The Weekly Coos

What’s there to say about Griff that I haven’t already said in my write-up from early April? A bit. Griff has had this momentous come-up, and her tenacity to remain unique without being held back via catering to a trend. Unfortunately, that doesn’t equal perfection, but it does equal promise for her artistry as it grows. Her debut album, Vertigo, continues to be evident, as it has been through previous EPs (2023 and early 2024), while the consistency lingers. Fans have been fortunate to have gotten around half (8 tracks) of the album via her Vertigo EPs/Singles before the release of this album, as it paved a visual path for us to see how she’d tackle the grand scale of albums to that of quieter releases. Though released in separate doses, the restructured tracklisting for the album with them makes it feel like a slightly newer experience that’s finally connecting the pieces for this emotional statement filled with euphoria, hope, and sadness, to name a few. Through it, the production offers hope as the euphoric sounds can elevate your private dance floor to new heights, even when the newer tracks retread some familiarity to those that came before.

Vertigo opens with swift familiarity by bringing forth a run of five previously released tracks; however, they get blended to showcase different production styles that Griff has assimilated herself. Whether it’s the near club-pop stylings of “Miss Me Too,” the nuanced and direct pop-rock cadences of “Into The Walls,” or the neat piano ballad in “Astronaut,” she is giving much, balancing tones and leaving us with memorable moments. Eventually, it starts to kick the tires with how it brings in these newer compositions like with “Anything,” which doesn’t come off as any different from past similar dance-pop rock constructs without feeling like anything refreshing; maybe Cirkut was too pre-occupied giving Charli XCX better beats. Though much of this album is produced by Griff and her two previous consistent collaborators, Lostboy and Sam Tsang, the consistency slightly wanes as the album gets close to ending. Siba is another collaborator whose hands are in the production cookie jar, and the production he’s co-credited, but Vertigo remains a top-heavy final product where much of its hits come immediately before tapering off with some weaker sonic complexions from pop-rock.

Much of the high points for Vertigo come in the first two-thirds, which get filled with lavish sounds that show the dynamism in Griff’s vocal range as she blends emotional depth from slower R&B jams with the fullness in the elevated danceability from the dance-pop sounds. It’s this concoction that makes some of its better songs stand out, like with “Cycles,” her Mura Masa and Tsang production that brings out an elevated dance-pop bliss that ruminates as the music takes hold and gives you a fantastic and memorable song about heartbreak; additionally, what Griff does with tracks like “Into the Walls,” “19th Hour,” and “Hiding Alone,” incorporating different sonic influences that don’t overpower the central fuse that keeps the motor running, is a staying power. With “Hiding Alone,” the oozing of 80s-influenced bass grooves comes out loud, and as you relish in the delivery, one can’t help but feel. “19th Hour” plays more towards a minimalist approach, bolstering Griff’s decadent vocals as she recounts the end of a relationship. However, as positive as I’ve been (toward what can be seen as okay), it’s more because she hones her identity without reneging to be overly creative.

Vertigo does come with its negatives, too. “Anything,” “Miss Me Too,” “So Fast,” and “Where Did He Go” are underwhelming with what they want to do with the production, whether it’s anthemic with “Miss Me Too” or an experimental ballad in “Where Did He Go.” Besides that, much of the music treads familiarity in content as Griff speaks much about heartbreak and relationships while adding some worldview to how it can get read. With “Hole In My Pocket,” she brings the idea of loss as if it falls quietly due to a hole in her pocket or a lapse in memory. Unfortunately, that homogenization may not work for many; there is a balance to the creativity and can make some mixed compositions better, like with “Astronaut,” where her writing elevates the attractiveness of the ballad, which could have been tepid but isn’t. Vertigo is consistent with how it hooks you on its highs, even if the lows can detract mildly. I stayed enthralled following Griff’s journey on this album, but I think it loses some luster with many songs being a little pre-dated, and for a fan like me, I would have preferred the opposite.

Vertigo is good despite the feeling that it could have been better. It’s an album that defines what a debut should be and the lengths taken to not dissuade anyone from following up as the artistry grows, and I know Griff is taking steps toward mastering it. She has an ear that can turn glitzy into something grounded and profound but still finds her voice the more she attaches to live performed instrumentations via her pop-rock aesthetic on some tracks. She is someone I’ve loved hearing new music from since her debut mixtape, and this album is only a glimpse of the greatness to come.