments of magic in the studio with Parish and engineer Joe Jones, who embraced the band’s spirit of experimentation and helped them to channel their electrifying live character onto tape. But despite these propelling creative moments, Our Girl struggled to fully realise the album exactly the way they wanted. “The way we work best is so based on feeling, and an instinct when we’re together,” says Wilson. “We see ourselves as a live band: that’s how we began, and where we feel fully realised,” says Nathan. Having not had an opportunity to play the songs live yet, the trio poured hours into making demos and rehearsing the songs, eventually arriving at Rockfield Studios almost “over-prepared”, says Josh. However, having recorded it under time pressure, all three members concluded the two-week session feeling as though some essential component had escaped them. 


After hearing the recordings back, “It was the first time that we’ve all been on such different pages,” Nathan says, admitting that she even entertained painful thoughts of abandoning the project. Instead, Our Girl dug deep to reconnect with what had kept them together. It was a conscious decision to recommit to making the music they knew themselves to be capable of. “We all had to rediscover our connection – to the album, and to each other,” Wilson says.

 Newly determined, the band spent six weeks with Fern Ford of The Big Moon at her home studio, pulling apart the Rockfield takes and recording more. Nathan recalls her bodily feeling of relief as they reopened and recommitted to the project “I couldn’t quite believe it” says Nathan “I felt a freedom I hadn’t experienced before. Fern really made that space for us and it was a real relief to be able to take the reins together”. With Ford’s help, Nathan took to the production, striving after the warm, comforting sound she’d envisaged. It was new territory for Nathan – but the attempt felt true to Our Girl’s shared ambition and commitment to breaking new ground.  

This collaborative process speaks to a wider theme – when choosing to carve out their own creative path, the band leant more on each other, and on friends and other musicians: Warpaint’s Stella Mozgawa helped bring the title track ‘The Good Kind’ to life in its early stages, whilst Nathan’s partner and friends including Marika Hackman and Art School Girlfriend joined the rallying cry at the end of Relief. There’s evidently real joy to be found in taking ownership of your own creative vision, and also trusting friends to share that vision with you.

 Using songwriting as a processing tool, many of the songs reflect Nathan’s own experiences, expressed with her trademark precision and lyricism. ‘Absences’ is about the frightening “absence seizures” she suffered through childhood, culminating in an epileptic fit at age 17. Such private, often lonely struggles with chronic health issues are a theme of The Good Kind, as well as the moments of solace within them; ‘What You Told Me’ evokes the relief of feeling that weight lift, however briefly.