Flailing youthful limbs, exaggerated improvisation on bow and brass and a touch of aesthetic theatrics are the hallmarks of Bridezilla’s expressive, almost flamboyant live performances.

Expectations around the band’s debut album The First Dance may therefore hinge on whether that energy can survive the recording process. Whether all that button pushing, re-takes and technological modifications will just quash the spirit Bridezilla’s formidable reputation is predicated on.

At first listen it would appear that loved ones need to be informed; said spirit looks to have met a sorry end. Things seem to have been reined in; shut down. As if an older, more conservative influence sagely advised the band to sand down the edges, trim the excess and neatly slot the whole package into a beige box stamped – œbroad appeal’.

In some respects, that’s just the misguided summation of someone who should know better than to pay attention to the knee-jerk. However, First Dance does distance itself from the band’s on-stage persona.

The free-spirited laissez-faire attitude that allows Daisy Tulley (violin) and Millie Hall (sax) to score performances with coruscating blasts of improvised sound is gone. Instead, their instruments are somewhat reserved – dutifully remaining in context as opposed to pushing songs into more challenging territory.

Of course, that hardly makes this music for the masses (the abrasive, cut-throat denouement of Heart You Hold is definitely not the stuff record company dreams are made of). But by stripping away some of the experimental elements there’s a greater emphasis on more traditional song structures.

Tailback and Queen of Hearts are fine examples of attractive indie pop. Both hang beautifully on the frame of Pia May’s savvy chord progressions. Although simple in their construct, May intuitively knows how to complement Holiday Sidewinder’s coquettish vocal and the confident tones of intertwined sax and strings.

At the other end of the scale, paring back their live sound throws Bridezilla’s ethereal qualities into sharp relief. The likes of Soft Porn and the gorgeous Speaking to Soft Toys are reminiscent of The Cocteau Twins’ knack for blending bewitching melodies with dreamy, fairytale arrangements.

These heady slices of shimmering sound are undeniably lovely; however, the album would be stronger if two or three of these had failed to make the grade. The gothic longing of Lunar Eclipse or White Feather’s stampeding flamenco are in danger of being swamped by the emphasis on their counterpart’s less strident qualities.

Similarly, it’s questionable whether Sidewinder’s vocal is able to carry all 14 songs without running out of steam. Whilst her delicate yet seductive voice is rendered even more beguiling with gentle distortion, there’s little variation to this blueprint. Fewer songs would ensure Sidewinder remained an arresting presence rather than becoming too familiar.

The First Dance may not be the release many were expecting, or even hoping for. However, there’s still plenty to commend Bridezilla’s debut. More importantly, there’s enough evidence to suggest that once the band fully harness the essence of their live shows, future recordings will be very special indeed.

The First Dance is out Saturday 7 November on Inertia Recordings. Bridezilla play the following shows before the year is out.

20 November – Northcote Social Club, Melbourne [album launch]
5 December – Homebake, Sydney