Girls Against Boys
Freak*on*ica
[DGC]
Rating: 7.7
"Get your freak on!" screams the thoroughly- e'ed DJ from his
steel- caged mezzanine above a teeming sea of sweat- soaked teens and jumping
twenty- somethings. Yeah, the people payed their $10 a head to forgo beds and
dreams, and dance to the post- 12am mayhem of a certain band's major- label
debut, Freak*on*ica. A bioluminescent glow of cool neon emits from under
school bus- sized speakers that hover mysteriously off the translucent dancefloor
like an airhockey puck. Welcome to the excessive world of Girls Against Boys.
GVSB are the D.C. post- punk groove band that moved to Times Square and subsequently
acquired a taste for heightened elements of electronica and a fashion sense which
can only be described as post-hygenic-- they appear fresh out of the shower,
dripping wet, with their hair slicked and undulating like sea anemone from
palmfuls of designer conditioner.
Over the last decade, these
guys have molded their trademark sound of husky vocals, punishing rhythm, and
tongue- in- cheek sass. For this record, they've completely immersed themselves
in their schtick to quixotic proportions and almost step into self- parody.
Lyrics give way to simple spat slogans that typically involve "pleasure,"
delivered via Scott McCloud's enthusiastic vocals, and Freak*on*ica
producer Nick Launey pushes every sound to 11. Girls Against Boys' precision
playing couple with Launey's knobwork will crush your pelvis like a mortar
and pestel.
The band's departure from Chicago's hardcore Touch and Go label, and
their arrival at David Geffen's multi- million- dollar establishment
may have indie- rock pundits
protesting "Sell-out." But frankly, their new sound seems more like
a natural progression than a clever ploy to sell more records. Besides,
their appeal still lies in their ability to write awesome, swinging
rock burners that rely more on the band's ace rhythm section than on
guitar skills. It's still rock and roll, people. It's just mutated.
-Brent DiCrescenzo