Several major changes have occurred for Agent Ribbons since they released their debut LP, On Time Travel and Romance, back in 2006. First the duo became a trio by taking on a full-time violinist. Earlier this spring, the band picked up its Sacramento roots and officially relocated to Austin, Texas (the home of said newest addition). With a couple of promising 7” singles in the midst of it all, it remained to be seen if these revisions would have an effect on the group. The result of the new Ribbons status quo is a giant leap in the quality of their product. Where they were merely a band with potential previously, they now sound like one living up to that potential and crafting some great tunes in doing so. Chateau Crone is very exciting music.

The core of the band remains solid, as Natalie’s rockabilly guitar work could soundtrack a Tarantino film and Lauren’s simple but precise drumming lays the garage rock groundwork. It’s the evident addition of strings on most of the songs, provided by Naomi, which has helped take them beyond minimalist to more grandiose levels. The Ribbons girls (all three have taken the moniker as their last name) mesh beautifully on record. Yet still, it is Natalie’s sultry vocals that steal the show and steer the band to a seductive cabaret. The album isn’t just sexual lyrically; it oozes eroticism with every riff. The Ribbons are part punk, part burlesque, and Chateau Crone feels like one long striptease.

“Grey Gardens” is undoubtedly the only work inspired by the recluse Beales women that will make you feel the need for a cold shower afterwards. As Natalie sings of “catholic girls with golden tickets, come out grinning from the thickets,” the slow sensual melody creeps along with a slow waltz. The chorus made up of classic harmonizing caps the verses like a pleasing moan. It may just be talk of “tulips and dandelions” but it has never sounded so sexual.

Natalie shows off her vixen side on “I’ll Let You Be My Baby.” Bordering on a mash note, it’s more a proclamation of independence and identity. While she agrees to “play the damsel,” she openly states her intentions as to why. “He’s not too cleaver, he’s not well read. He’s good in bed, enough said.” While done in a playful fashion, it is a very direct proclamation of female authority and a strong statement for an “all-girl” band.

There are some stumbles along the way and points where the album loses excitement, but the doo-wop throwback “Oh, La La!” will quickly make you forget about that. At times the Ribbons recall garage rock queen Holly Golightly and, at other moments, recent blog hype darlings the Dum Dum Girls. But it’s the point where they are able to conjure all of that together into a three and a half minute adrenaline filled rock ‘n’ roll lust bomb, that Agent Ribbons show their most stunning prowess. This point is the album climax “Wood Lead Rubber.” After warning “you have nothing on me,” the track explodes into a guitar/drums/violin free for all. At the end we are left wondering how something so aggressive can be so alluring. The easy answer: it’s done right. That is what the Ribbons have accomplished on this album.