In the title track to Pins’ debut, Girls Like Us (Bella Union), it’s easy to hear a post–riot grrl rallying cry that also points back to luminaries like Au Pairs and Slits while screaming out in self-definition. But though this Manchester four-piece is comprised entirely of the fairer sex, it would be foolhardy to think this band is defined entirely by its gender. Indeed, Girls Like Us is a record every bit as ballsy as those being made by the group’s male contemporaries, and in many cases, more so.

Pins obviously take some cues from the C86 era, as well as the benchmarks of Creation’s heyday, but their interpretations are so invigorated that one quickly forgets to spot the influences. “I Want It All” is propelled by a cave-stomping backbeat, while the meshed guitars of Faith Holgate and Lois Macdonald quickly pick up steam to bring the song to a clamorous climax. “Waiting for the End” is more straightforward but no less effective, as the band whips up a couple of hooks and a cooed melody for two minutes of guitar-pop bliss.

Recorded in a week, the album only suffers for lacking the kind of dynamics needed to capture the full impetus of the band’s output. When Holgate screeches the title refrain of “Mad for You,” it sounds measured and not the cry from the brink of sanity that it should be, while a few other songs sound flat in comparison to how they’re rendered live. But one also has to suspect such a quick production schedule engendered the bristling energy of songs like “Lost Lost Lost” and “Stay True.” With such moments counterbalanced by the moodiness of “Play with Fire” and “Velvet Morning,” the record’s visceral range makes up for any sonic shortcomings. As such, this is surely the start of something great.