Girls Against Boys - House Of GVSB (1996)

House of GVSB saw the band continuing its winning streak, and while arguably it contained no real surprises after the powerful one-two punch of Venus Luxure and Cruise Yourself, it still showed the quartet at the top of its considerable game. The Ted Niceley/Eli Janney partnership once again took charge with no worries, and every last drum hit or aggro bass roar makes its considerable mark. As with the previous albums, some tracks were the unquestioned high points, in this case the opening roar of "Super-Fire," with some of Scott McCloud's best guitar work ever, a controlled blast of riffs, and "TheKindaMzkYouLike," which gives everyone the chance to break out the funky fresh beats in their own style -- feedback and all. The overdubbed chorus of "I'm sinking fast!" followed by another McCloud feedback drone makes for one heck of a conclusion. There are also the sly rhythms of "Disco Six Six Six," which not only benefits from Alexis Fleisig's playing but Janney's strong work on keyboard and McCloud's delivery, which -- instead of mostly being attractively belligerent -- actually shows a tender side. On the seemingly lighter side, the credit for "drum assistance and 808 supplied by Ken Tondre" becomes clear with the skittering opening beats on "Vera Cruz," Janney's squelching keyboard line amusingly offset by McCloud's regular low sighing groan and the full band adding in mostly on the choruses. Janney again has extra fun with falsetto backing vocals at various points, often to gently comedic effect -- the wordless "ah-ah-ah" part on the brutal swing of "Cash Machine" adds a wonderfully strange contrast to McCloud's regular piss-and-vinegar approach. The last track, "Zodiac Love Team," throws in a final curve ball with its echoing, clattering drum loop, almost a throwback to the industrial-tinged origins of the group, but here set in the middle of the band's own film noir feedback style. Source: [AMG]

Girls Against Boys - Super-fire


Track Listing
1. Super-Fire
2. Click Click
3. Crash 17 (X-Rated Car)
4. Disco Six Six Six
5. Life in Pink
6. Thekindamzkyoulike
7. Vera Cruz
8. Anotherdroneinmyhead
9. Cash Machine
10. Wilmington
11. Zodiac Love Team

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Helmet - Betty (1994)

With the corporate rock cognoscenti frothing at the mouth to sign the next Nirvana, in 1991 a seemingly "nerdy" band from New York by the name of Helmet was about to set the world on fire -- at least on paper. Seemingly overnight, the Amphetamine Reptile faves had a fat check in their pockets and an astounding major-label debut by the name of Meantime. Eschewing Cobain's neo-punk/power pop instincts, Helmet opted instead for a more a minimalist approach, whereby rhythmic tension over 4/4 melodies reigned supreme. Now poised to step into their role as future darlings of a sound that can only be described as bludgeoning aggro-punk-atonal-rock, the band was propelled by a massive hype campaign and heralded as East Coast tastemakers du jour. But for all its accolades (mostly well-deserved), Meantime's commercial success sadly fell short of expectations and, by 1994, Helmet was giving it another try with Betty -- its second effort for Interscope. Label pressure notwithstanding, Betty had a lot more riding on it than even perhaps Hamilton was willing to admit. Lacking some of the tightly focused ferocity of Meantime, Betty appears to be an almost too well-thought-out affair and, ultimately, its songs miss out on some of the discreet melodic accents that had served to underpin even the most bludgeoning noise-fests on Meantime. Songs like "Wilma's Rainbow," "Biscuits for Smut," and especially "Milquetoast" have their moments, but don't quite live up to expectations. And although Helmet's tuned down, stop-go-stop dynamic (originally pioneered by New Yorkers Prong) would go on to influence hundreds of up-and-coming acts, their complete lack of image or star quality (a key ingredient to Cobain's magnetism, as much as he himself despised it) would play a major role in eventually doing them in. Betty initiated a commercial spiral for the quartet that not even the return to form and progress displayed by 1997's massive sounding Aftertaste could reverse. Source: [AMG]

Helmet - Milquetoast



Track Listing
1. Wilma's Rainbow
2. I Know
3. Biscuits for Smut
4. Milquetoast
5. Tic
6. Rollo
7. Street Crab
8. Clean
9. Vaccination
10. Beautiful Love
11. Speechless
12. The Silver Hawaiian
13. Overrated
14. Sam Hell

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Girls Against Boys - Cruise Yourself (1994)

Having fully made their case with Venus Luxure, Girls Against Boys kept on course with the equally fine Cruise Yourself. The hints of lounge and Vegas were even more explicit here -- the cocktail artwork on the CD, the fact that one particularly bitter number is called "My Martini." Again, though, these weren't the gauche clichés of characters like Combustible Edison, but signposts of a vicious, cutting quality in lyrics and music. McCloud's purring rasp again serves as one of the band's chief qualities, perfectly suited to the sassy, snarling burn of songs like "Cruise Your New Baby Fly Self" and "The Royal Lowdown." Though backing vocals aren't specifically credited, it's Janney adding the high parts here and there, such as the effectively creepy chorus of "Explicitly Yours." Ted Niceley and Janney once again handle the production/engineering combination, and, unsurprisingly, the whole album is a tightly wound effort that sounds like it's going to explode every second. In an interesting switch, and a demonstration of the band's increasing reach, Temple took over the duties with the sampler, while Janney concentrated not only on his own bass work, but organ and vibes as well. "Kill the Sexplayer" was the arguable standout, and while again many critics saw McCloud's slurring sneer as being the new incarnation of Mark E. Smith, that's a lazy connection. McCloud's singing oozes its own attitude, while the band isn't reinventing art/rockabilly as much as finding its own fast, bass-led charge. Certainly, though, the German motorik touches both bands share have their place on Cruise Yourself -- half the time on "Psychic Know-How," Fleisig is laying down a smart Krautrock chug and both Temple and Janney are right there with him, especially with Janney's keyboard glaze. And at one point -- "From Now On" -- McCloud's distorted rasp does for once sound exactly like the Mancunian master. Source: [AMG]

Girls Against Boys - (I) Don't Got A Place


Track Listing
1. Tucked-In
2. Cruise Your New Baby Fly Self
3. Kill the Sexplayer
4. (I) Don't Got a Place
5. Psychic Know-How
6. Explicitly Yours
7. From Now On
8. Raindrop
9. The Royal Lowdown
10. My Martini
11. Glazed-Eye

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Today Is The Day - Today Is The Day (1996)

Having subtracted bass from Today Is the Day and added keyboards, noise rock auteur Steve Austin thereby altered his outfit stylistically, moving from the warmth and emotional appeal of Willpower to an icily digital landscape of painful, high-frequency tones, screeched vocals, and even more painful guitar. Today Is the Day is a brutal record, owing a bit of its industrial nature to acts like Skinny Puppy and Merzbow. However, this is hardly textbook industrial music. Still utilizing guitar and organic drums, Today Is the Day is not driven by the keyboards so much as augmented sonically by them. The keys produce more of an atmospheric than a melodic effect, thereby leaving the essential constitution of Today Is the Day intact and guitar-driven. Source: [AMG]

Today Is The Day - Marked


Track Listing
1. Kai Piranha
2. Marked
3. Bugs Death March
4. A Man of Science
5. Realization
6. Black Iron Prison
7. Mountain People
8. Ripped Off
9. The Tragedy
10. She Is in Fear of Death
11. I Love My Woman
12. Dot Matrix

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Hammerhead - Duh, The Big City (1996)

Hammerhead's final release opens with the propulsive, Chrome-like "Earth (I Won't Miss)." The song is as loud and fast as anything the Midwestern trio had ever done before, but with a more pronounced psych/prog rock edge -- as befits its sci-fi-sounding title -- and prefigures the rest of Duh, the Big City, which is crisper and yet more experimental than previous recordings. The lineup had also changed since their last full-length, with Craig Klaus taking the place of guitarist Paul Sanders, who left to form his own band. If for some strange reason you should find yourself falling asleep while listening to this rocking little record -- a highly unlikely occurrence -- crazed instrumental "Mr. Bizmuth," which teeters on the edge of Metal Machine Music-style unlistenability, will surely wake you right up (all your friends and neighbors, too). Oddly enough, it isn't the last track (or even a bonus track), but is followed by the considerably more melodic title track, "Duh, the Big City," which closes the book on the brief but compelling story of Hammerhead. Paul Erickson and Jeff Mooridian Jr. would next materialize in the two-man noise unit Vaz. [AMG]

Hammerhead - Tuffskins



Track Listing
1. Earth (I Won't Miss)
2. Meandrethal
3. New York?...Alone?
4. Mission: Illogical
5. I Don't Know...Texas
6. Victoria
7. Monkey Mountain
8. Zenith Factory
9. Mune
10. Mr. Bizmuth
11. Duh, The Big City

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Girls Against Boys - Venus Luxure No.1 Baby (1994)

Who knows what did the trick -- maybe it was just jumping labels to Touch & Go -- but when Girls Against Boys released Venus Luxure, it was clear that the quartet had really turned into something spectacular. Avoiding the clichés of early-'90s indie rock for its own surly, charismatic edge, Girls Against Boys here kicked out the jams like nobody's business. Ted Niceley helped out Janney with the recording, and together they got an amazing sound out of the band, its now thoroughly bass-heavy approach (Janney was now specifically credited with the instrument along with Temple) brawling like a bastard. A comparison to Flipper could be made, but instead of the generally slow, death-march tempos of that act, Girls Against Boys always keep moving, a dark death dance. McCloud, happily, was now a much more distinct singer, his voice deeper but still attractively ragged and right, whispering or spitting out sometimes cryptic lyrics about emotional confrontation and the vagaries of life. His nods to '60s lounge culture -- a thematic fascination that would grow even stronger over time -- crop up at points here, even if the whole atmosphere is more like Sinatra mean drunk and out for blood, lots of it. The band comes up with music that sometimes echoes it as well; imagine it's midnight at a bar, the lights are low and red, and mean-looking guys in the corner stare menacingly -- that's the spirit informing songs like the slow, threatening "Satin Down" and "Get Down." Janney's abilities on keyboards, meanwhile -- check the abbreviated, looped drones on "Go Be Delighted" -- gave the band an even further edge, unsettled and certainly not like many other bands in its general milieu. Add in some full-on rockers like "Let Me Come Back" and the focused snap of "Bulletproof Cupid," and the result is a stone-cold classic. Source: [AMG]

Girls Against Boys - Rockets Are Red


Track Listing
1. In Like Flynn
2. Go Be Delighted
3. Rockets Are Red
4. Satin Down
5. Let Me Come Back
6. Learned It
7. Get Down
8. Bullet Proof Cupid
9. Seven Seas
10. Billy's One Stop
11. Bug House

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