When I got word that all-girl Atlanta band The Coathangers were releasing a new album, I was admittedly worried. I’ve seen a lot of promising garage rock bands put out fantastic debuts only to basically fall flat on their faces the second time around. That said, I took a deep breath, listened to the album, and found myself more than pleasantly surprised.

Scramble, the follow-up record to 2007’s well-received, self-titled debut, is a musical composition of riotgrrrrl, punk, and lo-fi rock, all held together with the band’s feisty, passionate DIY spirit.

The album opens with an “Intro” (and closes with an “Outro,” just like their first record) that leads into “Toomerhead,” a lo-fi mix of pianos, cymbals, yelling, and guitars.

One track in and you can already see what the record is going to be like: a lot of fuzzy instruments and vocals, a heavy dose of in-your-face attitude, and a smattering of musical maturity.

Unlike the first album, on which the ladies were still getting into the groove of playing their instruments and writing songs, Scramble features a much more seasoned group of musicians and more sound experimentation, such as the use of more complex guitar riffs and the implementation of bells and cowbells in songs.

Tracks like “Stop Stomp Stompin’” and “Getting’ Mad and Pumpin’ Iron” harken back to their signature blend of scream-singing vocals and fast drum beats, while the more sedated (by Coathangers standards) “Pussy Willow” and Huggy Bear-esque “Sonic You” hint at a more thought-out sound.

“Dreamboat,” a track that was originally released as a B-side on their 2008 Shake Shake 7-inch, is a sweeter, more deliberate effort from a group that once sang songs about Tonya Harding and being played like Parcheesi.

“Killdozer” is an upbeat, danceable track that will instantly compel you to sing along.

“Arthritis Sux” is a Bikini Kill reminiscent stomp-and-scream-along about, well, arthritis and how much nobody wants it.

The fact that there are thirteen songs on this record and that about ninety percent of them clock in at around two and a half minutes makes me worry that The Coathangers have confused quality with quantity, but when it all comes down to it, they’re creating music that you can identify with and that you want to dance to, and -– most importantly — that you want to listen to, and you would be hard-pressed not to enjoy it.