WASHINGTON DC, 1992. Four good-looking, hip guys form an indie rock band and call it Girls Against Boys. By 1993 they've released their debut album, Venus Luxure No. 1 Baby on Touch & Go and have everybody salivating for more. Three albums later and we've got Freak*on*ica, their first for a major (DGC Records) and also their first to really push things outside the traditional indie rock spectrum. You see, GVSB (as they like to be abbreviated) have discovered industrial dance music and have spread it all over the new album.
Working with producer Nick Launay, who's manned the board for bands like Public Image Ltd and Killing Joke, has helped give GVSB a techno kick on Freak*on*ica, infusing the tracks with odd bleeps and burbles, whining keyboards, and turntable scratching. Songs such as "Black Hole" and "Exorcisto" use these outside elements well, combining with Scott McCloud's rough guitar work. Imagine God Lives Underwater with more sex appeal and you're on the right bus.
It seems, though, that the Boys have forsaken melody for their new found love of technology. McCloud's vocals rarely rise above a raspy whisper, making his delivery sound like an affected Trent Reznor. Much of the lyrics fall into the terminally hip category as well, with McCloud spouting lines like "Hit me with the pop culture" ("Exile") or "Kiss my soundsystem, eat my headache" ("Speedway"). After a full album's worth of these throw away clichés, you're begging for him to say something worth remembering.
Freak*on*ica isn't a bad album. It'll probably do pretty well on the modern rock stations, and enjoy a small amount of success. But for the major label debut from a strong band, it leaves something to be desired. - Adam Douglas