After forming in 2021, Girl With A Hawk took a rather casual approach to promoting themselves, sharing a number of digital singles over the next four years. Although these quick musical hits gave some indication that this Boston band had a lot of potential, hearing them in three and four minute bursts didn’t quite showcase their full talents effectively enough, even if a “record and release” approach to working seemed far better suited to keeping the interest going in a digital realm and in a world of increasingly short attention spans.
For those who prefer an old school album format, the nine song ‘Regenesis’ certainly won’t be a disappointment, even if a lot of the material will be familiar to long-time followers, and some of the tracks are notably stronger than others. Kicking off with ‘Way With Words’, the band flaunt their poppier side on a number where big harmonies fill a catchy chorus, but the musical blend of melodic garage rock, Americana and retro pop outshines everything, showing a very natural flair from all concerned. The way Linda S. Viens utilises a slightly flat Chrissie Hynde-esque approach to her performance adds even more of a retro feel, and yet GWAH sound like so much more than an easy throwback here. If first time listeners hear something of interest, then the rest of this collection will offer even more impressive treats. ‘I’m In Love With My Friends’ brings more retro fun via a track with a very late 60s influence. Garage rock guitars are joined by a world of keys that whip up more of a bubblegum influenced sound, and a hard edged rhythm section helps this recording to pack a punch. Hearing everything together, the music sounds retro b-movie-tastic, and even with a slightly loud and slightly wobbly lead vocal – or maybe because of it – this track serves up an energetic mood that’s rather infectious. The recording gets extra “cool points” for featuring guest vocalists from other Boston bands Linnea’s Garden, Crow Follow and Galaxy Cake, thus bolstering the track’s theme of friendship.
The slower ‘No One Like You’ opens with acoustic guitar and organ in a manner that suggests this will be an early 60s inspired heartbreaker, complete with Viens delivering a broader vocal, but the number quickly twists into a mid paced rocker that sounds like a DIY take on something from the late 80s Tom Petty catalogue. Pushing the bass to the fore and leaning a little more heavily upon some fine group vocal moments, this has a richer feel than a lot of the Hawk tracks, but the lead vocal retains a charmingly loose feel that allows it to fit the flow of the album. There’s a lot to enjoy here, but it’s a bigger sounding coda where Daniel Coughlin’s lead guitars weave in and out of a steady groove, while Dan Bernfeld’s strident bass retains a great presence, that really makes this track. It shows0 how naturally the band members work together.
Elsewhere, the slightly choppier ‘Full Moon’ brings back the 60s influences and blends those with some late 70s power pop charms which, obviously, forms a sound that serves the band well. It’s interesting here to witness Viens contrasting the slightly punchier rhythms with a much lighter vocal, but despite an unexpected match, everything works surprisingly well, before the mood sinks into a much more reflective brand of retro when ‘Beautiful Today’ showcases Viens’s slightly lax Hynde impersonation over a backing that sounds rather close to Nick Cave’s ‘The Company of Strangers’…though it almost certainly wasn’t a direct inspiration. More of a slowburn than the rest of this disc, the track has a charm of its own, and Daniel’s lead guitar sound is particularly lovely.
Ensuring the album doesn’t sag towards the end, the slightly longer ‘It’s The Way’ allows the band to stretch out on a slower jam where acoustic and electric elements come together brilliantly, and the mid tempo taps into some perfect Americana vibes. A little more sophisticated than some of the Hawk’s more upbeat workouts, this shows off some of Linda’s slightly louder tendencies, but the performance is ultimately stolen by Daniel sharing a really rootsy guitar tone throughout, whilst a louder drum courtesy of Nancy Delaney brings more of a live in the studio quality to the track. Musically, it sounds like a lot of other rootsy melodic rock from the past, but the natural way GWAH tap into the sound has its own charm. In closing, ‘Wasn’t It Just Yesterday’ has a great energy. Richard Lamphear’s retro organs swirl beneath a solid rhythm; bouncing basslines lift the music far beyond the basic garage-ish origins, and a fine lead guitar shares a solid solo to bring everything to a climax. Although some of her vocals on these recordings can seem a touch wobbly, the real star here is vocalist Linda, since she fills this jubilant recording with a light and breezy performance that offers a pop-ish take on an old rock ‘n’ roll sound, guaranteeing a feel good vibe throughout. With the help of a very prominent cowbell, a cheeky lift from AC/DC’s ‘It’s A Long Way To The Top’ and an uplifting quality that never wavers, every element of this track shines, creating what’s easily one of this album’s genuine standouts alongside ‘Beautiful Today’.
Girl With A Hawk aren’t working with the biggest of budgets, yet there’s nothing you could label unprofessional or lo-fi about these songs. Despite featuring material recorded at different times and having a variety of styles on show, the consistency within the material on ‘Regenesis’ is also impressive. If you’ve heard a couple of the digital singles previously and liked those, then this is definitely worth checking out. Even if you’ve already got a mountain of new bands to explore, it’s worth making these Boston based folks a priority.
August 2026
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