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Richard Hell is beyond many things. Reproach and comparison are two such things. Leader of the Voidods, poet, bass player, and a man many call one of the founders of the punk movement, Hell has released very little music for a man of his acclaim and stature. In fact, he's reportedly only been in a studio once in the last 17 years. Luckily, the music he has released is so fantastic that it lasts, so much that any new music might pale in comparison. Add this one to the stack of record you must own.Matador
"Time" is actually part re-release/part never released live and studio material, and it shows how much of an influence Hell and the Voidods have had on other bands, as well as a distinct style that cannot be denied. The first CD, labelled "R.I.P.", is a re-release of a cassette only retrospective - Hell's self-proclaimed epitaph - released on ROIR. It adds three songs, one being the title track, and features some near classics. It opens with 'Love Comes in Spurts', a well-known track, immortalized in "Pump Up the Volume" with Christian Slater (it plays while he humps the wedding dress on the couch). After that, it never lets up. Song after song crackles to life, sometimes in the form of an all-out assault, sometimes as a slower and lower skip. The production values aren't that great, the performances a little far from perfect. But it's amazing nontheless. By the time you reach the Dylan cover 'Going Going Gone', you're in awe. Good. It gets better. The second CD, "Live", starts with, in Hell's own words, "one of the most aggressive sets we ever played." Aggressive due to the band's strife on the tour leading up to that point, and good for them. The audience would never have complained. The last four tracks are from a second live show at CBGB where Elvis Costello joins them for two tracks. Nothing short of incredible, electric, and highly influential. "Time" is two CDs of amazing music: Richard Hell has a legacy, and it is captured brilliantly on this release. Get it without delay.
 
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- Anthony Rother - PSI CITY
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- Anthony Rother - Don't Stop the Beat
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Thank God for Girls Against Boys. Yet another band that started on an indie, moved to a major, and now, back to an indie. Another band who once compromised for the big time, now compromises for no one. Another band that is reborn on their new album, throwing more energy out on tape now than they ever have. The only unfortunate label ever assigned to the band was that of "sex rock." Sure, their music is sexy. Sure, it's raw. And it's definitely not for the faint of heart. But it's not "sex rock." And "You Can't Fight What You Can't See" is arguably the most punishing record with which any of the band's members have been involved.Jade Tree
GVSB is back, and they're taking no prisoners. The album was recorded in Mission Sound in Brooklyn, but mixed in the band's own studio, a makeshift one in an old warehouse. Reportedly it was cold there, and the record bears the effect. This music, too, is cold, calculated, and horribly melodic. GVSB have been taken as abrasive in the past, with a lot of noise in the mix meant to push the listener away. This is their first record with audible hooks - and that's not a slam. It's more user-friendly, but in the best way possible. I dare say anyone can find something to like in the music on this record. Where the music suffers slightly is in the lyrics. As the liner notes clearly display, these three to four-and-a-half minute songs are lyrically sparse. This means that key phrases are repeated over and over, often to the point where you almost feel like you're being programmed. You're not. That's always been a major tenet of GVSB's music. It's just more noticeable because the music has improved so drastically. It's only irksome on '300 Looks for the Summer': "I don't like Hollywood" is said way too much. But it's a complete, energetic, and likeable album. I like this album more than anything GVSB's members have ever done. I hope they can better it. And I hope they start with the lyrics, because the music has reached its plateau.
 
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But all M.C. criticism aside, the beats are consistently varied and noloop is repeated long enough to wear out its welcome. El-P shows hisstrongest talent lies in production by introducing many experimentalsounds and effects rarely added to the hip-hop mix. He uses lots ofdistorted synths and electric guitar samples and mixes them overprogrammed, organic sounding drums to head-nodding affect. My favoritemoments in the album all occur when he turns off the vocals for astretch and lets his instrumentals shine. DJ Abilities compliments thelayered beats successfully by adding texture without showing off hisspeed. His best contribution is in the middle of "Delorian" where heuses his scratches as one of the instruments in the band rather than asa solo spotlight.
I will certainly be looking out for a future version of "FantasticDamage" instrumentals because the beats are innovative and I would liketo hear how each one sounds on its own. If you can get through 70minutes worth of severe vocals, the album does go out on one of itsstrongest notes with the grandly cinematic final track, "Blood". And besure to listen for that tight instrumental at the end that kicks intohigh gear after the vocals have faded away.
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Published as a limited CD-R to be sold at their recent European appearances, Coil's latest EP is a beautiful and stunning piece of work. It consists of a nearly 20 minute instrumental piece in two versions—a "prepared" improvisation with their current tour lineup: Michael York on breton pipes, Cliff Stapleton on hurdy gurdy and a subtle, percussive groove underlayed by various electronic devices of Mr's. Balance, Christopherson and Norris. The main feeling this recording conjures up for me is one of an un-experienced nostalgia—like an unsure longing for life during an ancient time.
Danny Hyde returns to Coil's mixing desk to collaborate on "Remote Viewing 3" and the interlude, "Remote Viewing 2," which seems to be constructed mainly out of parts of the original recording session with added and altered sounds and vocal snippets. "2" works perfectly as a bridge between the two lengthy parts when listened in one go, but doesn't stand out as a strong piece when singled out. Coil have easily managed to surpass any expectations and leave me anticipating the next 'proper' release. It would be a loss, however, if the music on this release wasn't reissued in another form for more to hear.
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