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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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Chris Brokaw should be familiar as guitarist from Come and Pullman and drummer for the New Year, Codeine and Consonant, not to mention all the other groups and collectives he's been playing out with recently - check out www.chrisbrokaw.com for the lowdown. And if his name isn't familiar then you have got some serious record buying to do! 'Red Cities' is his first solo album following a split single with Spanish band Viva Las Vegas.
Chris played everything (guitar and percussion) on these atmospheric instrumentals. There's a western-noir feel to most of it and the most effective tracks build in emotional intensity just like Come, every note heavy with mysterious longing and deep enough to flip your stomach over. After a short intro, the longest track "The Fields (Part II)" takes a trip deep into the city night where events are unfolding outside the upstairs window, each note delivering ever more irreversible immanence. Chris really knows how to pack a sledge full of raw emotion into every note, and this is a stunningly dense dark cinematic ride. Only lighter track is the more playful "Topsfield State Fair," which perhaps skirts closer to Pullman campfire folkiness than the deeper Come shadows the rest of the album so satisfyingly evokes. I'm not sure if the title of the album was in any way inspired by the W.S. Burroughs classic 'Cities of the Red Night' but if anyone was ever ambitious enough to try to make a film of that book, this would make a perfect soundtrack.
 
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Yves Beupré beavers away in his workshop building a hundred harpsichords. As he hammers and strings and flexes the things he records the sounds of the instruments' birth pangs. Lucky for our ears, he stitches the recordings into acousmatic soundscapes that are mysterious, evocative and plain beautiful.
Any clot who thinks electroacoustic music has become irredeemably entrenched in the same old gestures and routines should open their ears to this stunning debut from a composer possessed of genius who is going to have a (sur)real challenge surpassing such a masterpiece. This is a richly transporting transparent journey into the guts of the creation process. Images pour from the darkened room into the minds eye of wood and varnish and nails and strings swirling about in a void and accreting magically into a heavenly harpsichord which looms ever larger as I shrink to dust mote size. Boxed inside the vintage contraption, rhythmic structures unfold and coalesce and drone visions of eighteenth century time locks emerge. Historic and modern worlds collide in the computer as small planks become dense forests. And all this without the aid of hallucinogens!
 
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