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Hello. I spent nearly 10 years selling on that other site (you can check my feedback there; It's under the same ID as this one; over 3200 positives, 99.7%). But I thought I'd give this new site a try.

Like all of my cds, this is an Original CD, with original inserts (NO CD-Rs or bootlegs).....

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Imagine a band whose t-shirt should read "GvsB. New York. Paris. Milan. Zurich."
That GvsB (mercifully a contraction accepted by the band, so that'll save wear and tear on the keyboard) actually get albums recorded seems near-miraculous. They always come across as men with something much more sordid and stylish to do with their time than get involved with something so prosaic as playing their instruments. Indeed, placing their music in a category is almost impossible because, like so many of the best outfits, they transcend categorization. Although transcend sounds like too much effort: they'd probably prefer the idea that they side-step genre with a slide and without getting their shirts crumpled. They have, fortunately, given clues to their influences through the two tribute albums for which they have provided tracks, so if you can imagine a band forged in a peculiar collusion between Joy Division and Frank Sinatra, you can probably imagine the sound of GvsB. It's terrorism by Hugo Boss.
All the distinctive GvsB trademarks are here: the super-laconic husky whisper (if he ever gets throat cancer, give him a vocoder instead of a voice-box) of vocalist Scott McCloud, his lizard-suede guitar convulsing over the dual bass thrusts of Eli Janney and Johnny Temple, all calm grooves underpinned by the speed jazz percussion of Alexis Flesig. Balancing violent psychosis and skilled sensuality, they'd be the house band at Tyler Durden's club with their tales of the late-nite neon life, that state of mind to be found when the consensus reality of taxes and fresh fruit breaks down. They're driving at 3am, when the last of the vitamin D has been drained from your corpse by gas station forecourt lighting and being a nice guy has been replaced by an altogether too alluring plan of something seductive and destructive. This music and the world it represents makes your life up to now seem like a test card.
What's new here is a muscularity of performance, like Rocket From The Crypt without the jokes, Depeche Mode without the regret or Nine Inch Nails on the good drugs. This is hardcore (as in porn) music, Goth that admits that it's purpose is to get it on with women who wear too much make-up and too few clothes. In other circumstances it would be just plain sleazy and in younger hands just plain silly: but McCloud and company are a long way from the "callow youth" side of rock. There's a confidence, never once made ludicrous by bombast and swagger, a self-assurance that could make you feel inferior. In fact, your life, once this album finishes, may start to seem a little insipid. From the post-industrial dub of Park Avenue to the chill-out lullaby of Cowboy's Orbit, GvsB infest your stereo with something that might require penicillin.
To use one more metaphor, GvsB are sort of the Neitsche of credibility: they are beyond cool and unfashionable. Whether it's the sound of God's favorite thrash band on Speedway or the low-slung stripper theme of Exorcisto, it's clear that GvsB don't care whether you like what they perform or not. You don't appreciate it, it's just a sign that you patently aren't worth it. That's not posture, that's just life. If you are hip to their beat (daddio) it's an elite club, one that remembers when lounge music was dissident, not cutesy and coy. What they get from Frank Sinatra isn't old man doddering: it's ultra-assured, mobbed up womanizing and boot-stamp rumbles, revved up with Washington hardcore directness and Chicago industrial layering. What they get from Joy Division is the nihilistic fury, but disinfected of its bad infestation of whining. Plus you'd never get them in German army parkas. Turn up the treble to white noise levels and it's ambient perfection, DJ Shadow on divine ambrosia: boost the bass and it's a street fight orchestrated by The Sisterhood.
Truly music to make you feel cooler than you actually are.
Item Specifics - Music: CDs
Artist: Girls Against Boys Release Date: Jun 02, 1998
Format: CD Record Label: Geffen Records (USA)
Genre: Rock UPC: 720642515624
Sub-Genre: -- Album Type: Full-Length CD
Track listing
1. Park Avenue
2. Pleasurized
3. Psycho-Future
4. Black Hole
5. Roxy
6. One Firecracker
7. Speedway
8. Exorcisto
9. Vogue Thing
10. Push The Fader
11. Exile
12. Cowboy's Orbit


Details
Producer: Nick Launay
Distributor: Universal Distribution
Recording type: Studio
Recording mode: Stereo
SPAR Code: n/a


Album notes
Full title: Freak*On*Ica.
Girls Against Boys: Scott McLoud (guitar, vocals, loops); Eli Janney (keyboards, loops, vocals, bass); Johnny Temple (bass, keyboards); Alexis Fleisig (drums).
Additional personnel: Jamin Gilbert (scratches).
Recorded in October 1997 at Seedy Underbelly Studios, Minneapolis, Minnesota.
Like Helmet before them, Girls Against Boys have demonstrated that a muscular-sounding NYC club band can break into the national market. After a couple of releases on indie labels, their DGC debut finds the group poised for success with an immediately identifiable, "120 Minutes"-ready sound. As the title implies, Girls Against Boys have flavored their songs with synth & electronic sounds, but not necessarily the ones associated with late 90's electronica. Instead, they look back to 80's new wave and dance music for swooshy, gurgling sound effects. The songs themselves are riff-based, always with a throbbing, thumping pulse more like house music than the alternative rock with which the band is largely associated. If you can imagine Rage Against the Machine singing about New York nightlife and a bleak future instead of politics, you'll have a pretty good idea of what to expect from Girls Against Boys.


Editorial reviews
7 (out of 10) - ...The band's major label release represents a dramatic expansion of their sonic palette. Straying signifigantly from the art-punk-funk blueprint drafted on their first four albums, FREAK*ON*ICA is unabashedly high-wattage--simultaneously more metal, more disco, and more pop...
Spin (06/01/1998)

...Post-punk guitars and industrial-strength electronica rhythms duel throughout a funky dystopia that's GVSB's most mesmerizing collection yet, while singer Scott McCloud spews his evocatively dissolute lyrics with a growl that fits the album's sci-fi deca-dance perfectly... - Rating: A-
Entertainment Weekly (06/05/1998)

7 (out of 10) - ...The band's major label release represents a dramatic expansion of their sonic palette. Straying signifigantly from the art-punk-funk blueprint drafted on their first four albums, FREAK*ON*ICA is unabashedly high-wattage--simultaneously more metal, more disco, and more pop...Entertainment Weekly (6/5/98, p.84) - ...Post-punk guitars and industrial-strength electronica rhythms duel throughout a funky dystopia that's GVSB's most mesmerizing collection yet, while singer Scott McCloud spews his evocatively dissolute lyrics with a growl that fits the album's sci-fi deca-dance perfectly... - Rating: A-
Spin (06/01/1998)





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